Moody’s monsters

In the 1990s HBO revolutionised long-form drama. And in the 1990s HBO’s catch cry was “It’s not TV. It’s HBO.”

Was it the work of highly effective advertising strategy (amazing brand positioning, kudos!) that saw complex narrative shows (as typified by those screened on HBO) deemed “Quality TV”? Or was it rather the more upper class educated audience that posited these shows as intellectually and culturally superior to the ‘soapbox trash’ favoured by your run of the mill Darren and Sharon? I’ve come to think it may well be a case of the chicken and the egg.

“It’s not TV. It’s HBO.” came about through brand positioning exercises conducted within the company, including establishing what HBO did NOT want to be. As a pay to subscribe service, HBO had to make sure viewers were getting what they paid for each month – something different and something better. In defining themselves by something they’re not, the branding line became the driving force behind HBO’s programming, and as such, a self-fulfilling prophecy (Adamson 2006).

“It’s not TV. It’s HBO.” remains such a touchstone for quality within HBO that it even extends to the advertising. Says Adamson, “HBO’s advertising is a branding signal that no ordinary television network could use. Like the programming, the advertising is groundbreaking.” Indeed, world famous photographer Annie Leibovitz is often called upon to provide photographs for HBO programs, most notably The Sopranos.

 

So is it merely a direct comparison to ‘ordinary television’ that elevates other programs to ‘quality television’? Not so, says Mittell (2006) who argues that ‘the model of television storytelling distinct for its use of narrative complexity’ elicits ‘unique pleasures and patterns of comprehension’ (p.29) within a more niche, more passionate, and more educated audience. Interestingly, this “boutique” audience is comprised of people who usually avoid television, but when it comes to the shows that get their eyeballs twitching in anticipatory delight their dedication and consistent cult-like following is enough to make the shows economically viable (and advertising agencies twitch in delight everywhere else).

As technological advances have meant that the viewer has more control over what they watch (and when and how) the dedicated fan base of “Quality TV” can collect episodes, if not series, of their favourite shows and binge on them season at a time. But it doesn’t stop there – collectability means rewatchability which leads to a deeper knowledge of (and, arguably, obsession with) these shows, attributes that reward the viewer of a complex narrative program with the ability to actively and attentively comprehend and decode the mode of storytelling.

Although “Quality TV” may be seen as a genre in itself, the programs that fall within this category span a number of traditional genres, The Wire, Queer As Folk, The X-Files and Sex & The City demonstrate but a few. In fact, it was Mittell’s discussion of The X-Files and Buffy the Vampire Slayer that really highlighted the trope of quality across seemingly disparate programs. As Mittell drew upon monsters-of-the-week and underlying conspiracy theories to demonstrate one of the major demands of narrative complexity – the delivery of both episodic and serial storytelling – I started to think about Hank Moody. Ah, Hank Moody.

 

(Only realised the David Duchovny connection as I was searching for images. Could Duchovny be the face of Quality TV?)

Hank’s monsters-of-the-week, be they Mia, Surfer Girl or Trixie, are the episodic storytelling elements that serve to ‘advance various narrative arcs…’ (serial storytelling aspects) ‘as characters reveal key secrets and deepen relationships to move the season-long plot forward’. Hank’s weekly dance with a she-devil disrupts any traces of domestic harmony with Karen and Becca, yet fans of the show understand that the love Karen and Hank share might be enough for them to come together in the end (the equivalent of The X-Files’ conspiracy theories). It might event be enough to withstand the murder-suicide pact of a psychotic ex-girlfriend…

Series 6, I await you.

 

REFERENCES

Adamson, A (2006) BrandSimple: How the best brands keep it simple and succeed, Palgrave Macmillian, pp.83-86.

Mittell, J (2006) ‘Narrative Complexity in Contemporary American Television’, The Velvet Light Trap, vol.58, Fall, pp.29-40.

Advertisements

Just a morsel

As an advertising student with a penchant for all things digital, the idea of the webisode is one that excites me greatly – and an idea I often visit and revisit when devising campaigns.

The webisode, as I have experienced it in practice, is a chance for a brand to demonstrate personality and the ability to keep up with hipster quirk. I pitched a campaign to TAC (Transport Accident Commission) featuring webisodes with offbeat characters in an attempt to convey road safety messages to a younger crowd than the traditional TVC may reach. They jumped all over it.

An example of an award-winning campaign that utilises the webisode as the main vehicle to engage with the target audience is ‘The Boosted Inspiration Series’ for Boost chocolate bars. The campaign was created by Droga5 agency in Sydney. The webisodes drove consumers back to the brand’s facebook page where they could further interact with the campaign. The first webisode to be released, and the most popular with viewers, is ‘Moreing’.

 

 

In terms of television, the webisode serves not as the primary driver, but rather as a bite/byte that whets the appetite. Says Max Dawson, webisodes have ‘facilitated the dilation of television’s intricate narratives’ (p.2). The webisode below, ‘A Drop of True Blood’, is a 3 minute and 24 second ‘minisode’ (a moniker Dawson attributes to Sony Pictures Television) that encapsulates personality traits and complex interpersonal relationships between two of True Blood’s secondary characters – Eric and Pam . Whilst certainly drawing upon ‘recognisable elements’ of the source text, ‘A Drop of True Blood’ does more than just ‘distil [the] vast and complex’ diorama that is Bon Temps.

 

 

As suggested by the name of the webisode, – ‘a conspicuous temporal cue’ (p.4) – ‘A Drop of True Blood’ was but a taste of the show. But it was enough of an appetizer to make me want to dive straight back in.

Sookehhhhhh.

 

 

 

Dawson, M (2011) “Television’s Aesthetic of Efficiency: Convergence Television and the Digital Short”, in Television as Digital Media, eds. James Bennett and Niki Strange. Durham, NC: Duke University Press Books.