Digital Detox Antidote For The Over-Connected

Michael Hedges January 23, 2014 Follow on Twitter

Watching lots of television is the chore of the quintessentially effusive or the terminally bored. Analysts and critics, respectively, then ply their talents to draw together the threads of understanding. It’s all very interesting, sometimes useful, often wishful.

Eurodata TV Worldwide, part of media measurement institute Médiamétrie, annually offers its analysts take on new television offerings and what trends might be rising to the surface. “Economic, technological and social evolutions are shaping TV contents both in their narrative and consumption,” wrote TV research director Amandine Cassi and consultant Julia Espérance in the report’s opening paragraph (January 15). “These (new) programs reflect at once a strong attachment to local heritage and a need for openness on the world. In the same way, today’s hyper-connection goes hand in hand with a need for introspection.”

TV viewers certainly have a broad menu to choose from. Thanks to the digital dividend, broadcasters have more channels to fill, more creative opportunities. The advertising people are cooperating, more or less; sending half their client’s money to television. And, skipping to the good bit, pay-TV and VOD subscription portals never rest.

“The search for authenticity, the desire for the homegrown: television has not escaped from the enthusiasm for local fare,” noted the Eurodata analysts. Pop culture is a “safe bet.” Nothing illustrates the power of pop culture on TV better than the rise (and rise, and rise) of locally produced talent shows. The French season opener on TF1 (January 11) drew a peak audience of 11 million and, very important to some, was a social media hit. The UK version of The Voice on BBC1 splashed to its best numbers, 10.6 million viewers (January 11), aided by pop star Kylie Minogue as a judge. “Our new line-up is clearly connecting with audiences,” said channel controller Charlotte Moore. The BBC is reportedly paying Ms Minoque £1 million a season. The Voice, from reality format genius John de Mol, is only three seasons old and local adaptions are produced in more than 80 countries. Of course, every self-respecting broadcaster offers one or more talent-reality show.

Noted by the Eurodata crew as a stand-out in European comedy is Eigen Kweek, loosely translated as Grow Your Own, on Belgian-Flemish public TV VRT. It’s six episodes last year presented the fictional story of farmers under financial pressure turning to pot. According to Belgian media research institute CIM it was the highest rated TV show last year in the Flemish part of Belgium. Cops and robbers drama series Salamander, also a local production for VRT, placed second.

Reality formats, still the baseline for program innovation, have grown in depth as broadcasters appeal to viewers who will participate. Contributions are welcome in TV land, notes the Eurodata folks. On French channel D8 is “tweet-series” What Ze Teuf? The show has a premise, the morning after binge-drinking, and begs – from the Twitterati – the most important question. Danish comedy Sjit Happens on TV2 Zulu also invites collaboration.

“Enthusiasm is growing for the digital detox,” observed the Eurodata analysts. Hot on the heels, figuratively, of the 12-hour National Firewood Night broadcast last year on Norwegian public TV NRK was the National Knitting Evening, 9 hours from sheep to sweater. NRK has found considerable success with the “slow TV” concept. Its first similar venture into TV with a different tempo, a 9-hour 2009 broadcast from a camera mounted atop a train bested X-Factor.

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