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Had I decided to leave the scene and walk straight out, that would have been fine as well. Of course, scenes are set up and locations are booked — anyone who has seen the show knows this — but once the cameras are rolling, there is no input from the production in terms of how the cast members behave.
It was quite hard to work out how much was scripted and how much was real until I got to Lime, and then I was pleasantly surprised that it was authentic. Then, Tyekiff explains, the work begins. And they bring the story back to the story producer room, who then put it together to make the show. In , cast welfare on reality TV is paramount. For every dramatic scene there are real people on whom a real situation has taken a toll in lots of different ways, so these kinds of protections are increasingly important.
Confirming our worst fears, she told E! News : "In the beginning, a lot of it was real. But as it went on, it was very manipulated and guided and you're kinda put in these scenarios where you would show up and you didn't know what you were in for until you were there, and you wanted to run out but they lock the door on you. To be fair here, Sarah may have had the hump with Geordie Shore after producers decided to give her the boot and make Abbie Holborn a permanent cast member instead.
But whatever the case, she was not a happy bunny. During a recent interview with The Sun , Sarah claimed she was forced to film fake scenes and was fed lines written by somebody else. Want up-to-the-minute entertainment news and features? Type keyword s to search. Digitalspy Getty Images. We're not sure what to believe anymore! Related Story. This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. And she thinks all the women who appear on Towie look totally different.
Do you think we have? The honest answer, of course, is that the women in Towie, as Childs says, all look different. But across their different faces elements of their presentation are reiterated so faithfully that it is impossible not to see a coherent argument for a particular aesthetic.
Above a hardware shop in Chingford is the flat and studio of Krystal Dawn, a makeup artist who gets Towie star Jess Wright ready for filming. Sitting in her bright, white studio, surrounded by pots of makeup, a picture board full of the Towie faces she has "done", Dawn itemises the look's key components. Aside from the obvious hair extensions and tan, "they want thick eyebrows". She went with Frankie Essex to get her own tattooed. Nails are manicured.
Lashes are thick and dark. Lips are on the quiet side. Dawn, 30, is a student of makeup. She pores over pictures from magazines, Instagram and the feeds of celebrity makeup artists. Growing up in Aberdeen she didn't care about makeup, but she was "always drawing faces or doodling eyes", copying pictures out of magazines.
She has observed the spread of Towie's influence. The girls are high maintenance. To sit close to Childs or Dawn is to understand first-hand the look's compulsion. Childs may say she is not wearing much makeup, but her skin is flawless, her green eyes offset by a thick rim of black. It is like looking at a screen where the contrast and brightness settings have been expertly adjusted and everything is perfectly in focus. She is beautiful. And damned, of course, because the Towie aesthetic is roundly mocked.
Why, when the tabloids routinely refer to "Towie beauties", do we smile knowingly at the double meaning: here's a picture of a "beauty" who is on Towie, and her beauty is of a particular, exaggerated Towie kind? To find out, I have taken a stack of pictures of famous women to Brentwood. Childs and I are sharing a salon bed, with a lot of paperwork between us.
Can she tell me which faces are Towie and which aren't? Top of the pile is Victoria Beckham, who Childs puts unhesitatingly on the "no" pile: she's "too fashion". Jennifer Aniston "too natural" and Alexa Chung "too London" are also nos, as is Hilary Mantel, who has underperforming eyebrows.
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