Introduction to “Redneckaissance: Honey Boo Boo, Tumblr, and the Stereotype of Poor White Trash”

As you may have noticed I have been somewhat absent from these parts of late, because I have been working on my dissertation proposal for my study of Honey Boo Boo and Tumblr.  I have finally finished the proposal and will defend it next week, at which point I will hopefully be cleared to write the second half, which is the actual independent research.  I thought I would share with you the opening of the dissertation.  As you may have guessed, working more than full time and writing a dissertation leaves little time for blogging, but I thought I’d take advantage of my week of breathing room and the fact that I have actually written something.  Enjoy.

Mama June on a waterslide honey boo boo

“Who knew television audiences would be completely enthralled with a Southern family acting out every stereotype of “redneck” on Here Comes Honey Boo Boo…” – Alison F. Slade[1]

My first realization that Here Comes Honey Boo Boo had become a complex discursive phenomenon came with the appearance of an image from the show in my social media feeds.  In this animated image, June Shannon, the overweight matriarch of the show, careens down a water slide in her bathing suit with joy on her face.  This image became popular on Tumblr, with hundreds of reblogs, and spread elsewhere online.[2]  Most of the previous discourse I had encountered around the show was negative and focused on how “trashy” the show was, but, in my social media feeds, people praised the show for fat acceptance of “real” bodies and embraced June’s joy.  There were still negative comments about the show but they were complicated by people claiming identity with her around one of the same signifiers, her weight, that was used to mock her and call her “white trash.”

This study seeks to explore how online content creators engage with television stereotypes online.  Specifically, this study seeks to understand the ways in which online content that is created using a reality television show as source material supports, undermines, and interacts with the tropes of the white trash stereotype.  It also seeks to discover how online content creators participate in the construction of meaning using the show.

In particular, this study will examine a selection of Tumblr posts about Here Comes Honey Boo Boo for the ways in which online content creators uphold, undermine, and “play with” white trash stereotypes. The goal is to gain insight into online content creators’ participation in television culture and its use of the white trash stereotype as well as into how they use Tumblr to communicate. This research uses discourse analysis to examine the Tumblr content created with, around, and about the show Here Comes Honey Boo Boo.

In seeking to explore this phenomenon, the study addresses the following research questions: How do Tumblr users use Here Comes Honey Boo Boo in discourse explicitly and implicity about race, class, gender, sexuality, and geography?  What are these discourses?  How do these discourses adopt, negotiate, or resist common U.S. stereotypes of “white trash” and “rednecks?” How does the online audience’s role as a secondary content creator change meaning and discourse around and about the show?  Honey Boo Boo represents a unique intersection of poor, white, fat, southern, LGBT-allied, and female-dominated social actors, positioning the show along the power axes respectively of class, race, weight, geography, sexuality, and gender.  This dissertation attempts to understand Tumblr discourse about the show through the framework of intersectional theory. Intersectional theory assumes that social categories of race, class, and gender are intertwined and together constitute identity and describe power relationships. How do these axes of power interact in online discourse?  The study is an attempt to understand the online content creator’s role in creating meaning around a show that relies heavily on negative stereotypes.

Although Here Comes Honey Boo Boo debuted only two years ago, it has already been the subject of scholarly interest.  As a popular reality television show dependent on stereotypes of rural Southerners, it has offered scholars rich ground to explore those stereotypes.  Bevie Tyo examined the redneck stereotype within the show, doing a cultural value analysis of the problematic representation of the main characters and noting that the show was constructed to use those stereotypes for entertainment.[3]  Similarly, Ariel Miller did a quantitative content analysis of the show, alongside Duck Dynasty and Buckwild, to explore the construction of Southern identity on reality television and the frequency with which the shows used stereotypes.[4]  Unsurprisingly, these studies showed heavy reliance on negative stereotypes about “rednecks” and “white trash.”

