Building Audiences

“In [writers’] rooms all over the internet, hospital dramas, first-responder shows, situation comedies and courtroom procedurals were having similar debates. To ignore the events of the spring and summer — the pandemic, America’s belated racial reckoning — meant placing prime-time series outside (well, even more outside) observable reality. But to include them meant potentially exhausting already exhausted viewers and covering telegenic stars from the eyes down.” – The New York Times

“Over the course of the coming week, it will hold screenings in two urban venues for just one festival attendee. And it has also sent a single viewer to a tiny, barren island in the North Atlantic to watch the 70 films in competition — alone.” – The New York Times

Even as the studio insists that its streaming strategy is a one-off response to the pandemic, it might not be able to rebuild those bridges. Seeing the backlash is just another reason the rest of the industry’s major players continue to hold off from anything so drastic. Patience is hard, but it’s Hollywood’s surest path to profitability. – The Atlantic

In the interim, expect a flood of cable programming to start migrating over to streaming in anticipation for the day when cable is no longer a viable platform for networks to reach audiences. – Axios

The UK’s national broadcaster is funded by mandatory license fees, charged annually to every household that owns a television set. But as more and more Britons, especially younger ones, consume all their video via streaming on their computers and phones, fewer and fewer of them have televisions to pay license fees on. And so, says a report from the UK National Audit Office, the BBC “faces considerable uncertainty” in its future and needs to prepare “a long-term financial plan … as soon as possible.” – BBC

“Consolatory entertainment” is a better term for such programming. There is consolation in the simple pleasures of ordinary conversation, shared enjoyment and of laughing together that underpins the success of panel games, quiz shows and even celebrity chat shows. – The Conversation

“The past year … saw the horror genre take home its largest share of the box office in modern history. In a year where the world was stricken by real horrors, why were many people escaping to worlds full of fictional horrors? As odd as it may sound, the fact that people were more anxious in 2020 may be one reason why horror films were so popular. A look at typical horror fans may provide some clues about the nature of this peculiar phenomenon.” – Nautilus

How much of the telly you watch this year will be on a live, linear channel, at the scheduled hour, with millions of others tuning in at exactly the same time? For many of us, the answer is getting dangerously close to none. – The Guardian

While Covid-19 quarantines have made television one of the more dominant mediums around, they’ve also altered the diet of what we watch within that medium. Pre-pandemic, people could watch movies in theaters, TV shows on Netflix, and live events at concert halls, clubs, and stadiums. Now, all of those things are channeled through televisions (or, in some cases, through smartphones, laptops, and other devices). Our definition of what it means to “watch TV” has changed a lot over the last few years. – Wired

“Such films have existed almost as long as the franchise itself. Early examples were spoofs, like the 1978 short Hardware Wars and a 1997 Stormtrooper-centric sendup of Cops called Troops. Lucasfilm held annual fan-movie contests in the decade before Disney acquired the company in 2012. But Disney’s stewardship, coupled with the wide availability of higher-quality moviemaking tools, has inaugurated a new era of fan creativity.” – The New York Times

“As predicted, domestic movie tickets sold between Jan. 1 through Dec. 31 came generated an estimated $2.3 billion (or $2.28 billion) compared to $11.4 billion in 2019, according to Comscore estimates. That’s the lowest showing in at least 40 years.” – The Hollywood Reporter