On television, the topic of family remains an inexhaustible wellspring of stories. Reality shows are no exception, yet the dominant trend has noticeably shifted. Despite Korea’s aging demographic, programming centered on children, rather than the elderly, has taken precedence. While the childcare-focused shows popularized by Dad! Where Are We Going? and its trend-setting successor The Return of Superman primarily adopted a reality show format centered on the day-to-day life of parenting, recent years have seen a rise in programs blending realistic portrayal with in depth observations. This approach delves into the intimate, private lives of individuals. In essence, it marked the emergence of a concept distinct from its predecessors, shifting the spotlight from the act of parenting itself to the intricate tapestry of a child’s life.

Beyond shows like ENA’s My Kid’s Private Life, which find entertainment and meaning in revealing the unexpected facets of children and adolescents, we find another distinct concept in family reality shows. SBS’s My Little Old Boy, which debuted in 2016 and has maintained enduring popularity for nearly a decade. While similar to MBC’s I Live Alone (also known as Home Alone) in its focus on single celebrities, My Little Old Boy distinguishes itself by integrating the family perspective, specifically that of the parents. Whereas I Live Alone solely chronicles the daily lives of solos, My Little Old Boy famously features the cast members’ parents in the studio, reacting to footage of their children’s lives.

I Live Alone, centering on the ostensibly successful independent lives of its subjects, aligns with contemporary trends celebrating singlehood and one-person households. It portrays individuals thriving without marriage or traditional family structures, focusing on their unique lifestyles and generating humor without dwelling as much on anxieties or concerns. Conversely, My Little Old Boy, while also featuring single protagonists, operates from an opposing viewpoint: in a parent’s eyes, their child, regardless of age, remains perpetually a “child.” My Little Old Boy presents seemingly independent adults living on their own, yet simultaneously conveys the mothers’ enduring anxieties, akin to watching over a child near the water’s edge.

Moreover, the cast predominantly comprises men in their 30s and older, some well into their 40s. Despite their age, their behavior often prompts viewers to deem them “immature.” The mothers’ reactions, usually exasperation and sighs toward their children’s often bewildering antics, become another key entertainment point for viewers. The camera deftly captures these expressions and exclama- tions, often emphasizing them through repetition. This doesn’t mean the lives of these single individuals are portrayed as unhappy or depressing. It simply depicts them living life on their own terms, while highlighting the universal parental wish for their children to “live a little better.” Another noteworthy aspect of My Little Old Boy is that it doesn’t exclude the possibility of marriage. The cast members actively seek out romantic partners, often with marriage as a goal.

In this sense, My Little Old Boy acts as a bridge between singlehood (both the voluntary and involuntary kind) and married life, aligning more closely with the traditional definition of family reality shows. One could easily imagine the cast members eventually appearing on My Kid’s Private Life. A prime example of this is Park Soohong, who generated significant buzz during his time on My Little Old Boy. After getting married, he has become a father. In essence, one might perceive a continuous narrative thread connecting I Live Alone, My Little Old Boy and My Kid’s Private Life. Viewing these family reality shows not in isolation but as reflecting this cyclical progression of family life stages can offer an even more engaging viewing experience.

• Kim Heonsik has analyzed diverse cultural content and trends while serving on the SBS Viewer Review Panel. His publications include Reading the World Through Culture.

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