This thesis examines what happens when a series draws upon multiple genres and narrative modes. The study will be based on an analysis of the series Brødrene Ost (2021-) and Operarejsen (2022-) with the intention of getting an elaborate impression on what roles the different genres and narrative modes play in the overall expression of the series. Therefore, the purpose of this thesis became to answer the question: Which role does the lifestyle pro-gramme, the traveling series, the food programme, the realitygenre, vitafiction and humor play for the overall expression in the TV 2 Play series Brødrene Ost and the DR 2 series Operarejsen? To answer this, we examined the series through a combination of genre analy-sis and theories of vitafiction and humor.
The analysis of this thesis will be divided into three sections followed by a final dis-cussion. Firstly, we combined Chris Rojek and Helle Kannik Haastrups celebrity theories with Louise Brix Jacobsens vitafiction. Here the intention was to obtain an understanding of the celebrity status of the respective series hosts, and thereby comprehend how this affects the vitafictional performance of Magnus and Emil Millang as well as Frederik Cilius, Ras-mus Bruun and Allan Gravgaard Madsen. Secondly, we included humor theory by Simon Critchley and John Morreall among others to understand the function of the humor in Operarejsen as well as Brødrene Ost. This second section culminates in a discussion, where we incorporated Michael Billig’s critical perspective on humor and Hanne Bruun’s satire perspective to comprehend Brødrene Ost and Operarejsens critical potential and in this con-text how they comment on current debates in society. The third section of the analysis ex-amined how different genres were present in Operarejsen and Brødrene Ost. Here we in-cluded Ib Bondebjerg and Bill Nichols’ perspectives on the documentary genre. Next, we used the lifestyle genre by Christa Lykke Christensen as well as John Carlsen and Kirsten Frandsen. Then we included Anne Marit Waade’s traveling genre followed by Jonatan Leer’s food genre and Anne Jerslev’s reality genre.
Our three-part analysis culminates in a discussion. Here we firstly discussed the meeting of the genres in Brødrene Ost and Operarejsen. And in this context how the sepa-rate genres and narrative modes influence and complement each other. And this led us to a discussion of the two most important aspects in our objects of analysis: lifestyle and satire. This discovery combined with the numerous genres in Operarejsen and Brødrene Ost meant that we could present a new hybrid genre: lifestyle-satire (livsstilssatire). In this hybrid gen-re the most important aspects are (1) the hosts must be a famous and humorous couple. (2) The program must be centered around this couple and their lifestyle, interests and dynam-ics. And (3) The program must be commenting on contemporary society.