The TV Industry’s Lack of Imagination

It’s often said we live in a golden age of television, with more quality content than ever before, consumable through a variety of channels and services on the devices of our choosing. What’s not to love? But the reality is, although there’s been a boom in funding for original programming and arguably an expansion in the range of subjects these programs tackle, there’s one area where there’s still a shocking lack of imagination: family programming.

TV-MA is the rating of choice for original programming

What’s most striking to me when I look at the original programming funded and launched by major players such as Netflix, Amazon, and HBO is the ratings, according to the TV Parental Guidelines system, these programs receive. Because some of this programming doesn’t appear on traditional television, not all of it receives such a rating, but the vast majority of it does, and the rating they receive are incredibly consistent:

TV parental ratings – fixed

As you can see, the vast majority of original programs commissioned or licensed by these TV services over the past few years has either received a TV-MA rating (or would have done so if it received a rating). Just one of these programs received something else and that was a TV-14 rating. Now, I’ve excluded from this listing those programs explicitly aimed at children, of which both Amazon and Netflix have commissioned a few each. But among programming not aimed at children, everything else is very much adult programming. This isn’t surprising in a way for HBO, which has always had a reputation for racier and more adult content, both in the movies it screens and in the series it commissions and licenses. But Amazon and Netflix have no such heritage – they’ve always carried a wide variety of content in their catalogues. But when it comes to originals, they’ve very much followed the path blazed by HBO.

Family programming is missing

What’s fascinating to me is, in a world where there’s now virtually free rein in content formats and other aspects of television, all this programming has stuck to a standard 30 minute or one hour format and adult fare pioneered by HBO on cable TV. What’s missing entirely from these slates of content is family oriented programming. What I mean is content consumable by families composed of parents and younger children, watching together. There’s content aimed explicitly at kids and there’s very adult programming, but there’s nothing for parents to watch with their younger children. There’s also nothing for parents (myself included) who tend to favor PG or PG-13 rather than R-rated content, even after the kids have gone to bed.

But let’s focus on the family programming angle for a minute. Why is this content missing from these services’ original programming slates? I think the question is actually broader – why is it missing from standard broadcast schedules too? When I was growing up, there were programs we would watch together as a family, because their appeal crossed over between kids and grownups. But there’s essentially nothing aimed at this combined demographic on broadcast TV these days (just this week, ABC announced it was bringing a version of the Muppet Show (one of the staples of my childhood family viewing) back to TV, but this time it’s a version targeted at an adult audience). Why is this? I suspect the reason is twofold: advertisers prefer to target narrower audiences and those audiences exist: the proliferation of both targeted cable channels and SVOD services have made it possible for each member of a family to watch his or her own programming, independent of other members of the family. iPads, phones, PCs and laptops, and Netflix on the TV mean the six year old, the twelve year old and Mom and Dad can each watch exactly what they want to. Watching TV has become a less social and more isolated experience in recent years and perhaps programmers simply don’t see the point in trying to reach a mixed audience. To the extent television is social anymore, it’s more often so only in a virtual way, with viewers connecting with each other over distances, via Facebook or Twitter.

PG and PG-13 content is missing too

I want to return to the point I made briefly in the preceding section: the other thing missing is adult programming (by which I mean programming targeted at adults, rather than programming with adult content) that’s not heavy on sex, violence, and swearing. HBO, Netflix, and Amazon’s original programming majors on this stuff and it’s undoubtedly found an audience. But though I was excited by the business model innovation inherent in the launch of HBO Now, I wasn’t excited about any of the content. I did sign up for the free trial period just to try the service out, but my early experience confirmed my sense that much of HBO’s programming simply isn’t for me. My wife and I tend to watch pretty tame fare and HBO is a poor fit. But neither Amazon nor Netflix is catering to this audience either, which is bigger than you might think. Though our ratings system tends to be geared towards parental guidance, many others use both the TV and MPAA ratings systems as basic guidelines to the content of TV shows and movies for themselves. And what you notice as a consumer of both movies and TV shows is the middle ratings – the stuff between G at one end and R at the other – are sparsely populated among the biggest budget offerings.

Some innovation is happening at the edges

There is some innovation and originality happening here, but it’s not happening among the big name broadcasters or SVOD services. Instead, it’s happening as more of a grassroots effort, outside the traditional spheres. Various companies have developed and sold technologies that filter DVDs for what the viewers consider objectionable material, for example. This isn’t a great solution – these services and devices often cost a significant amount on top of the cost of renting or buying the media to be consumed – but it’s often the best solution for people who find little of the available content suitable out of the box. Another area of innovation is the Roku Channel Store, which offers a variety of channels you won’t find anywhere else, including several that cater to the kinds of audiences I’m talking about, including lots of faith-based channels and several targeted specifically at families watching together. In many cases, the audience itself is creating content it wants to watch on behalf of other like-minded people. Many of these channels likely have tiny audiences today in the grand scheme of things, but some of them do quite well on Roku’s list of most popular channels. There’s a big audience out there for this kind of content and some of the bigger names would do well to cater to it. Given all the variety that’s springing out of our brave new TV world, it would be great if that variety would begin to extend to ratings, too.

Published by

Jan Dawson

Jan Dawson is Founder and Chief Analyst at Jackdaw Research, a technology research and consulting firm focused on consumer technology. During his sixteen years as a technology analyst, Jan has covered everything from DSL to LTE, and from policy and regulation to smartphones and tablets. As such, he brings a unique perspective to the consumer technology space, pulling together insights on communications and content services, device hardware and software, and online services to provide big-picture market analysis and strategic advice to his clients. Jan has worked with many of the world’s largest operators, device and infrastructure vendors, online service providers and others to shape their strategies and help them understand the market. Prior to founding Jackdaw, Jan worked at Ovum for a number of years, most recently as Chief Telecoms Analyst, responsible for Ovum’s telecoms research agenda globally.

