"Find My Family"—Why Reality TV Sometimes Works
When I first heard about ABC's reality show Find My Family, which began airing in November, I was prepared to hate it.
Each Monday-night episode tells a couple of reunion stories of adult adoptees with birth parents. Emotions run high. Tears flow. In other words, it's good soapy television—but does that make it a good depiction of adoption?
Yes. It's far from perfect; it's finessed and biased and occasionally silly. But I've let go of my need to dismiss this show as hokum.
Don't get me wrong: There are things about Find My Family that are "stomach churning" in the words of a fellow adoptive parent. There's the literal "family tree" on a sunny hillside where the reunions are filmed. Earnest hosts Tim Green and Lisa Joyner keep insisting they understand the feelings of those involved because they were adopted, too. (Joyner is also an adoptive parent.)
In staged scenes, Tim or Lisa knock on doors and introduce themselves—"it's so great to finally meet you in person!" The reunions are always joyful. Everything seems keyed to one emotional note that doesn't match the ups and downs of real relationships.
Adoptive-parent groups have rumbled on the Internet. Some mainstream TV reviewers have called the show "grotesque." When it was first picked up by ABC (it's based on successful "relationship reality" programming in Holland and Australia), Variety ran this headline: "ABC adopts 'Find My Family' show." The wording is a typical trivialization of the family bonds formed by adoption—right up there with "Adopt a Highway" programs—that often makes adoptive parents froth at the mouth.
The thing is, the adult adoptees and birth parents who appear on Find My Family really do warm the heart. That was clear to me after watching the first episode. I won't deny that I bristled: Where were the adoptive parents? Their response was simply excised. Reunions are rarely as easy as this one seemed, and the impact of race and economic class continue to be airbrushed away.
But subsequent episodes have touched on how difficult it can be for adoptees and birth parents to find each other. Birth certificates get changed; in many states, the records are sealed and adoptees aren't allowed access. In last night's episode with 43-year-old adoptee Maria, her adoptive mother was part of the story from the opening shots.
Reality TV is often about throwing people into false, highly charged situations. The motivations for dumping your guts on film—or at least pretending to—are usually fame; a chance for a dream job or rich husband; and, of course, money.
Yet with reunions between parents and children who haven't seen each other for thirty-plus years, there's no need to trump up anything. These situations are genuinely charged. In many ways, the situation of adult adoptees searching and longing for their first parents is what reality programming has always wanted to be: fraught with human drama.
I also can't help comparing Find My Family episodes with Daughter from Danang, an infamous documentary in the Vietnamese adoption community that comes with a seemingly more legit pedigree. (It even won a Sundance award in 2002 and was an Academy-Award nominee.) In it, documentary filmmakers with a political agenda—exposing American imperialism—helped an adult adoptee reunite with her birth mother in Vietnam.
At first this filmed reunion is joyful, too. But the young woman, who grew up in Tennessee and appeared quite naive, was unprepared for the cultural differences and her inability to speak the language. When her birth family asked her for money to help support her mother, she was devastated.
Meanwhile, the cameras kept rolling, turning viewers into voyeurs. When I first saw this film, which aired on PBS, I remember how angry I felt that the filmmakers just sat and watched as the woman melted down. Many Vietnamese adult adoptees and other critics have expressed a loathing for the way the film turns her into a victim.
All of which is to say that, despite the soap and scripted set-up, Find My Family's bias may be what gives its protagonists dignity.
It's easy to roll your eyes at host Joyner's "I know, I've been there" cheerleading. Green often looks tearful and exudes false intimacy—except what if it's not completely false? It just might be that their personal knowledge of the adoption community shaped an end product that feels more true.
Ironically, the progressive filmmakers who made Daughter from Danang, with their objective stance and lack of knowledge about adoption, ripped off its reunion scenario far more than the hucksters at ABC are doing.
It's come home to me, how insecure all members of the adoption triad often feel—adoptees who believe they were given up because something was wrong with them; birth parents who don't get to watch a child grow up; adoptive parents who know they don't share a blood connection with their children.
This is not exactly a revelation. But there are moments when it seems wrong to fudge the ethical quandaries or the grief of others. None of us should, because to fudge is to lose a piece of our humanity. It means we too easily ignore the real tears on a show like Find My Family because of its cheesy trappings.
