Tuesday, July 1, 2008

It's population aging, stupid!

Since the population is aging, why are we so worried if the TV audience is aging with it? That is my current headscratcher after reading a New York Times article linked by the incredible Roger Newcomb at his blog today.

It started with the recent report that median age of TV viewers had gone up to 50. This is a huge problem, because advertisers are usually only interested in viewers aged 18-49 (and they'd really prefer 18-34 or 18-39).

Now, the oft-repeated reasons for this preference for younger viewers have to do with brand preferences. Even though older viewers might have more disposable income to actually spend on advertised products, the story goes that they are "set" in their desired brands and products. Thus, to the extent that advertising shapes lifetime buyer behavior, it is the young and malleable eyeballs one wants to attract.

I know a thing or two about aging research, but I am not familiar with the basis for this assumption. I am going to assume that this is more than an old chestnut...that current research backs this up. There may also be other reasons for the preference for younger targets than I am aware of.

In the NYT article linked by Roger, the demographics of the daypart are reviewed. Among the key findings:

The NBC soap opera “Days of our Lives” has the youngest average audience (49) and the CBS game show “The Price is Right” has the oldest average audience (64).

The implication, of course, is that TV is becoming an old-person's medium. The younger viewers must be FLOCKING to other new media....internet and cell phones and videogames (oh my!). TV is not replacing its' audience. All is lost.

For me, who is often a Chicken Little, I think the story is a lot more complex and interesting and not necessarily cause for alarm. I think we can draw at least three conclusions:

1. The TV audience should be getting older, because the population is getting older! It may not just mean that younger viewers are abandoning television. Since the turn of the 20th century, and certainly since the post-WW2 era, we have had a phenomenon in the western world of population aging. Here are a couple of key quotes.

From wikipedia:

Population ageing is constituted by a shift in the distribution of a country's population towards greater ages. Thus an increase in the population's mean or median age, a decline in the fraction of the population composed of children, or a rise in the fraction of the population that is elderly are all aspects of population ageing.

Population ageing is a highly generalized process. It is most advanced in the most highly developed countries. Among the countries currently classified by the United Nations as more developed (with a population of 1.2 billion in 2005), the median age of the population rose from 29.0 in 1950 to 37.3 in 2000, and is forecast to rise to 45.5 by 2050.
Says the US Administration on Aging:

The older population--persons 65 years or older--numbered 37.9 million in 2007 (the latest year for which data is available). They represented 12.6% of the U.S. population, more than one in every eight Americans. By 2030, the number of older people is expected to increase by 88.6% over the 2007 figure to 71.5 million older persons (20% of the total population)

Indeed, the now 8-year old US 2000 decennial census said:

The median age in America reached its highest point ever at 35.3 years, up from 32.9 years in 1990, according to recently released data from Census 2000. By "median age," the Census Bureau means that half of the American people are now older and half younger than 35.3 years.

Now, admittedly, the average TV viewer is 15 years older than the average citizen. But maybe that's just because we've successfully trained our kids, in their first fifteen years of life, to play outside and ignore the boob tube? (Yeah, right!) :-). But the central fact remains, as the population ages, so too should the tv audience.

2. Much more interesting than the mean and the median is the standard deviation! What is the RANGE of ages watching different programs? This report doesn't tell us, but that seems essential for judging whether shows/dayparts/networks attract niche audiences or broad audiences. Smart advertisers, it seems to me, will want to target different messages for different audiences.

3. In knowledge is power, if you're willing to change. Let's now turn away from discounting the data. Let's accept that younger viewers are turning away from traditional television.

Younger viewers are not, however, abandoning entertainment. They are just getting it in different ways (computer, personal audio/video devices, video games, etc.). Because content for these devices can often be cleverly yoked to advertising (forced/no-fast-forward commercials, surrounding banners, ads with links), this is actually highly desirable. You can FORCE ad viewing. You can do so in a relatively uncluttered environment (not in a spate of 16 minutes of commercials every hour). You can target the ads, sometimes, to the viewers cookies or preset preferences. And you can achieve a 100% count of viewership (not like the oft-derided Neilsen ratings system).

