ABSTRACT

As the first African format of the Real Housewives franchise, The Real Housewives of Johannesburg features a majority black cast and unfolds in an African city. However, it positions a white woman, Christall Kay, in the key structural role of villainess. This article examines what pleasures are offered to viewers who are invited to consume Christall’s particularly controversial brand of entitled white villainy. As Christall is a primary source of narrative drive and conflict, elite black femininities are repeatedly pitted against her, and thus framed through the lens of Christall’s whiteness. This article contends that Christall's antagonistic role enables multiple avenues for enjoyment. As a villainess, Christall offers an ambivalent point of identification for white audiences, while the excess of Christall’s performance may allow black South African viewers to indulge in the camp delights of scrutinising entitled white femininity in post-apartheid culture.

摘要

作为真正的家庭主妇系列的第一个非洲格式，约翰内斯堡的真正家庭主妇以黑人为主，在非洲城市展开。然而，它将一位白人女性 Christall Kay 定位为恶棍的关键结构角色。这篇文章探讨了被邀请消费 Christall 特别有争议的名为白人恶棍的品牌的观众提供了哪些乐趣。由于克里斯托尔是叙事驱动和冲突的主要来源，精英黑人女性气质反复与她对立，因此通过克里斯托尔的白人镜头框定。这篇文章认为，克里斯托尔的对立角色为享受提供了多种途径。作为一个恶棍，克里斯托尔为白人观众提供了一个矛盾的认同点，