2,482 thoughts on “The TV Industry’s Lack of Imagination”

  1. Me too, I find kid’s stuff boring, bar the occasional/accidental hilarity minute. I wouldn’t call it “lack of imagination” nor “lack of innovation” in general though. I’d call “lack of family content”, there’s plenty of imagination & innovation going around I think, be it in content or in ways to monetize the associated brain-time.

  2. The family content area is such a niche market. Children’s programming usually hits up to 8 years old-ish, maybe cartoons for 9 and 10 year olds. Then YTV and Disney channel have stuff for the tweens. But these TV-MA shows appeal to those 14 and up usually. That is by far the biggest demographic.

    Really, what you are witnessing, I think, is just a trend in society to stratify by ages. Almost everything: school, sports, organized recreation (like summer camps) is stratified by ages. Even recesses at schools sometimes are. It is getting rarer to see groups in society with a large cross section of ages. TV is reflecting that trend in society. Even within families, as most are 1 or 2 children, you have the parents, who like one thing, and kids (often of similar age), who like another. And they all have their own screens so they get to watch what they want. It’s not like years past where a family might have four children, spread out over 8 years and only one TV.

  3. “all this programming has stuck to a standard 30 minute or one hour format”

    They stick to the standard half hour and hour long formats in order to enable them to sell the shows to broadcast markets. While broadcast TV in the US is prevented from having nudity or strong language at any hour, in other countries, like here in Canada, nudity and strong language (ie, uncut R-rated movies and the like) can be broadcast in the evening. Netflix and other internet-only makers of episodic video shows craft their shows to fit into standard TV formats so they can market them as widely as possible.

  4. The TV and Movie industry are notorious for being followers. All this goes in cycles. As soon as someone starts to capture larger audiences for family TV, others will follow. And it will be like that until everyone is tired of it and we’ll work our way back to the current form. But it will take someone making waves and money in that family genre you feel is lacking.

    To be honest, I don’t remember there ever being much TV that my family watched regularly together, either growing up or with my own family. Well, not willingly anyway. The kids tolerated what Dad wanted to watch and if we were lucky Dad might tolerate what we wanted to watch. Mom tolerated everything.

    Joe

  5. With all due respect, forget about programming designed for families, let’s encourage families to get off the couch and away from the boob tube and doing more things together outside of the home.

    You know what you never see in TV shows and movies? People sitting around binge watching House of Cards. They’re out having adventures, hiking, jogging, going to carnivals and fairs, etc.

    I’m preaching to myself but seriously, we should all be finding ways to get away from the television and get out more, which translates to being more active and healthy. Take a walk after dinner, have a family game night, take up a new hobby that the entire family can participate in, make up new games, maybe a family talent/karaoke night. Anything but waste more time WATCHING other people (actors) live their lives or do interesting things.

    But thank you for this article. It’s encouraging me to do/try everything I just mentioned. We used to do some of this but kind like a diet you start then stop we’ve gotten back into old habits.

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  60. Triger Kayışı nedir. Triger kayışı, araçlarda krank mili ile eksantrik mili arasındaki hareket iletimini sağlar. Triger kayışını iki mil arasında doğru hizada geren ise gergi bilyesidir. Kayış sistemini tamamlayan son parça da devridaim pompasıdır. Motorun güvenliği ve performansı için önemli bir parça olan kayış, kopması hâlinde ciddi sorunlara neden olabilir. Motor soğutma sıvısının sistem içinde ilerlemesini sağlayan triger kayışıdır. Devridaim pompası, gücünü kayıştan alır. Triger kayışının ömrü, kullanım süresine, kullanılan mesafeye ve son kullanım tarihine göre değişiklik gösterir. Belli aralıklarla kayışın kontrolü şarttır. Markaya ve modele göre araçların triger kayışının kullanım süresi farklılık gösterse de kayışların ömrü ortalama 3 senedir. Süre dolduğunda hasarsız dahi olsa kayış değiştirilmelidir. Değişiklik işlemi, uzmanlarca yapılır. Bir kayışın ortalama ömrü, 90.000 ile 100.000 kilometrede arasındadır. Triger kayışları; kauçuk, çelik, tel, kumaş malzemeden üretilen bir parçadır. Kompozit yapıda kevlar, aramid ve karbon fiber malzemeler de yer alabilir. Özel parça, kaymayı önleyen özelliği ile dayanıklılık vadeder. Triger kayışı yerine triger zinciri de kullanılabilir; ancak pek tercih edilmez. Zincirde uzun mesafede aşınma olabilir Zincir, zamanla uzayabileceği için motor sesine ek bir gürültüye sebep olabilir. Zinciri uzun süre gergin tutmak, raylara ve dişlilere de zarar verebilir. Yıpranma oluşabilir. Triger kayışının kopması, motorun da ciddi zararlar görmesi anlamına gelir. Motor iflas edebilir. Supap zamanlamasının bozulması, açık kalması, pistonlara çarpması, sipopların eğilmesi, tüm parçaların zorlanması ve gürültü oluşması, bu sorunun sonucudur. Kayış koptuğunda yapılabilecek en doğru hamle, aracı kenara çekip uzman yardımı almaktır. Kaputu açıp motora bakıldığında kayışın durumu görülebilir. Motordan ses gelmesi, egzozdan siyah duman çıkması da triger kayışında bir sorun olduğunun işareti olabilir.

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