Hallelujah. If I were an advertiser or a content programmer, I'd be investing in interactive media so heavily your head would spin. And I would be actively and aggressively trying to lure my traditional TV viewers to the new media, while doing everything I could (viral marketing, etc.) to lure new eyeballs.

With regard to the soaps, only CBS (ironically, the network with the oldest viewers) seems to be fully on this bandwagon. NBC puts Days on I-tunes, and ABC...well their strategy is still 90% TV. Big mistake...

===

Now, the power of the new media is beyond exciting. Take this simple comparison.

Last week, according to Toups at Soap Opera Network, the Number One soap averaged 4,851,000 viewers and the bottom-ranked soap averaged 2,288,000 viewers.

Now, in about the same period, the soap-star laden Imaginary Bitches got 1.5 Million views. So, for a fraction of the cost, promotion, etc., a good proportion of the TV audience could be had on the internet. Imagine what would happen with a little effort!

This is the future, and lovers of soaps need to encourage the networks to continue to pursue this frontier.

Sunday, June 29, 2008

Why am I doing this blog? Doctor Who?

Right now this blog is mostly just an archive of thoughts I've had or things I have posted here or on usenet. I'm trying to figure out why I'm doing it...and mostly it is to archive some things that I'm "chewing on". I'm collecting facts and refining my opinions. But what conclusion am I trying to reach for?

Unlike many educated soap fans, I am not a student of drama or literature, and I couldn't tell you which writer gives better dialogue or long-story...

I am someone with training in behavioral science, quantitative methods, and gerontology. For me, soaps are a more personal adventure. It is something I was brought to by my grandmother. It is a genre that is about as old as the oldest grandparent. And, like those grandparents, it is slowly dying out.

For me, my quest is to understand the rise and fall, and how it ties to the particular generation that lived throughout the 20th century. I seek to find out what social forces have killed the soap, and whether there is hope for a resurgence. I'm trying to find out what made soaps so perfect for the pre-war era (on radio) and the post-war era (on TV), and why they have been declining ever since.

In another part of my life, I have become a rabid fan of Dr. Who (the new series, with Christopher Eccleston and David Tennant). The early Doctor Who had a kind of a serial format (more telenovela I guess...lots of 2-7 part stories). It had truly the cheapest, cheapest production values, and it was not aimed at the mainstream but a marginalized audience (children, sci fi fans).

And like the soaps, Doctor Who fell off in popularity, until it was finally shuttered.

During the resting period, the hunger for it grew.

When BBC America finally brought it back, they did some interesting things. First, they gave the new version a budget....for a real prime time show. Second, they decided on limited exposure (13-week runs once a year...like HBO). Third, they hired a leading and innovative show runner (Russell T. Davies, Queer As Folk) with a love for the classic show (he knew it), but also a unique vision of how to modernize it. Fourth, they cast the role of Doctor Who with top, known talent (esp. Christopher Eccleston in Season One of the rejuvenated show).

And the thing is an EXPLOSIVE hit. I can't wait, every week, to see new episodes. The franchise has been fully refreshed. With its innovative casting and high production values, it has been made appealing to a new generation that could not sit still for "grandpa's old version".

It is this, I believe, that is the path to rebirth for American soaps. So a big part of my internal dialogue about these shows is trying to understand how we can make them relevant and appealing for the next generation. But there is already one piece of evidence that suggests my thinking that "Dr. Who is the paradigm" may be wrong: I consider the failure of primetime Dark Shadows in the 80s or 90s a worrisome sign that soaps may not be amenable to transformation. In that case, they become like the Western...a lost relic of a past century.

Saturday, June 28, 2008

The Jack Peyton axiom

Sylph (from SON) and I took an idea of Jack's and put it in axiom form. Jack posts regularly at SON, Soap Opera Source, and who knows where else :-).


banner by Jack Peyton

The axiom, proposed as a "law of nature" has three related premises:

1. With every new headwriter, the ratings will drop even further;
2. When the ratings fall precipitously, FOR WHATEVER REASON, they will not bounce back.
3. Translation: If you lose viewers, they do not return, and you not make up for them with new viewers.

