Celebrity Traitors

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1. 1

   The Traitors (British TV series) (Wikipedia)

   WikipediaChecked Oct 24, 2026

   “The Traitors (also known as The Traitors UK) is a British reality television series broadcast on BBC One, based on the Dutch series De Verraders. It was first broadcast on 29 November 2022 and is hosted by Claudia Winkleman. Following the premise of De Verraders, the show features a group of contestants participating in a social deduction game similar to Mafia or Werewolf, set in and among the grounds of Ardross Castle in Scotland. During the game, a small group of contestants become the titular "Traitors," and must work together to eliminate the other contestants to win a grand prize, while the remaining contestants become "Faithful" and are tasked to discover and banish the Traitors by voting them out to win the grand prize. Since the show launched, it has become a huge success for the BBC, with viewing figures reaching 11 million by 2026. It has become one of the most watched British reality gameshows of all time. In 2025, a celebrity spin-off titled The Celebrity Traitors was created. The British show also acts as a sister show to the American version, with both being produced by Studio Lambert for the BBC and Peacock.”

2. 2

   Celebrity Traitors producer 'amazed by reaction'

   BBC NewsPublished Oct 22, 2026Checked Oct 24, 2026

   “The latest series of The Celebrity Traitors began earlier this month With much of the country gripped by the latest series of The Celebrity Traitors, the man behind the show has told the BBC he has been "amazed by the reaction" to it. Stephen Lambert is the chief executive of Studio Lambert - the company which has produced the programme, and its civilian version, for the BBC since 2022. Alongside The Traitors, the production company is also responsible for hits including Race Across the World, Gogglebox and Squid Game: The Challenge. The TV producer first started the company in 2008, and was speaking to BBC Radio Oxford ahead of an event at the city's Schwarzman Centre on Thursday evening. Claudia Winkleman's Scottish murder-mystery game is currently on everyone's lips - although Lambert explained the format wasn't original to the UK. "The Traitors was actually created by some brilliant Dutch people, who we then managed to get hold of the rights from to make the show in Britain and America," he said. "Our brilliant team make those two versions and they've been hugely successful, so we've been amazed by the reaction." Stephen Lambert founded his production company in 2008 The first UK series of The Traitors made it to screens in 2022, and proved an instant hit with TV audiences - all in an age of falling linear audiences.”

3. 3

   Celebrity Traitors left on a knife edge after a trip to the field of screams

   BBC NewsPublished Oct 23, 2026Checked Oct 24, 2026

   “Watch: Celebrity traitors' unlikely daytime reunion Spoiler warning: This article reveals details from episode eight of The Celebrity Traitors, series two. Original Celebrity Traitor Maya Jama, latest recruit King Kenny and now even the reluctant James Acaster - hurrah! - have developed a real appetite for murder this week. And going into Friday's episode we knew that their collective cruel intention was to see that one of three faithfuls, Miranda Hart, Romesh Ranganathan or Sebastian "Bash" Croft, did not make it to breakfast. When it became clear that the murdered Miranda had danced her last dance in the castle - leaving only 10 of the initial 21 players - the pressure began to mount and speculation was rife. The self-declared Miss Marple wannabe had been stitched up, of course. "Miranda is a good detective," noted James A in a flashback to the turret talk from the night before. "I don't know who I'm becoming," responded Maya - who has taken to treachery like a duck to water - "but I feel it in my loins, and Miranda is the only one that makes sense." Miranda, who had been in her element sleuthing away on the show, did not take the news of her untimely death at all well, throwing her murder note to the ground. "No! Absolutely not," she cried.”

4. 4

   Celebrity Traitors - paranoia deepens as traitor behaviour splits opinion

   BBC NewsPublished Oct 22, 2026Checked Oct 24, 2026

   “Spoiler warning: This article reveals details from episode seven of The Celebrity Traitors, series two. Six days is a long time in The Celebrity Traitors. So it was a relief to be put out of our misery as last Friday's literal yawn-fest came to its slow-burning conclusion; the traitorous trio eventually succeeding in their mission to kill in plain sight. The snoozefest - which involved reluctant traitor James Acaster making faithful Ross Kemp yawn by boring him to tears - meant the paranoid EastEnders star was finally put out of his misery. On learning his fate, the actor turned to Shakespeare - who else? "To thine own self be true," he declared, quoting Polonius from Hamlet. As usual at breakfast, the faithfuls seated early mused over who may have been murdered overnight: "If Jerry's not here, I don't think I can handle it," Romesh Ranganathan confessed. Jerry Hall was charmingly late to the party. After everyone had discussed Ross's demise, she piped up in her famous Texan drawl: "Is Ross gone?" As the typical off-the-wall theories began to swirl, Jerry later told Miranda Hart she suspected fellow faithful James Blunt - for the very plausible reason that "his face is redder than a fox's ass at gooseberry time". It's as good a reason as any proffered so far this series.”