But scholarship on the show has not exclusively focused on the negatives.  Scholars like Geoffrey Parkes and May Friedman have pushed back against a simplistic understanding of the show as merely exploitative of Southern stereotypes, suggesting instead that it also serves as a site of resistance.[5]  The show includes radical acceptance of fat bodies, female empowerment, and queer individuals in addition to the stereotypes about rednecks.  The show also offers resistance to issues of class expectations and, in that way, serves, at least partially, as a site of resistance against the Southern stereotypes it uses.[6]

Closer to this study’s interest, Andre Cavalcante has done a discourse analysis of the Facebook fan page of the show.[7]  Reality television and social media have been intertwined over the past decade. For example, reality television is dependent on social media for generating interest and in voting on competition shows, and social media frequently focuses on television as a source of conversation topic.  Social media has allowed audiences to interact much more closely with television while reality television has encouraged a sense of intimacy for audiences. These two phenomena have led to the creation of fascinating sites of discourse around reality shows.[8]  The tension between the resistance that Parkes and Freidman note and the dependency on exploitative stereotypes that Tyo and Miller observe is revealed in the attitudes and language used by the commenters on the Facebook page.[9]  Audiences use “the Thompson family and their show as reasons to debate the ‘proper’ and moral parameters of self, family, society and nation.”[10]

This intersection between stereotypes, power structures, identity formation, mass media, social media, reality television, and queer intersectional feminism is exactly where I want to situate my research. These studies help problematize the idea of representation issues in television, especially the relationship between what is presented on screen as the reality of the people’s lives and “actual reality,” and add to the body of feminist and critical television studies.  Cavalcante even extends this research into online social media spaces, where there has been less analysis of stereotypes, by locating his discourse analysis in the medium of Facebook. This study wishes to add to that scholarship by focusing on an area of social media that has been under-studied—Tumblr and the image macro—and that offers new insights into the stereotypes and resistance to cultural expectations while also offering insight into the cutting edge of online communications.



[1] Alison F. Slade, Amber J. Narro, and Burton P. Buchanan, eds., Reality Television: Oddities of Culture (Lexington Books, 2014), vii.

[2] “Chasingapril,” accessed May 12, 2014, http://aprilloveslies.tumblr.com/post/38232075183/http-whrt-it-rjyqn0; “Community Post: 25 Crazy Mama June GIFs,” BuzzFeed Community, October 2, 2012, http://www.buzzfeed.com/hyvesredactie/25-crazy-mama-june-gifs-7j5s.

[3] Bevie Tyo, “Coming to Appreciate the Redneck Stereotype: A Value Analysis of Here Comes Honey Boo Boo” (California Polytechnic State University, 2013), http://digitalcommons.calpoly.edu/cgi/viewcontent.cgi?article=1144&context=comssp.

[4] Ariel Miller, “The Construction of Southern Identity Through Reality TV: A Content Analysis of Here Comes Honey Boo Boo, Duck Dynasty and Buckwild,” Elon Journal of Undergraduate Research in Communications 4, no. 2 (2013), http://www.studentpulse.com/articles/824/4/the-construction-of-southern-identity-through-reality-tv-a-content-analysis-of-here-comes-honey-boo-boo-duck-dynasty-and-buckwild.

[5] May Friedman, “Here Comes a Lot of Judgment: Honey Boo Boo as a Site of Reclamation and Resistance,” The Journal of Popular Television 2, no. 1 (April 1, 2014): 77–95, doi:10.1386/jptv.2.1.77_1; Geoff Parkes, “He’s Gonna Be a Little Gay: Redneckognising the Queer American Family in Here Comes Honey Boo Boo,” in Proceedings of the 4th Annual International Popular Culture Association of Australia and New Zealand Conference (PopCAANZ 2013) (University of Southern Queensland, 2013), 138–46, http://eprints.usq.edu.au/23932/.

[6] Friedman, “Here Comes a Lot of Judgment.”

[7] Andre Cavalcante, “You Better ‘Redneckognize’!: Deploying the Discourses of Realness, Social Defiance, and Happiness to Defend Here Comes Honey Boo Boo on Facebook,” in Reality Television: Oddities of Culture, ed. Alison F. Slade, Amber J. Narro, and Burton P. Buchanan (Lexington Books, 2014).

[8] Beverley Skeggs and Helen Wood, “The Labour of Transformation and Circuits of Value ‘around’reality Television,” Continuum: Journal of Media & Cultural Studies 22, no. 4 (2008): 565.

[9] Cavalcante, “You Better ‘Redneckognize’!: Deploying the Discourses of Realness, Social Defiance, and Happiness to Defend Here Comes Honey Boo Boo on Facebook.”

[10] Ibid., 42.