TV revolution: BBC-Amazon deal signals the way ahead
Prudent auntie: why the BBC is climbing into bed with Amazon to keep 'Ripper Street' alive
TELEVISION, the statistics suggest, is losing its hold over us. Only one adult in three would find it “very hard” to give up TV, according to an American study released this week, while more than half said it would be very hard to stay off the internet.
Part of the reason may well be that the distinction between television and the internet is collapsing: if you have access to the internet, you have access to TV programmes too, regardless of whether you’re at home, in the office or on a bus. Nor is it just how we watch that’s evolving. The internet is also changing what we watch.
Amazon’s decision to pick up Ripper Street, a drama dropped by the BBC after a single series, is just the latest sign that traditional broadcasters no longer have the sole right to determine which programmes get made. Netflix pioneered the approach, first resurrecting Arrested Development, a cult show cancelled by Fox in 2006, and then producing its own programming, most notably a remake of the British political drama House of Cards. These upstarts approach the commissioning process in a very different way from the more established studios and broadcasters. Instead of basing their decisions on the whims and hunches of their executives, they look for cold hard data. "We climb under the hood and get all greasy with algorithms, numbers and vast amounts of data,” says Todd Yellin, vice president of product innovation – a job title that’s revealing in itself – at Netflix. He told The Guardian that the company examines the behaviour of its subscribers in minute details, mining it for insights that will guide them to what the next hit might be. “If they [the subscribers] play one title,” he says, “what did they play after, before, what did they abandon after five minutes?" Amazon, renowned for its data-driven approach to pricing, stock management and distribution is likely to bring a similar rigour to its commissioning. Could traditional broadcasters end up outflanked by their aggressive young rivals and their mind-reading technology? That seems unlikely in the short term, but the BBC is worried enough to hedge its bets over Ripper Street.
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
The BBC and Amazon are sharing the production costs of series two - but the corporation will get to broadcast it only after subscribers to Amazon’s Prime video-on-demand service (formerly called LoveFilm) have had their chance to see it. This speedy change of heart – it cast the show adrift as recently as December – may be prudent, given that the BBC has the most to lose if TV becomes just another online commodity. Small companies producing a few big hits can pay through the roof for talent, skewing the market and luring stars away from the traditional broadcasters. TV on the web, like music on the web, is likely to diverge into two markets: one for cheaply produced niche material catering to a small audience, and another for the few lavish productions that can attract big audiences and premium prices. The BBC in particular, with its broad-brush, even-handed, public service DNA, would struggle in an online environment in which huge pools of money gathered around a handful of projects, leaving loose change for everything else. By going into partnership with Amazon, the BBC has secured a position in a market it doesn’t yet understand – just as it did with its website back in the 1990s and the iPlayer in the 2000s. Whether the result is a new golden age of television, as it has been in the US, or the end of public service broadcasting as we know it – or both – remains to be seen.
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
Holden Frith is The Week’s digital director. He also makes regular appearances on “The Week Unwrapped”, speaking about subjects as diverse as vaccine development and bionic bomb-sniffing locusts. He joined The Week in 2013, spending five years editing the magazine’s website. Before that, he was deputy digital editor at The Sunday Times. He has also been TheTimes.co.uk’s technology editor and the launch editor of Wired magazine’s UK website. Holden has worked in journalism for nearly two decades, having started his professional career while completing an English literature degree at Cambridge University. He followed that with a master’s degree in journalism from Northwestern University in Chicago. A keen photographer, he also writes travel features whenever he gets the chance.
-
'United States of Anxiety'
Today's Newspapers A roundup of the headlines from the US front pages
By The Week Staff Published
-
Langdale Chase Hotel: a cosy nook in the Lake District
The Week Recommends This Victorian villa has breathtaking views and expansive gardens
By Natasha Langan Published
-
Orkney's war on stoats
In the Spotlight A coordinated stoat cull on the Scottish islands has proved successful – and conservationists aren't slowing down
By Abby Wilson Published
-
5 new horror movies to jump-scare your way through Halloween
The Week Recommends A new take on Stephen King classic 'Salems Lot', a spooky take on late-night talk shows, and more
By Theara Coleman, The Week US Published
-
Why is there such a long gap between TV seasons?
In The Spotlight Ambitious productions and a focus on data are creating 'staggering' waits
By Chas Newkey-Burden, The Week UK Published
-
Threads: how apocalyptic pseudo-documentary shocked a nation
In the Spotlight The rarely shown nuclear annihilation film will reappear on TV screens this week
By Rebekah Evans, The Week UK Published
-
TV to watch in October, from 'Disclaimer' and 'The Franchise'
The Week Recommends An HBO comedy from the 'Veep' creator, a mystery from master filmmaker Alfonso Cuarón and a reboot of an '80s classic
By Anya Jaremko-Greenwold, The Week US Published
-
Monsters: why is the Menendez brothers Netflix hit so controversial?
Talking Points Ryan Murphy’s latest true-crime series recounts infamous 1989 Beverly Hills murders, but some critics say his retelling takes too many liberties with the truth
By Irenie Forshaw, The Week UK Published
-
'Ludwig': David Mitchell's new quaint and quirky British detective drama
The Week Recommends The BBC's new cosy crime drama is the 'role of a lifetime' for Mitchell
By The Week UK Published
-
'Beast' of a lawsuit: YouTube star and Amazon sued by contestants over abuse claims
The Explainer Can the breakout YouTube star weather a growing scandal engulfing his forthcoming reality TV competition?
By Rafi Schwartz, The Week US Published
-
The Perfect Couple: glossy Netflix murder-mystery starring Nicole Kidman
The Week Recommends However hard you try to resist it, 'you will want to know the who, what, where and why-dunit'
By The Week UK Published