Imported in USA from Great Britain, "Undercover Boss TV show" works on a simple, delectably ironic premise: For a week, the CEO of a major American company goes into stealth mode, impersonating a brand new employee at his own company. The bigger the company, the more the premise works, because most rank-and-file workers could not distinguish between photos of their CEOs and headshots of Carl Rove. CEOs typically spend an entire week going from one entry-level position to another. They go in equipped with plausible back-stories and perfectly plausible explanations for the presence of a film crew; the best of them act just as surprised to see the cameras as all of their co-workers. If the work-a-day grind fails to serve-up "organic" drama, the producers stage challenging situations to develop both the action and the bond between boss and worker. At the end of the undercover week, employees learn "the new guy's" true identity, and the boss rewards employees who have done well or refers struggling workers for more training.

Tiny House Hunting is a reality TV series that showcases people looking to downsize and move into a tiny house. The show follows the homebuyers as they search for the perfect tiny home that fits their unique needs and lifestyle. Each episode features different homebuyers with different budgets, tastes, and priorities.

When Bravo began promoting "The Real Housewives of Orange County" TV series in 2006, the producers and the network hyped the series as a "documentary" hybrid of ABC's monster hit "Desperate Housewives" and Fox's equally popular "The OC." The emphasis on "real" did not suggest "average and ordinary"; instead, it suggested "real" as opposed to the housewives on Wisteria Lane and all the pretty people in the rest of the prime real estate south of Los Angeles and north of Camp Pendleton. In its first several seasons, "The Real Housewives of Orange County" TV show beguiled and enraged viewers with its emphasis on five frighteningly wealthy women ensconced inside an exclusive gated community and addicted to shopping, tanning, and their own petty dramas: for example, should a smart-mouthed, disrespectful daughter get a new BMW or a new Mercedes for her sixteenth birthday? In subsequent seasons, reality has caught-up with the housewives, who have been forced to down-size and down-scale in the wake of job losses, foreclosures, marital problems, and other genuine crises in the lives of "real" housewives.

"Kourtney and Kim Take New York" chronicles the continuing adventures of the unmarried Kardashian sisters as they work their strange magic on adoring fans in the Big Apple. Like magnets among loose nails, the girls draw a crowd wherever they go, cameras stalking every step. Viewers enjoy more of the intense Kardashian programming they apparently craved and demanded. On any given day, E! empowers you to keep up with some kind of Kardashian in at least three ways during approximately twelve hours of non-stop first-letter-"K" programming. If it weren't for the success of Chelsea Handler, E! News, renegade women fleeing the Playboy mansion, and "Fashion Police," the Kardashians would fill entire programming days. Apropos of "reality" programming, "Kourtney and Kim Take New York" has neither plot nor script, but it has plenty of "situations." Kim, more or less determined to remain single for an entire year, nevertheless has no qualms about exciting hook-ups with assorted styles and flavours of eligible New York bachelors. Kourtney, ostensibly the more level-headed and businesslike of the two, apparently lives vicariously through Kim. Together, they allegedly run a business in-between pictorials, promotions, parties, and "Patron"-powered club appearances. Moralists might worry, as "Kourtney and Kim Take New York," they corrupt an entire generation of impressionable "˜tween girls, but studies show thirteen-year-old boys are the Kardashian sisters' biggest demographic.

The year of 2012 will be recorded in the annals of history of American television history as the extremely prolific one for dating reality shows. In the long row of Take Me Out, Love In The Wild and other dating series which had launched in 2012, there is another one, The Choice which looks like The Voice crossed in some weird manner with abovementioned ones. The whole idea of The Choice is so simple, that you may wonder way FOX managed to launch this concept prior other television channels. Generally The Choice is The Voice spoof where contestants compete for the attention of celebs that are choosing who will stay and who will go. All the contestants are hoping to achieve the long-waited-for dating with celebrity of their admiration. They are so straight and purposeful in their intentions hook the heartthrob of their life, that it seems like nothing could stop them. In their efforts to achieve the maximum celebs' attention, female contestants are pinning on themselves revealing short dresses and behave themselves like something in between strip-dancers and hookers, which naturally is very funny to contemplate.

"The Shop" is a television series on HBO that features candid conversations between athletes, entertainers, and other notable figures in a barbershop setting. The show was created by LeBron James and Maverick Carter in 2018 and has featured guests such as Jay-Z, Drake, and Odell Beckham Jr. The concept is based on the idea that barbershops are a space where people can come together to have honest discussions about a range of topics.