Tag Archives: You Me Her

Down with the kids

While some say young people are no longer watching TV, the global success of series like Riverdale and Pretty Little Liars has turned that theory on its head. DQ explores how series are driving youth audiences back to the box.

Attracting elusive youth audiences has always been high on the TV industry’s to-do list. But as more and more youngsters turn their backs on traditional forms of viewing, the debate around how to win their attention has intensified.

Indeed, you very quickly get a sense of how serious the issue has become when you realise that Channel 4 in the UK – long regarded as a radical, alternative network – has an average viewer age of 55. In the US, The CW, AMC and FX all average 40-plus, despite being home to cross-generational favourites like The Flash, The Walking Dead and American Horror Story respectively.

From the perspective of scripted content, the first obvious question is whether TV drama can play a role in pulling young audiences back in the direction of traditional viewing platforms.

George Ormond, co-founder of indie producer The Forge and executive producer of C4’s school-set drama Ackley Bridge, believes so: “With Ackley Bridge, we set out to make a show that would attract a broad, multigenerational audience but would also bring the younger audience that is so hard to attract to linear TV.

Ackley Bridge targeted a ‘broad, multigenerational audience’

“We did well on both counts. The show has lots of young fans that connected with it, but also the broader audience.”

Ackley Bridge is set in a multicultural school in Yorkshire, explains Ormond: “This felt like a great world to set a show in; contemporary, muscular, and unexplored on television. We wanted to make a show that would smack you between the eyes with surprising, untold stories that feel very modern.”

Key to ensuring younger audiences bought into the show was getting the right tone of voice, he adds. “We knew the show needed to offer something original: a strong premise and surprising, engaging and addictive stories that are outrageous and contemporary but unpatronising. It is sometimes provocative, always irreverent, never worthy. And it has heart.”

Another show that attempts to appeal to the youth demo as part of a broader audience is You Me Her, a romantic comedy that debuted on AT&T’s Audience Network in 2016 and has been renewed for a third season. In this case, the story revolves around Jack and Emma, a married, 30-something couple whose love for each other is being undermined by their fading sex life. To reinvigorate their relationship, they hire Izzy, a 25-year-old college student and part-time escort. The three develop romantic feelings for each other – creating the unfamiliar (for TV) dynamic of a polyamorous relationship.

You Me Her has a strong social media following

Creator John Scott Shepherd says the life-stage difference between the older couple and Izzy gives the show “an interesting, schizophrenic feel,” adding: “It allows us to explore issues around relationship choices but also to see the world from Izzy’s younger perspective. She lives downtown and shares an apartment with her friend Nina. So the show is recognisable as a romcom but also appeals to a younger, progressive audience because it deals with sexuality and romance in a fluid way.”

You Me Her, which airs on Netflix outside the US, has built up a strong following on social media – which Shepherd believes is to do with the show’s authentic tone. “It fits with the younger generation’s belief that you should follow your bliss. It’s OK to live how you want as long as you’re not hurting anyone.”

While Ackley Bridge and You Me Her are examples of shows that are bringing down the average age of cross-demographic networks, many broadcasters choose to position youth dramas on channels specifically targeted at a younger audience. The classic example of this is Skins, an exuberant drama that ran for seven seasons from 2007 to 2013 on C4’s youth channel E4. But a more recent example is Clique, commissioned for the BBC’s online youth channel BBC3 and made by Skins producer Balloon Entertainment.

Balloon head of development Dave Evans says show creator Jess Brittain “wanted to write a show about female friendships and how they survive – or don’t survive – through major transitions. University can be an exhilarating time for change but it can also be a hard place to survive, to learn what you want to do.”

Clique was made by Skins producer Balloon Entertainment

The show is a thriller, which is unusual, says Evans, because “university-set drama tends to sit in a comedic space – such Fresh Meat or Dear White People. But with Clique we wanted to hit the heart of the experience with more dramatic firepower.”

In terms of how you grab this audience’s attention, Evans says: “It’s about getting onto young people’s radar. Attention-grabbing scenes are useful in that if people are saying, ‘Oh wow did you see that bit when…’ or making animated GIFs, it’s more likely to hook in new viewers. That said, a young audience won’t stay unless the drama grabs them outside of all the flash and bang.”

