Screaming for attention: 400 TV shows and counting

Late last year researches at FX Networks found that there were more than 400 scripted TV shows in 2015. Not 400 HOURS of scripted shows, but 400 DIFFERENT shows. Let that sink in for a minute. If there’s 400 scripted shows and each show has on average 10 episodes, some would have more and some less, that’s something like around 4,000 hours of NEW TV produced last year. To put that number in perspective, with that amount of content you could watch nothing but new TV shows 24 hours a day from December to mid-June.

Humans on AMC
Humans on AMC

And that’s not including news programs and game shows and variety shows and reality and TV movies either. That’s 4,000 hours of scripted dramas and comedies.

Part of why there’s so much “stuff” out there is that every channel wants to have a hit series that draws in viewers, which might turn a channel very few are watching, and therefor getting less ad dollars, into something many are watching and talking about and getting lots of ad dollars. Case in point AMC. A decade ago AMC aired classic movies, hence the name; American Movie Classics. Then in 2007 they launched Mad Men to great acclaim and have since launched other popular series like Breaking Bad and The Walking Dead. Before, AMC was a channel that hardly anyone watched. Now, AMC is one of the most watched spots on TV and one that now makes a lot of money.

And with viewers “cutting the cord” as it were online services are also trying to get in with scripted shows too. Netflix and Amazon have have been creating series specifically for their service for a few years now and now other platforms like Hulu and YouTube are getting in on the game too with content of their own.

Jessica Jones on Netflix
Jessica Jones on Netflix

I watch a lot of TV, probably too much. And even with my prodigious TV habit I couldn’t watch everything last year that I probably would have in years past. For example, the series Humans on AMC looked interesting enough but I had too many things to watch at that time and never got around to it. And with a show like Jessica Jones on Netflix I did watch the first episode but when it didn’t immediately connect with me I moved onto something else.

Now I’m not saying that I’ll won’t go back and try and watch Jessica Jones or Humans again this summer when there used to be fewer new things to on, but I can’t guarantee it since nowadays there are just as many new and interesting series premiering during the summer as there are in the fall/winter months.

New shows last summer like Halt and Catch Fire, True Detective and The Carmichael Show, all of which I enjoyed a great deal, took whatever time I would normally have to checkout things I’d missed during the fall and instead put the focus on them. In fact, the only show I did catchup on last summer was Fargo, and that was only because a friend highly recommended it.

Maron on IFC
Maron on IFC

Which makes me wonder, what am I all missing? Years ago I was only ever able to get into The Wire when I caught up with it after HBO aired the first few seasons before the start of the third. Up until then I’d watch a few episodes at the start of each new season and give up. It was only because I had the time to catch up on it that I was able to be sucked in by that wonderful show.

But the last few years that really hasn’t been happening for me. I tell myself that I need to watch the latest season of House of Cards or Justified or Maron and something else new will appear on my pop-culture radar and I find myself putting off things for one more season.

I suppose the solution to all this is to count my blessings, too much of a good thing is better than nothing, and wait for the day that the eventual collapse of all this good stuff which is inevitable. There’s no way that all the networks and cable channels and online services can be pouring BILLIONS into these new shows with all expected to make back any money.

Maybe what I need to do is to get a colossal DVR and record EVERYTHING I might be interested in when the day comes after the pop-culture collapse when the only thing on to watch are reruns of The Big Bang Theory and episodes of Redneck/Swamp-Truckers/Fishermen/Miners/Pawn on The Discovery Channel.

Online TV series are old hat

We live in a world where new TV series are being created not only by network and cable channels but via online services like Netflix, Hulu and Amazon as well. What’s amazing is that all this — from the creation of shows to how we consume content via our TVs, tablets, smart-phones, game systems, etc., etc. — has all come about in the last decade.

However…

My question is if the way we consume TV entertainment is radically different than it was 10 years ago, then why are these series that are create specifically for these online services structured the same way and have all the same restraints that traditional series do too? What I mean by this is that most network and cable produced dramas are about an hour long and comedies about 30 minutes long. These shows have credits at the beginning and endings of episodes and series seasons last between 10 and 24 episodes depending on the show.

Which structurally is mirrored by the online shows too when they don’t have to.

The idea that a show has to be either 60 or 30 minutes long is one born of the early 20th century that’s still used today. It’s a way to fit single episodes neatly into a specific time-slot where shows begin and end at the top and bottom of the hour for scheduling purposes. And the beginning and ending credits of shows are there to let viewers know that what they’ve just watched has ended and something new is about to start.

But none of this stuff is really needed for shows that we watch online.

Opening credits are redundant when I’m the one choosing what to watch. Do I really need to know that I’m watching House of Cards when I’m the one who clicked to watch that exact show in the first place? That information, opening credits specifically, just aren’t needed on online shows.

