This chapter discusses the potential of new and emerging television and video cultures to disrupt the traditional top-down production of mass culture. The scholarship informing such a debate has a background in both Frankfurt School ideas of such programming as ‘lowest common dominator’ texts, as well as Jenkins’ contemplation of the ‘democratisation’ of film and television mediums. On the one hand, the audience/consumers can be seen to have become increasingly powerful and active as both a part of mainstream media productions in reality TV shows (such as Love Island, The X Factor, Geordie Shore, Pop Idol and Big Brother), as well as making and publishing their own cultural texts through access to social media and ever-cheaper video technologies. On the other hand, any evidence of a power shift in the cultural industry may be minimal when we consider the restricted nature of interactivity of either voting in an episode of Pop Idol or being a contestant on such a show. Similarly, YouTube sensations are quickly picked up and signed to media corporations where ‘edgy’ cultural texts can be sold back to the masses. Thus, the chapter explores the changing landscape of mass cultural production and consumption of video and television over the past few decades while suggesting limits to the ideas of increasingly ‘blurred boundaries’ over time.