Ironically, there are occasions when youth drama can have an ‘ageing up’ impact. German kids’ channel KIKA, for example, recently commissioned Five2Twelve (pictured top) as a way of appealing to a slightly older audience. Speaking to DQ, producer Marcus Roth says the show “plays in the 20.00 slot and deals with more mature editorial themes.”

Five2Twelve centres on five teenage boys who have all been in trouble with the police. “The courts give them one last chance to escape detention by sending them to a boot camp in the Bavarian Alps,” says director Niklas Weise. “Here they have to cope with the challenges of everyday life and learn how to get on with each other. Although most kids haven’t been on the wrong side of the law, they will recognise the issues.”

Like their counterparts, Weise and Roth say the biggest challenge is getting the language right – but that this also requires a supportive broadcaster. “The youth audience is quick to see anything fake or artificial, so you need to talk to them in a way that is authentic,” Weise adds. “But this also requires a broadcaster that is willing to support the vision you have for the project.”

NRK Norway’s Skam (Shame)

While the success or failure of a youth drama generally comes down to the relatability of the story and characters, it also helps if the producer or broadcaster can give the audience a sense of ownership over the production. In the case of hit Nordic youth series Skam (Shame), for example, originating broadcaster NRK launched the show via its website, a move that helped the show build up a strong online community.

Here, the focus of the story was high-school students attempting to deal with classic teen issues. The first season, which premiered in September 2015, focused on relationship difficulties, loneliness, identity and belonging. Subsequent series have addressed feminism, eating disorders, sexual assault, homosexuality, mental health and cyberbullying.

All of this was supported by fresh digital content that was published on the NRK website each day to maintain a connection with the audience. Other social media-savvy shows include Freeform’s cult youth drama Pretty Little Liars, as well as the aforementioned Ackley Bridge. “We did a big push on Snapchat,” says Ormond, “and ran a parallel, specially shot Snapchat strand that involved Snaps being released from characters at key points throughout each episode, as well as between episodes and in ad breaks.”

This raises another key question: how can digital media be harnessed in other ways? Komixx Entertainment has sought out youth source material in the digital realm. “With the explosion of digital platforms and social media, some social influencers now hold arguably more power than traditional celebrities,” says Andrew Cole-Bulgin, Komixx group chief creative officer and head of film and TV. “This is relevant for young-adult adaptations, as [viewers of these shows] are digital natives, having grown up with social media networks.”

Freeform teen success Pretty Little Liars

This led Komixx to back The Kissing Booth, a feature-length Netflix commission based on a teen novel sensation by Beth Reekles. “Beth was 15 when she self-published this book but it went on to generate more than 19 million reads on [online storytelling community] Wattpad,” says Cole-Bulgin. “We optioned the book because we could see that her connection with and understanding of the audience would prove a great starting point for a television production.”

The decision to make the film for Netflix, rather than a TV network, is interesting. Broadcasters may want to reach youth audiences, but producers also need to take a view on what is best for the long-term prospects of their property. In the case of The Kissing Booth, “SVoD was an obvious choice for us because that was where the youth audience have been going,” says Cole-Bulgin. “If we had this particular property for a more traditional channel, I think we’d have lost a lot of the audience.”

While Komixx adapted a digitally self-published work with The Kissing Booth, there is – still – a market for youth series based on traditional book properties. Komixx has optioned the rights to adapt Robert Muchamore’s best-selling young adult novel series Cherub into a TV drama, while The CW in the US is airing an Archie Comics adaptation called Riverdale (see box).

Elsewhere, Eleventh Hour Films is embarking on an adaptation of Anthony Horowitz’s Alex Rider novels, with UK broadcaster ITV as a partner. Jill Green, founder and CEO of the prodco, says: “Alex has a core audience of eight- to 15-year-olds but our aim is to reach as wide an audience as possible. We’re inspired by Stranger Things, which appealed to adults and kids.”