And shows being either 30 minutes long or 60 is redundant as well. When I first heard that Netflix and Amazon were working on original programming I got excited to see just what they were going to do differently with the format. The sky was the limit for how they could “play” with the medium since the shows would no longer have to be formatted to fit into a particular schedule anymore.

If a series creator wanted an episode to be 15 minutes long then why not? Or what about an episode being six hours long too? Any limit given to an online series would be an self-imposed one since it’s the user who decides to watch a given show rather than a given show airing at a particular time and filling a particular slot.

No one tells book authors how long their chapters have to be, yet with all of the online shows that I’ve watched with big names attached they’ve all been essentially network format shows that just so happen to be online. I guess on one hand this makes sense. Creators are used to making shows a particular way, in a particular format that are a certain length and that have beginning and ending credits.

But almost none of this, except end credits, is necessary with the online series.

I’m really interested in the next filmmaker* who figures out a way to do something new and unique with the online format that couldn’t be done via traditional TV. It’s like when feature films first started being created and the stories that were originally told in that medium were staged* and shot to look like a stage play since that’s what they were used to back then.

It took some true visionaries to realize the possibilities that film allowed them that hadn’t been done before turned the medium from something old to something new and modern. I think that same sort of thing needs to happen to the online series too.

Right now while the quality of some of those shows might be spectacular, structurally they’re old. And when some talented filmmaker comes in and takes the online format to the next level that’s when things will really start to get interesting in the online space.

*Using old words to describe something new.

Visit me online at DangerousUniverse.com.

What to watch: Winter ’13/’14 edition

Is it just me, or is the fall TV season just a poor lead up to the winter one, when the interesting series launch?

Mob City poster
Mob City poster

Mob City (TNT) Wednesdays at 9

Hurry up to catch this one before it ends. It seems like TNT doesn’t have a lot of confidence in this little gem by “burning off” two episodes of Mob City every Wednesday night for three weeks when this one will be done quickly. Though in an odd quirk of fate this is exactly what happened to series creator Frank Darabont’s last show too; The Walking Dead. AMC didn’t have much confidence in that show either and only ordered six episodes of The Walking Dead too before committing to any more. And the last time I checked The Walking Dead is doing okay.

The Goldbergs (ABC) Tuesdays at 9

The one new show I watch from this fall is The Goldbergs. It’s not a great show, but it’s good and I get a laugh or two out of each episode which makes this one worth it for me.

Doctor Who Christmas Special (BBC America) 12/25

Christmas Day will see the departure of Matt Smith, current Doctor Who, and the introduction of new Doctor Who Peter Capaldi. The big question is when Smith leaves if a lot of the new fans of the show who watch Doctor Who for Smith will leave too?

Community (NBC) Thursdays starting 1/2

Community creator Dan Harmon returns to the show he created, then was thrown off of, then rehired to for a fifth and final (?) season this January. I’m hugely excited about this one. Now, if only I could forget that non-Harmon fourth season of Community altogether.

Helix
Helix

Helix (SyFy) Fridays starting 1/10

Ronald D. Moore, the creator of the Battlestar Galactica reboot series, returns to TV with Helix on SyFy. This series looks to be part The Thing mixed with the movie Contagion and some zombies thrown in for good measure But fear not, Moore is good at handling material that seems already done/tired like he did so well with BSG.

True Detective (HBO) Sundays starting 1/12

This series follows two detectives (Matthew McConaughey and Woody Harrelson) as they spend 17 years hunting a serial killer. Which sounds a bit like Zodiac, but if this series can channel even a smidgeon of the greatness of Zodiac it’ll be one to watch.

Sherlock (PBS) Sundays starting 1/19

What started out as a PBS/BBC series aimed at adults quickly found an younger and non-traditional PBS audience making Sherlock as popular and culturally relevant as Doctor Who is with the teen/hipster set. Will this third season of Sherlock be more popular than Downton Abbey, another hit on PBS? I think it might.

House of Cards (Netflix) Available 2/1

When we last left Francis Underwood (Kevin Spacey) he had destroyed more than a few lives on his attempt at becoming Vice President of the country. There were enough twists and turns in the first season of the series that I’m genuinely unsure as to where the second season of House of Cards is headed.

Keri Russell takes aim
Keri Russell takes aim in The Americans

The Americans (FX) February

I adore this series about Soviet spies in Washington DC that’s set in the early 1980s. It’s the perfect mix of action and a true heart felt story about making relationships and families work. With guns and explosives too.

Hannibal (NBC) “Midseason”

I get the feeling that no one’s watching this show because of it’s title and it seemingly a money-grab at the The Silence of the Lambs movie franchise. Which is a real shame, series creator Brian Fuller and cast are doing some wonderful, weird and interesting things with Hannibal which is unlike anything else on TV right now.