S yncretism and hybridization, inscribed in the definition of the film genre, have become a genre distinguishing feature for many television forms that appeared in the times of neo- television. The docusoap wave in the mid-1990s and the dy- namic proliferation of other hybrid genres made many viewers and commentators feel lost in the TV genre land- scape. In Poland, history repeated itself with another wave of proliferation of new TV genres and the emergence of scripted-docu. However, this time the conceptual chaos also affected scientific works. The author identifies the phe- nomenon of secondary conceptual blurring of genre names from the area of television genology in the second decade of the 21st century. Using a few selected examples, she des- cribes the struggle of researchers with classifying, and above all naming, television hybrid genres, and the conse- quences of genological problems. She also presents a pro- posal for the classification of borderline television genres, which is to help partially control the conceptual chaos in this area. In her classification, the author separates the group of factual hybrids from reality TV hybr
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