Stranger Things’ second season landed on Netflix last week

Reasons to feel positive about the project are varied, says Green: “The books have now sold 16 million copies worldwide. Alex Rider is known in more than 30 countries, and fans all over the world have been asking for a new dramatisation. There’s an official website and Anthony Horowitz has his own website and a Twitter platform where he engages with fans. It’s also worth noting that many 20- to 30-year-olds grew up with the books.”

Alex Rider has, in fact, had a previous outing as a movie in 2006. So why does it make sense to revive the franchise on the small screen? “TV now has the ambition, the scale, the technology and the budgets to do justice to Alex Rider,” says Green. “We’re writing it for a generation that thrives on box sets and binge-viewing.”

On the merits of free TV vs SVoD, Green adds: “We are very happy to be working with ITV but there’s no reason this series can’t go on to become a signature show on SVoD. A gripping story and great characters will always attract an audience. Whatever the platform, standout ideas and story come first.”


Riverdale Rundown
The CW’s hit youth series Riverdale is based on Archie Comics characters originally created in the 1940s.

Show creator Roberto Aguirre-Sacasa is a lifelong fan but he admits there were “a lot of discussions about how the show might work for a modern audience. We knew there was a lot of wish-fulfilment and aspiration attached to the central group of characters, but the real breakthrough came when we decided to add a mystery genre element to the show. There’s a darkness and subversiveness to the show that has appealed to audiences and differentiates it from One Tree Hill or Beverly Hills 90210.”

Key to getting the show right was casting, says Aguirre-Sacasa, to the extent that “we wouldn’t have made the show if we hadn’t got the perfect cast. Great casting is what connects the audience to the characters. You can aim for it, but it’s not easy to get right, and when you do it’s a kind of alchemy.”

Asked whether he takes social media into account, he says: “Everyone in TV is trying to do what they can to make their show stand out – but we didn’t specifically look for people with a large fanbase. The only cast member who really had that was Cole Sprouse (star of Zack & Cody, pictured above left in Riverdale) but he was in the show because he fought for, and is perfect as, Jughead Jones.”

The CW is known for its youthful profile, but Riverdale, which returns for a second season this autumn, sits slightly apart from some of its big-hitting network siblings because it’s not a superhero show. “I think the execs at the network recognise that it’s good to have all different kinds of shows for fans to get passionate about,” says Aguirre-Sacasa.

In terms of feeding that passion, he says youthful shows inevitably include a social media component. “We did some live tweeting involving the cast,and I think that gets the fans really excited. We also know – because the show airs on Netflix outside the US – that there’s a global fanbase for Riverdale who love the whole Americana, US high-school kind of world.”

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One step ahead

Hell on Wheels producer Entertainment One is proving to be a nimble operator as it bends to the changing television landscape.

While the independent film market is struggling in the face of big budget blockbusters, it is proving to be a source of inspiration for the television arm of Entertainment One (eOne).

Pancho Mansfield
Pancho Mansfield

The global production giant still plays the traditional US network game, with series orders for both Kiefer Sutherland-starrer Designated Survivor and Conviction at ABC.

But it is also adopting an indie filmmaking approach by developing, financing and packaging projects in-house before taking them out to the market. A case in point is “polyromantic” comedy drama You Me Her, ordered by DirecTV’s Audience Network, which sees husband and wife Greg Poehler and Rachel Blanchard embark on a three-way affair with an escort (Priscilla Faia).

“That was shot as an indie picture,” explains Pancho Mansfield, president of global scripted programming at eOne. “All the scripts were written in advance and every episode has the same director. They shot 10 episodes, 350 pages, in 35 days and it looks great and feels like a feature romantic comedy. It’s just five hours long instead of 90 minutes.”

In the increasingly saturated television market, it’s not just networks feeling the competitive strain but producers and studios too. “So it’s critical for us to control our IP and, at times, develop internally,” Mansfield continues.

“If it’s the right idea, we will write scripts internally and package them. A show like HBO’s True Detective is part of a new category of feature TV, where you have movie stars coming to do television and it’s all put together and goes direct to series. It’s becoming more and more common, as the feature business isn’t satisfying for a lot of talent in that industry.”