5. 5

   Ethics and Entertainment: The Paradoxical Appeal of Deception in the Traitors

   Intermedia International e-journal (Krupa)Published Jun 30, 2025Checked Oct 24, 2026

   “The paper argues that the show’s structured environment suspends ethical norms, reframing deceit and manipulation as strategic imperatives. This not only captivates audiences but also encourages critical reflection on the contextual nature of morality and the social values that shape perceptions of success and betrayal. Additionally, the show’s portrayal of crowd dynamics reveals vulnerabilities in collective behavior, including conformity, scapegoating, and the diffusion of responsibility, offering insights into real-world social interactions and mechanisms of power. Ultimately, The Traitors transcends its entertainment role, serving as a lens for examining the human condition. Its blend of competition and introspection underscores its trickster-like transformative power by engaging audiences emotionally as well as cognitively, sparking broader conversations about ethics, social cohesion, and the allure of transgression. Thus, the study situates The Traitors within the broader context of cultural critique, positioning it as a trickster-like transformative mirror to the complexities of contemporary society.”

6. 6

   Unethical or entertaining? : A Qualitative Interview Study on How Parasocial Relationships Can Shape Young Women’s Perceptions of Ethical Aspects in Reality TV

   Digitala vetenskapliga arkivet (Diva) (Karlstad University) (Bergelind)Published Jan 1, 2026Checked Oct 24, 2026

   “These theories were used to analyze how relationships with cast members are formed, how viewers interpret reality-tv content, and which moral dimensions become relevant. The results show that audiences moral judgments of reality-tv are complex and shaped through the interaction of several different factors. Parasocial relationships can affect how viewers understand and judge cast members actions, especially when the cast members are seen as real people. In these cases, viewers often feel more empathy and understanding. At the same time, the study shows that these relationships are fragile and can quickly change if a cast member behaves in a way that goes against audience expectations. Cast members who are instead perceived as characters rather than real people are more often evaluated based on their entertainment value. Unethical actions may therefore be excused to a greater extent if they contribute to the entertainment of the program. Overall, the study shows that audiences’ moral judgments of reality-tv are shaped through a complex interaction between parasocial relationships, the context of the program, audience expectations, and the entertainment value.”

7. 7

   Celebrity versus non-celebrity: parasocial relationships with characters in reality-based television programs

   Research paper (Henry)Published Nov 2, 2011Checked Oct 24, 2026

   “Research of parasocial relationships suggests that audiences engage in one-sided relationships with their favorite personae in the media. This study attempts to explore two types of reality stars: those who had fame before being on reality television and those who have fame because of the show. Using the PSR-Processing Scale, I compared levels of parasocial interactions for each, as well how moral disengagement might play a role for each type of reality star. I also explored whether these parasocial relationships are influenced by the frequency with which respondents watch various types of sub-genres of reality-based programs (i.e. game docs, dating shows, documentary soap operas). To measure levels of parasocial relationships, moral disengagement, media consumption, and reality television viewing habits, I administered an online survey to 244 students at a large southern university. Results show that respondents’ parasocial relationships and degree of moral disengagement with their favorite celebrity and non-celebrity on reality shows are influenced by the type of sub-genres of the reality-based programs (i.e. game docs, dating shows, documentary soap operas).”

8. 8

   The emergence of trust under conditions of distrust.

   Scientific reports (Fehlhaber)Published Apr 3, 2026Checked Oct 24, 2026

   “The genesis of trust between strangers on the Internet - without the protective and structuring framework of digital platforms - is a topic that has been little researched so far. This need for research is exploratively approached via an experimental social deduction game, which is intended to make online trust decisions visible under distrustful conditions. A total of 101 participants took part in the nine rounds of the game, whose numerous game and trust decisions were evaluated under distrust-promoting conditions of the game setting. By using this complex experimental setting, various factors influencing trust could be included and it could be shown that trust in the digital space can arise even under persistent distrust and can be observed in the context of a social deduction game.”

9. 9

   Characterising the Influence of Parasocial Experience on the Media Figures' Audiences: A Scoping Review.

   Behavioral sciences (Basel, Switzerland) (Li et al.)Published May 18, 2026Checked Oct 24, 2026

   “Parasocial experience describes the psychological, emotional, and behavioural bonds that audiences form with media figures-celebrities, fictional characters, and other on-screen personalities. It encompasses three related constructs: parasocial interaction, parasocial relationship, and parasocial attachment. Following the Joanna Briggs Institute framework and PRISMA-ScR guidelines, this scoping review synthesises 59 empirical studies published between 2019 and 2024. Results show that PSRs were the most studied dimension (n = 42), followed by PSI (n = 20). PSA, in contrast, appeared in just one study. Key characteristics across these studies include perceived familiarity, imagined intimacy, behavioural engagement, intuitive personality traits, and compensatory motivations. The review highlights PSA as a particularly underexplored yet affectively intense form of engagement. Its limited empirical attention reveals a critical theoretical gap and calls for further investigation into attachment-related audience behaviours.”

10. 10

    The future of reality and unscripted television

    Research paper (Kessler & Marsini)Published Jun 1, 2026Checked Oct 24, 2026

    “With the industry changes formed by the rise of social media, streaming models and genre dismantlement, reality television is at the center of change rooted in audience habits and large-scale business shifts. This thesis intends to examine how the unscripted genre has developed, why, and measure the potential success for the future of reality-based media. The main subtopics will question the impact of fluxes in the television industry and their long-term future, the attributes that make the genre both what it is and what makes it successful, and if genre is affected by the medium in which it is consumed. The research will quantitatively and qualitatively analyze viewer preference within the genre and compare it to the most popular programming outside of the genre. Through wide-ranging looks at the people working in the space, the data driving the decisionmakers and projections to the adaptability of the genre within a medium upheaval, this thesis will determine the viability for the future of reality television as a whole.”