Jack also makes nice banners.


banner by Jack Peyton

Friday, June 27, 2008

Timeslot matters for the soaps! And so does culture

I put this on SON today, as part of a thread focusing on a montage of UK soaps.

But, this little bit of timeslot research explains a lot, I think.

The US appetite for the daily serial format (which is dying). BBC America quickly cancelled Hollyoaks. We see no attempt to bring EastEnders or Coronation Street to the US (although the latter flourishes in Canada).

Americans predated the rest of the western world in women in the workplace (I'm not counting the former Communist countries), in fast food, and in the demise of communal activities (like bowling leages). It's go-go-go. It's work interfering with family time. It is parents and children not eating dinner together. It's microwave food.

Into that climate, there is NO WAY to slip in a daily soap or two. Most families--AND ESPECIALLY THE TARGET WOMEN--simply have ZERO capacity.

The rest of the world still has a higher proportion of at-home women (the social systems still encourage stay-at-home moms), there still less of a culture of Macdonalds and its' ilk, plus many of these shows are broadcast at more congenial times of the day.

===========================

Let's start with the UK.

Today's listings say that Eastenders will appear on BBC1 at 8 pm! PrimeTime.

ITV1 shows Corrie at 7:30 pm and 8:30 pm. This is preceded by Emmerdale at 7 pm.

Channel 4 shows Hollyoaks at 6:30 pm.

Channel 5 shows Neighbors at 5:30 pm followed by Home and Away at 6 pm.

Look at the implications of this. FIRST, you can watch the full lineup after the work day (ignoring time shifting). This encourages intergenerational soap watching in real time. Basically, in the "pre-watershed" time periods, families can watch soaps together.

But look too at how the channels basically work together to make sure the soap viewer can watch an unbroken series of programs from 5:30 pm on WITHOUT COMPETITION.

5:30 - Neighbors
6:00 - Home and Away
6:30 - Hollyoaks
7:00 - Emmerdale
7:30 - Coronation Street
8:00 - Eastenders
8:30 - Coronation Street

Not only do I believe the culture allows this (families are still more home-based, there is still more intergenerational residence), but the scheduling supports this.

===========================

Now, let's switch to Germany.

11:15 am, ZDF, Reich und Schoen (Bold and Beautiful)
5:30 pm, RTL, Unter uns
6 pm, ARD - Verbotene Liebe
6:25 pm, ARD, Marienhof
7:05 pm, RTL, Alles was zaehlt (rebroadcast the next morning)
7:40 pm, RTL, Gute Zeiten, schlechte Zeiten (rebroadcast the next morning)
2:25 am, ZDF, Schatten der Leidenschaft (Young and the Restless).

Germany is still even more ingrained in the woman-at-home culture. Still, they schedule their Bell soaps for "off hours" (and the ratings ain't great), but their core shows are in that early-evening slot.

Hmmmm...lessons to be taken?

===========================

Well, what about Canada. That shares a border with the US. What do they do?? Let's focus on the biggest market, Toronto:

1 pm, A-Channel, All My Chidren
1 pm, Global, Days of Our Lives
1:30 pm, CTV, The Bold and the Beautiful
2 pm, Global, As the World Turns
2 pm, A-Channel, One Life to Live
3 pm, CTV, General Hospital
3 pm, Global, Guiding Light
4:30 pm, Global, The Young and the Restless

And, guess what the number one show is?? Y&R! Hmmmm...could timeslot matter? Could absence of timeslot competition matter.

This is all so obvious to me. But there is a misogyny in US programming that has resisted migrating these shows to primetime. And we see the consequence....

Edge of Night...and a segue into the telenovela as the future of serials

Usenet's "Robbie" wrote that she wished GL would be cancelled, and they'd bring back Edge of Night. The sublime "Michael/Rthrquiet" responded excellently with his post (see it here).