I'm well aware of my own insecurities as an adoptive mom. I used to worry that I'd never be viewed as a "real" mother. These fears have eased over time as the love in our family has taken solid root. But it seems that each of us, in our separate corners, grapples with whether we're loved enough.
Last night on Find My Family, birth father Wavie was shown reuniting with an adult son he hadn't seen since babyhood. They embraced on what looked like a golden California hillside under the spreading tree, as if they were in New Age heaven.
Was it corny? Of course. But Wavie and his son, in their before-and-after discussion of what this reunion means, approach the deepest existential questions. Neither comes off as a victim. And a celebration of love on television is never a bad idea.


Salon.com
Comments
Martha Nichols. I Hope Ya will ask Johnny Cash for dimes.
When digital teevee was all that was not broke, I was poor.
I can't afford a TV anymore. I use my friendly farmer wife.
I don't want any TV anymore. I've become a monk in a hut.
No woman, money, sweet honeybun, and no dear mensch.
If I try to Find My Family - I may love Art Finkelstein's wife.
tease.
find one?
troubles?
Take care.
Love family,
friends,
otters,
possums,
hen, goat,
My relations may be too tipsy.
Sip chocolate milk and blog.
No covet thy neighbor wife.
I meant TV. Sit on a couch.
Visit friendly wife. Sip tea.
Be cozy and sip chamomile.
Love those Vietnamese too.
Interesting read, thanks.
Part of my thinking here has been sparked by the response to the show from adult adoptees and birth parents, many of whom find it very validating. On one of the blogs I run, Adopt-a-tude, we're in the midst of publishing reactions to Find My family from all sides of the triad. So far, the comments have been illuminating, harsh, and painful. You can get to Adopt-a-tude from my links, if interested.
What did your students think of Daughter from Danang, mypsyche? I see it as a good example of not only cultural cognitive dissonance but also the unintentionally dehumanizing ways that supposedly "objective" observers frame a story.
If you can't afford teevee but can afford a computer, Hulu.com has the show. That's where I watch it.
Forced sentimentality aside, these shows foster unrealistic expectations about these reunions. I want to see how thankful Wavie Jr. is after a few months when he realizes his real father isn't perfect either. Yikes.
Daughter From Da Nang - it's a while since I've seen it but it affected me more than much of what I see on PBS does. I thought it was sad that the Daughter seemed to know nothing at all about the culture she was born in and sadder still at how shallow her interest seemed to be. But it shouldn't be shocking, should it, that the culture she was immersed in was the one she lived in. But then, her Vietnamese family was no more interested in understanding beyond their own culture than she was.
She went to them but seemingly without much curiosity. When they asked her for money I thought it was an expression of their acceptance of her as a member of the family, as if the intervening years and distance didn't affect that. Perhaps I am naive.
What is the filmmaker's responsibilty? Where is the line between documenting and intervening?
Sorry to digress.
This show sugar coats a process that's fraught with emotional pitfalls and probably as doomed to disappointment as success. I believe there's more value in learning to live with loose ends rather than trying to wrap everything up in a neat package for that elusive "closure".
Knightwriter, I agree that these shows may foster unrealistic expectations about reunions. The adoptive parents aren't given a chance to respond, and we don't learn why. And the show is syrupy, no question. But even after 10 minutes you remember Wavie and Tyrone's names.
Arlene, good to hear from you. I do agree with your belief that "there's more value in learning to live with loose ends rather than trying to wrap everything up in a neat package for that elusive 'closure.'" Yes. And yet the travels of the people on Find My Family do seem sparked by something very basic.
N.C., your question about the filmmakers' responsibility in Daughter from Danang and other documentaries is hotly debated by such filmmakers. I would say that they have more responsibility than they claim as artists and journalists. What do you think?
I watched Daughter from Danang a few years ago and I was appalled by the daughter's total lack of interest or concern as to why she was being asked for money. Vietnam is a third world country, it is poor, and children in those countries whether at home or in another country routinely support, or at least help support, their families.
I understood her initial shock, but her crass materialism sickened me. She assumed that because she was asked, she was valued only for what she could provide financially, and it didn't seem to occur to her to dig any deeper. Perhaps as you say the cultural differences were too vast between them. Although I wish someone could have enlightened the daughter, I certainly don't think that it was the job of the filmmakers.
I can't really speak for adoptees and birth parents, but my sense is that the frustration many have experienced searching for lost bio-connections has forced many into revealing more about themselves in public--be it to social workers, lawyers, adoption detectives, or the producers of Find My Family--than any would have imagined before the search started.
