Abstract
This article explores the ‘youthification’ of television through real-time storytelling. It draws on a study of the online youth drama blank (2018–2019), NRK’s first follow-up after the hit show SKAM (2015–2017). It finds that real-time drama brings unique opportunities to broadcasters aiming to reconnect with younger audiences, but also substantial challenges. This insight is essential, as previous studies have highlighted the format’s advantages while downplaying its problems and dilemmas. Furthermore, the article emphasises the continuous need for innovation in youth storytelling, especially at public service broadcasters with the mandate and ability to do so.
Highlights
For television producers aiming to reconnect with younger audiences, online drama published in real time has become an attractive new format
The study of blank offers detailed insights into the production model of the real-time online drama format and especially the ways in which NRK translated its success with SKAM and attended to its legacy
A lot of work was done to try to avoid the allegiance of older viewers (Erlandsen, personal communication, November 2017; Næsheim, personal communication, April 2018). This dilemma was, shared by the production team and some members of the audience, as evident in this comment posted on the blank blog: ‘Hoping this does not become as popular as SKAM
Summary
For television producers aiming to reconnect with younger audiences, online drama published in real time has become an attractive new format. This article’s argument draws on an in-depth production study of blank (2018–2019), NRK’s first successor after the hit show, SKAM Both productions followed the same real-time online drama format initially developed by NRK to target young girls, in which small production teams with an exceptionally experimental approach to storytelling produced online drama on tiny budgets (Sundet, 2021). Television productions aimed at younger audiences tend to involve new media platforms, publishing models and storytelling techniques, reflecting the industry perception that digital and social media serve tech-savvy young people (Kruger and Rustad, 2019; see Andersen and Sundet, 2019). The study of blank offers detailed insights into the production model of the real-time online drama format and especially the ways in which NRK translated its success with SKAM and attended to its legacy (see Sundet, 2021). All of the interviews were transcribed and analysed thematically, with particular weight given to the informants’ ‘self-reflexivity’ (Caldwell, 2009), or specific and unguided reflections on the critical choices and strategies involved
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Critical Studies in Television: The International Journal of Television Studies
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