‘Polyromantic’ comedy You Me Her
‘Polyromantic’ comedy You Me Her

eOne, whose credits include Saving Hope, Rogue and Bitten, partnered with Sienna Films on Cardinal (pictured top), a serialised drama for CTV based on the novel Forty Words for Sorrow by Giles Blunt. The show stars Billy Campbell and Karine Vanasse as a pair of detectives attempting to uncover what happened to a 13-year-old girl whose body is found in an abandoned mine.

“TNT, USA Network – all these networks that used to have blue-sky, comfort-food, closed-ended episodic procedurals are out of that business,” Mansfield says. “They’re all into serialised provocative drama that has to have some hook to make them stand out.”

John Morayniss
John Morayniss

But the studio is also seeking to meet the needs of international buyers that are no longer sated by content produced for US networks, especially when it comes to procedurals. One example is Private Eyes, which stars Jason Priestley as an ex-pro athlete who turns to solving crimes alongside his partner, played by Cindy Sampson.

John Morayniss, CEO of eOne Television, notes: “There are not a lot of procedurals being originally commissioned in the US anymore. That will change, it goes in cycles, but we know the international market still wants them. So if we have the opportunity to produce one of those light procedurals you’re not getting out of the US, we’re going to do it.

“What’s interesting about a lot of those shows is they end up being reverse-engineered back in the US. It’s not that networks don’t want them, they’re just not motivated to develop them in the same way anymore. So you just have to be nimble enough to know who your target buyers are, both in the US and internationally, and hopefully you’ll have the right talent to make it commercial, sellable and desirable.”

Mansfield adds: “Channels are looking for the best programming that makes sense for their networks. We’re seeing networks doing things in the US that we didn’t expect. We expected niche programming from SundanceTV but now it’s broadening out and certainly the digital platforms can do it. It is challenging for certain networks that still rely on ratings, but for studios, developers and producers it’s a very exciting time.”

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Light at the end of The Tunnel?

Stephen Dillane and Clémence Poésy in The Tunnel
Stephen Dillane and Clémence Poésy in The Tunnel

Season two of Sky Atlantic’s The Tunnel finished on May 31, and although the official ratings aren’t yet in for the last couple of episodes, the show hasn’t done as well as its first season in late 2013.

While the first outing debuted with 803,000 viewers (live+7), the follow-up kicked off with 680,000. The first run settled down around the 500,000 mark, whereas the second season had been attracting around 300,000.

This reduced audience doesn’t necessarily mean the second season (Sabotage) is inferior to the first. There are several possible explanations for why it hasn’t achieved the same high standards.

One was the unfortunate timing of the show’s launch. Due to premiere around the time of the Belgium terrorist attacks, it was delayed by a week out of respect for the victims. This may have been enough to knock the edge off the show’s appeal.

Another is that the Scandinavian show on which The Tunnel is based, The Bridge, has become a big international hit in its own right. With BBC4 in the UK attracting an audience in excess of one million for the first three seasons of The Bridge, it’s possible that audiences have decided to bypass The Tunnel in deference to the original.

There’s also the time lag between the two seasons. Echoing the situation with The Returned in France, it’s possible that the lengthy gap between them has sapped the franchise of some of its momentum. By a similar token, people who missed season one may (rightly or wrongly) have shunned season two for fear of walking into a franchise in the middle of its story.

The Bridge, on which The Tunnel is based
The Bridge, on which The Tunnel is based

Then there’s the fact that Sky Atlantic ‘did a Netflix,’ releasing all eight episodes of the latest season in one go as a box set. To get a true reflection of the show’s performance, we really need to see how it did when those numbers are also factored in.

And finally there is the ongoing process of media fragmentation. Two or three years on from the launch of season one, there are new scripted channels and new platforms pulling audience away from Sky Atlantic.

Overall, however, the Ben Richards-scripted show has probably done enough to justify a third season – particularly as the cost of production is shared with Canal+ in France and it can be aired across Sky’s services in Italy, Germany, Austria and Ireland.