One of the light bulbs he set off in my mind with his post was that Edge failed EVEN THOUGH IT HAD General Hospital as its lead-in during GH's peak ratings! Now that is failure! Failing to hold on to a lead-in like that truly suggests the audience for your show isn't there.

Well, this all inspired my ramble below :-).


Wow, Michael, I forgot about that.

So, when did EON move from CBS to ABC? I remember watching that move and, honestly, not being grabbed by Edge. I assume the show was already in descent.

But, yes, if GH was the lead-in AND Edge had decent clearance rates, the inability to hold on to the lead is quite telling.

(But I seem to recall that my Buffalo affiliate didn't run Edge at 4 pm...they ran Phil Donahue...so I'm guessing that happened a lot and partly explains why Edge didn't get the viewers).

It is especially ironic, because that 4 pm EST timeslot COULD have been gold. As we have discussed here before, part of the success of Y&R in Canada is that it airs (depending on time zone) in the 4 pm to 6 pm time range. So, it is a show that people can catch after work, and watch as a family. It is something I dearly love, when I return to Canada: Watching day-ahead episodes with my clan.

That should have worked for Edge too. (Indeed, the book I have been reading says the late time slot was part of EON's success on CBS...it had one of the highest proportions of male viewers, drawn to the Perry Mason-style narrative of the early years).

So, that may be a perfect example of a show that simply aged out of viability...By the 80s, Perry Mason and its' ilk was not generally popular in primetime either. Justice shows didn't really rebound until the Law and Order franchise.

Michael then says "The mind boggles at who might be tapped to be headwriter, since I believe the phenomenal Henry Slesar (whom the idiots in charge fired for the show's last two years or so anyway) is no longer with us. Megan McTavish, maybe? Oh, no, I know who they'd get: James E. Reilly. Oh, yeah. That's *exactly* who the current loonies would think would be right for EDGE. Oh. My. God. I think I want to puke.

Well, now, I'd like JJ Abrams. Seriously...someone with that pedigree. A Michael Malone style (i.e., accomplished, critically and commercially successful) detective fiction writer.

At their peak, detective mystery novels are the best. Not only is the crime puzzle interesting, but the best writers always show us the inner workings of their investigator. It is that compelling investigator that spins off these "franchise" series, where the detective keeps coming back. Agatha Christie understood that.

On TV right now, BBC's Wire in the Blood is a perfect demonstration of how it should be done. That show isn't a serial, but the detectives' (plural) haunted inner lives are throughlines that link each episode.

Michael then says:
There are some things that are better left a memory than trotted out again so the current soap vampires can suck all the life out of them and then piss all over them. EDGE is one of them.

Vampires is a perfect segue: Dark Shadows didn't fare too well in its' 80s primetime revival, did it? That show is a perfect demonstration. It was cheesy, and part of its' appeal was cheesiness. That was good for a 2-3 year lifespan before ratings started to plummet.

So, do all these shows HAVE to last 50 years? No! What's the matter with 2-3 great years, and then we move on.

More and more, I'm feeling that the super-annuated nature of the daytime form is part of what is killing it...the burden of history just gets too heavy and cumbersome.

The best primetime shows are those that have a defined lifespan. My favorites are the HBO shows, with their clear 5-season 13-episode/season arcs. They shine brightly, they are coveted as brief jewels, and then they disappear. Even in primetime, the longest shows usually last 5 or 7 seasons...and then we have our memories of greatness.

I had hoped that the telenovela would take off in the US, but MyNetwork certainly didn't do well with adapting Latin American style programs. But I still think that could be a very good format on the right network, with the right promotion and creative force.

So, a detective style telenovela could work great...say for a planned six month season. If the detectives took off, they could be revisited a year later, after a rest. Of course, this would not work in daytime anymore...and I believe it would not work as a DAILY serial anymore. Those aspects of the genre are dead.

I think part of the reason the serial reality shows (American Idol, Survivor) thrive is because they require a thirteen week commitment, and then you get a rest, and then you revisit the franchise but with some fresh 'characters". I think that is the new reality...and and that is what soaps need to evolve into.