And Daughter from Danang--oh yes, she really didn't understand the cultural expectations regarding family support in a place like Vietnam. It seemed shockingly naive to me, too, when I first saw the movie (right after I'd first been in VN, in fact), yet I was appalled by how her story was exploited on film. As I recall, there were moments when she said to whoever was filming her, "Can we stop this now?" (or something like that), but the cameras rolled on.
It's interesting that you don't think the filmmakers' had some responsibility to help her; here we disagree. I think they did.
I don't recall the daughter asking them to stop filming but it's been a while since I've seen it. While in some cases it is advisable to stop, and it would be my first instinct to honour the request, many people who participate in documentaries don't quite realize what they are getting into. Stopping can mean missing something important, or it can mean missing nothing. But if you stop, you don't find that out.
I do think the girl was totally unprepared for what she found and it seems odd that neither she nor her adopted family did any research prior to her leaving for Vietnam. Then again, they didn't seem to be a particularly resourceful or well-educated family.
On a more serious note, while I can understand your view that the show ultimately illustrates something good going on, the manically maudlin approach these shows ("Extreme Makeover," the house-rebuilding show is another example) insist on pursuing ruins the experience for me.
And, more cynically, I always view any "reality" show as network executives taking the easy financial road because they're cheap to produce compared to scripted programs. Most of them make reruns of "Laverne and Shirley" look like Emmy material to me.
Then again, the really sad thing about the "reality" movement is that they apparently achieve high enough ratings to stay on the air. Karl Marx once said that "religion was the opiate of the masses." In this country it's reality programming.
In any case, a thoughtful piece about a subject, television, for which I have less and less respect.
I guess any documentary film--or journalistic long feature, for that matter--involves meeting the unexpected. But in this case, there really were some ethical lines crossed in what this young woman believed was going to happen and what the filmmakers' involvement was supposed to be. All of which I would have been fine with if that level of transparency had made it into the film. But that would have required the filmmakers to look far less "expert."
It's the holier than thou attitude of documentary filmmakers that rankles with me, Emma. Whether or not you intervene, there are hearts and minds with biases directing the camera.
Jim, yes, I know that reality programming often does seem like today's opium for the masses. I do worry about the corporate forces that push this particular opiate, too. That said, the thing I was struck by in Find My Family was that we were hearing from people who often aren't given a megaphone in mainstream outlets.
And no, Wavie's son was not named Gravy(!)
Yet, there are plentiful examples of film or video records of events to which the almost reflexive response of every viewer is to ask how the photographer with the remotest sense of responsibility or basic humanity could just keep shooting and not intervene or help or act in some way. To some lesser degree, that was my reaction to Da Nang daughter. I'm old, she seemed very young to me and her naivete made her seem younger. I wondered when I saw it how the filmmakers could allow that girl to wade into a visit that was sure to be an emotional minefield on both sides without making some effort to educate her about the culture and what to expect. On the other hand, that seems patronizing. She's a grown woman who should be able to make this journey on her own terms. It also would have changed what they were documenting.
So before I could type today, I had time to read and I did a little research into the background of the film. (Just google DaNang Daughter if you're interested; the film has a website; the filmmaker FAQs are interesting and informative.) There was more background that I thought, the woman had support, she had arranged the trip before meeting the filmmakers and had a source for cultural information without much direct intervention by them. It seems like they did everything well, struck a good balance between documenting and intervening.
The most solid answer to my own question is more spineless fence-sitting - I think it probably has to be answered in the situation, case-by-case. In this case I think the filmmakers probably did it well.
Sorry if this contributes to hijacking your subject. I don't think I'll be watching the series - I don't have a personal connection with the subject and so no context for taking on a potentially deep emotional subject.
But that support person isn't with her during a crucial scene with her birth family, and there's never any explanation why. When I talk about the filmmakers intervening, I don't mean that they should have tried to shape or fix the outcome. I mean that during this meltdown scene they should have turned the cameras off (and I'm pretty sure she asked them to).
Yes, the filmmakers provide lots of information about their motivations on the website and have answered lots of questions about this. But it's only one side of the story, and they're in the power position. When you have a vulnerable subject--especially in the case of an adoptee who had no choice about being separated from her first mother--it's all too too easy to smother the voice of that person.