While it can’t compete in ratings terms with Sky Atlantic shows such as Game of Thrones and Fortitude, it outperformed The Last Panthers and is comfortably ahead of most of the US acquisitions that have featured on the channel (Vinyl, Veep, Billions).

As we’ve observed before, there is so much scripted content on the international market these days that it’s incredibly hard for shows to make their mark – unless they are placed in BBC1 primetime or the AMC slot just after The Walking Dead. However, one show that has managed to make some noise this week is Entertainment One (eOne) TV’s polyamorous comedy You Me Her.

Created and written by showrunner John Scott Shepherd, the show is about a couple who hire a female sex worker to introduce a spark into their sex lives. All three then fall in love.

You Me Her has been given a second season
You Me Her has been given a second season

There’s very little public indication of how the first series did when it aired on DirecTV’s Audience Network in March, but the channel is obviously happy, having just greenlit two new seasons. “Our viewers have opened their hearts and minds to embrace the unique relationship between Jack, Emma and Izzy,” said Chris Long, senior VP of original content and production at AT&T (the company behind DirecTV). “Audiences strive for compelling storylines and intriguing characters, and we believe in the potential for this show to grow even more as we continue our journey with eOne.”

You Me Her is the second collaboration between DirecTV and eOne. The two companies previously partnered on Rogue, a police drama starring Thandie Newton.

Commenting on the alliance, John Morayniss, CEO of eOne Television, added: “You Me Her is a bold, provocative show that grabs your attention immediately. We’re delighted AT&T has signed on for another two seasons, which speaks to the strength of these dynamic characters and storytelling. We’re looking forward to seeing how this complicated, polyamorous relationship that John Scott Shepherd has brilliantly created will continue to unfold.”

One story that has attracted a lot of attention this week is Netflix’s decision to release some insight into how its viewers consume drama series. Although the SVoD platform didn’t actually go as far as releasing any numbers, it did provide some insights into the speed at which people binge shows.

In a nutshell, the Netflix research looked at the way audiences watch 100 shows across 190 countries (though keep in mind that some of these countries will have small subscriber bases, so what we’re primarily seeing is user behaviour in major subscriber territories like the US, Canada, UK and Scandinavia).

Netflix-binge-scaleNetflix then created a binge scale (see above), identifying the shows that get devoured most quickly. Its conclusion? “Series like Sense8, Orphan Black and The 100 grab you, assault your senses and make it hard to pull away. The classic elements of horror and thrillers go straight for the gut, pushing the placement of series like The Walking Dead, American Horror Story and The Fall towards the devour end of the scale. Likewise, comedies with a dramatic bent, like Orange is the New Black, Nurse Jackie and Grace and Frankie seem to tickle our fancy and make it easy to say ‘just one more.’”

By contrast, Netflix added: “It’s no surprise that complex narratives, like House of Cards and Bloodline, are indulged at an unhurried pace. Nor that viewers take care to appreciate the details of dramas set in bygone eras, like Peaky Blinders and Mad Men. Maybe less obvious are comedies like BoJack Horseman, Love and Unbreakable Kimmy Schmidt. But the societal commentary that powers their densely layered comedy paired with characters as flawed as they are entertaining allows them to be savoured.”

You might be tempted to suggest that shows at the slower end of the scale are not being savoured and are instead struggling to hold viewer attention. However, with strong titles like House of Cards, Narcos and Daredevil in that position, it seems unlikely.

Possibly a point that doesn’t come out of the analysis is different binging speeds according to age. A teenager or young, single adult probably has more time (and inclination) to watch episodes back to back than an older adult (at least up to the age of 60). So that might skew Netflix’s binge-ometer.

More granular insights are probably required to make use of Netflix’s data. But there may be a lesson for more traditional channels about the way they deliver their content to audiences. If channels want to make a big impact quickly, then perhaps they need to buy or commission shows that lend themselves to super-fast binging. But if they want to encourage audiences to come back to them week after week, then there may be a role for shows where audiences are happy to wait for the next episode.

Nashville
Nashville could be revived on CMT

In terms of shows destined to be big international hits, FX Productions and Marvel Television’s X-Men spin-off series Legion looks well-positioned to make its mark. An eight-part series from Noah Hawley (Fargo), the show will debut on FX in early 2017 after being produced in Vancouver this summer.