Much as I love my soaps, I really think the secret to renaissance is to start over. I'd even be open to--after a rest--trying to move one of the existing soaps into a true telenovela format for limited runs.

IN THAT SENSE, though he is vilified, I think Brian Frons' attempt to do Night Shift--and his apparent limited success with it (peak ratings for SoapNet, if the hype is to be believed)--is an excellent demonstration of the way of the future.

I'd love to visit some Y&R characters in primetime on Soapnet for 13 weeks a year...

Wednesday, June 25, 2008

Sam Ford's "Books about Soaps" List

Sam Ford offered this reading list about books on Soaps. Sam was a driving force behind MIT's Convergence Culture Consortium and the emphasis on soaps (see links at right), and he remains affilitated with them.

So, this is unedited and unorganized. It reflects usenet posts (rec.arts.tv.soaps.cbs) dated between 3/12/2007 and 7/7/2008.

For now I'm just dumping it here, but may clean it up if I can get it into some kind of decent shape and with Sam's permission.

Overview

http://groups.google.com/group/rec.arts.tv.soaps.abc/browse_thread/thread/502fb063c1ce279f/d8a0e9bdd305b82a?lnk=st&q=group%3Arec.arts.tv.soaps.cbs+author%3Asamford%40mit.edu#d8a0e9bdd305b82a

A

http://groups.google.com/group/rec.arts.tv.soaps.abc/browse_thread/thread/502fb063c1ce279f/1e03d3fc1ef3255b?lnk=st&q=group%3Arec.arts.tv.soaps.cbs+author%3Asamford%40mit.edu#1e03d3fc1ef3255b

B

http://groups.google.com/group/rec.arts.tv.soaps.abc/browse_thread/thread/502fb063c1ce279f/9685dd2eebe0fe6e?lnk=st&q=group%3Arec.arts.tv.soaps.cbs+author%3Asamford%40mit.edu#9685dd2eebe0fe6e

C-G

http://groups.google.com/group/rec.arts.tv.soaps.abc/browse_thread/thread/f47e75b3d63872de/d2b19c5bb70c0eae?lnk=st&q=group%3Arec.arts.tv.soaps.cbs+author%3Asamford%40mit.edu#d2b19c5bb70c0eae

H-M

http://groups.google.com/group/rec.arts.tv.soaps.cbs/browse_thread/thread/8a8209a6694f71bc#

N-S

http://groups.google.com/group/rec.arts.tv.soaps.cbs/browse_thread/thread/86da47e80ebd400f#

T-Z

http://groups.google.com/group/rec.arts.tv.soaps.cbs/browse_thread/thread/a7af3d8c47d14892#

Tuesday, June 24, 2008

Why I love soaphunks.net








You know, I'm not really sure why. But I do!

So much of the rest of my enjoyment of daytime relates to its place in our cultural history. I like the psychological unfolding of characters (when stories are done well). I like the intergenerational canvases.

But when all is said and done, I just love how soaps are the principle bastion (outside of gay porn) of male objectification. I think it goes along with the feminization of the genre...they show the eye candy. I can think of few other mainstream media outlets where this happens.

Ironically, from what I have gleaned, male pulchritude isn't actually the huge draw for female viewers. Oh, sure, some girls like it...but in the end, all that sweaty shirtlessness is really pretty homoerotic. AND, you know some of the shows intentionally play to that card...the late (and mostly unlamented) Passions made high camp of it...and these days One Life to Live is the center of the soap hunk universe.

So, that's what I like about soaphunks.net, I think. It celebrates the not-so-latent homoeroticism in soaps, unabashedly and unapologetically. It is, in some way, the most blissful uncloseting of what has always been the gay male subtext of soaps.

The only thing needed is a companion site...not "soap sluts", but "soap divas". Just imagine...Eileen Fulton, Susan Lucci, Robin Strasser, Jeanne Cooper, Elizabeth Taylor's stint as Helena Cassidine, Joan Collins, Linda Dano...

In honor of soaphunks.net, I leave you with these images. (These are actually my caps, not from that site...but they give you the idea....)