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A twelve-year-old Traveller boy named Jerry tells the camera that this happened “[j]ust cause they don’t like Gypsies”—and the show seems happy to leave it at that.

No one on the council is interviewed, nor did the show bother to find a historian who might have been able to offer some genuine insight into the tensions over land between Travellers and non-Travellers.

Worse still, the show’s chosen arbiter of all things Traveller and Roma is Thelma Madine, a dressmaker who is from neither community.

(“Few outsiders have a keener understanding” of the “plight” of these communities than Madine, the narrator tells viewers.) Madine, who designs and constructs elaborate gowns for Traveller and Roma weddings and communions, admits to having been skeptical of the communities and their fashion choices when she first encountered them—implying, of course, that it is acceptable for the audience to feel the same way.

(Soon after, however, Pat, a young Traveller man who’s marrying an outsider, offers a different take: “I think it’s very unfair to try to point out differences.”) With comments like Thelma’s coming from the screen, on top of scene after scene of gaudy wedding preparations carefully edited for maximum effect, it shouldn’t be surprising to either Channel 4 or TLC that one viewer took to Twitter Sunday night to write, tragically, “I now understand why all of Europe hates gypsys [sic].”This isn’t to say that the lavish weddings aren’t worth documenting, though it would have behooved the producers, had they been concerned with presenting a fair and robust picture of the communities in question, to show the weddings of Travellers and Roma who aren’t interested in glitz and glam.

(The official premiere is June 3.) A re-broadcast of the British Channel 4 show of the same name that has attracted millions of viewers and widespread media attention, the series documents the lavish weddings, as well as engagements, first communions, and other milestone events, of Irish Traveller and Roma communities.

“[W]hen you get to know them, their morals are so high”—no sex or cohabitation before marriage, for instance—“you would say they are definitely stuck in a time warp.” (The show never attempts to reconcile the sexy outfits with the strict moral code; it’s simply left at being a paradox the audience can point fingers at.)Later, Madine offers her own explanation of why these groups are ostracized: “They don’t want their society diluted by non-Travellers.

They want to keep it as pure as possible.” This sentiment is supported by comments from a young Traveller woman, who disparages “gorgers,” or outsiders, for being immoral.

In their view, “Gypsy”—a term many Travellers and Roma find derogatory—culture apparently need not be understood in a historical or pan-European context.

Rather, it is sufficient to see it almost exclusively through the lens of parties: the clothes worn (or not worn, as the camera seems to gravitate toward women’s bare midriffs), the color schemes, the people attending, the mode of transportation used to get there.