As the result of a new deal signed this week, it will also have a day-and-date premiere on Fox channels in 125 countries.

Legion follows David Haller who, diagnosed as schizophrenic, has been in and out of psychiatric hospitals for years. But after a strange encounter with a fellow patient, he is confronted with the possibility that the voices he hears and the visions he sees might just be real.

Finally, there may be a reprieve for country-and-western scripted series Nashville, cancelled after four seasons by ABC. Producer Lionsgate has been looking for a new home for the show and there are reports that CMT may be willing to pick up the tab.

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One step ahead: eOne adapts to a changing industry

Hell on Wheels producer Entertainment One is proving to be a nimble operator as it bends to the changing television landscape.

While the independent film market is struggling in the face of big budget blockbusters, it is proving to be a source of inspiration for the television arm of Entertainment One (eOne).

The global production giant still plays the traditional US network game, with both a series order for Kiefer Sutherland-starrer Designated Survivor and pilot Conviction at ABC.

But it is also adopting an indie filmmaking approach by developing, financing and packaging projects in-house before taking them out to the market. A case in point is “polyromantic” comedy drama You Me Her, ordered by DirecTV’s Audience Network, which sees husband and wife Greg Poehler and Rachel Blanchard embark on a three-way affair with an escort (Priscilla Faia).

Pancho Mansfield
Pancho Mansfield

“That was shot as an indie picture,” explains Pancho Mansfield, president of global scripted programming at eOne. “All the scripts were written in advance and every episode has the same director. They shot 10 episodes, 350 pages, in 35 days and it looks great and feels like a feature romantic comedy. It’s just five hours long instead of 90 minutes.”

In the increasingly saturated television market, it’s not just networks feeling the competitive strain but producers and studios too. “So it’s critical for us to control our IP and, at times, develop internally,” Mansfield continues.

“If it’s the right idea, we will write scripts internally and package them. A show like HBO’s True Detective is part of a new category of feature TV, where you have movie stars coming to do television and it’s all put together and goes direct to series. It’s becoming more and more common, as the feature business isn’t satisfying for a lot of talent in that industry.”

eOne, whose credits include Saving Hope, Rogue and Bitten, has partnered with Sienna Films on Cardinal, a serialised drama for CTV based on the novel Forty Words for Sorrow by Giles Blunt. The show stars Billy Campbell and Karine Vanasse as a pair of detectives attempting to uncover what happened to a 13-year-old girl whose body is found in an abandoned mine.

“TNT, USA Network – all these networks that used to have blue-sky, comfort-food, closed-ended episodic procedurals are out of that business,” Mansfield says. “They’re all into serialised provocative drama that has to have some hook to make them stand out.”

You Me Her
‘Polyromantic’ comedy drama You Me Her,

But the studio is also seeking to meet the needs of international buyers that are no longer sated by content produced for US networks, especially when it comes to procedurals. One example is Private Eyes (pictured top), which stars Jason Priestley as an ex-pro athlete who turns to solving crimes alongside his partner, played by Cindy Sampson.

John Morayniss, CEO of eOne Television, notes: “There are not a lot of procedurals being originally commissioned in the US anymore. That will change, it goes in cycles, but we know the international market still wants them. So if we have the opportunity to produce one of those light procedurals you’re not getting out of the US, we’re going to do it.

“What’s interesting about a lot of those shows is they end up being reverse-engineered back in the US. It’s not that networks don’t want them, they’re just not motivated to develop them in the same way anymore. So you just have to be nimble enough to know who your target buyers are, both in the US and internationally, and hopefully you’ll have the right talent to make it commercial, sellable and desirable.”

Mansfield adds: “Channels are looking for the best programming that makes sense for their networks. We’re seeing networks doing things in the US that we didn’t expect. We expected niche programming from SundanceTV but now it’s broadening out and certainly the digital platforms can do it. It is challenging for certain networks that still rely on ratings, but for studios, developers and producers it’s a very exciting time.”

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