This is the author's accepted manuscript. The final published article is available from the link below, copyright 2012 @ the author.This article demonstrates how The Family (2009), a fly-on-the wall UK reality series about a British Indian family, facilitates both current public service broadcasting requirements and mass audience appeal. From a critical cultural studies perspective, the author examines the journalistic and viewer responses to the series where authenticity, universality, and comedy emerge as major themes. Textual analysis of the racialized screen representations also helps locate the series within the contexts of contested multiculturalism, genre developments in reality television and public service broadcasting. Paul Gilroy’s concept of convivial culture is used as a frame in understanding how meanings of the series are produced within a South Asian popular representational space. The author suggests that the social comedy taxonomy is a prerequisite for the making of this particular observational documentary. Further, the popular (comedic) mode of conviviality on which the series depends is both expedient and necessary within the various sociopolitical contexts outlined
