theguardian.com
Adolescence" Success Challenges UK Broadcasters' Risk Aversion
Adolescence," a Netflix series exploring the influence of incel culture on a violent act, has garnered 96.7 million views globally, prompting calls for UK public service broadcasters to embrace riskier programming despite financial constraints.
- How do the financial pressures on UK public service broadcasters contribute to their risk aversion, and what types of programs are most affected?
- The show's international success counters the narrative that only high-budget productions with extensive special effects can achieve global viewership. The success of "Adolescence" and similar shows like "Baby Reindeer" demonstrates that compelling storytelling and strong performances can resonate internationally even on smaller budgets. This success directly challenges the prevailing risk-averse climate and financial pressures impacting the UK's television industry.
- What is the primary global impact of the success of "Adolescence", and how does it challenge the prevailing production strategies in the UK's television industry?
- Adolescence", a Netflix show examining the impact of misogynistic incel culture, achieved 96.7 million views globally, ranking as the ninth most-watched show. Its success highlights the potential for British public service broadcasters to produce riskier, high-quality programming. This success challenges the prevailing risk-averse climate among UK public service broadcasters, attributed to financial pressures.
- What are the potential long-term effects of the success of "Adolescence" on the future of British television, considering the challenges faced by public service broadcasters and the broader industry?
- The financial constraints faced by UK public service broadcasters, stemming from license fee cuts, streaming competition, and audience fragmentation, are hindering the production of ambitious, authored programming like "Adolescence." The show's triumph suggests a potential path toward revitalizing British television: increased risk-taking and investment in high-quality, locally-focused stories with universal appeal to counter the ongoing industry crisis.
Cognitive Concepts
Framing Bias
The article frames the success of Adolescence as a direct result of risk-taking, implying that public service broadcasters should emulate this approach. This framing emphasizes the financial success and global reach of the show, potentially downplaying other factors contributing to its success or other successful programming models. The headline and focus on financial aspects and global viewership numbers immediately set this tone.
Language Bias
The language used is largely neutral and factual, however, terms such as "global phenomenon", "hit show", and "massive global audience" are used to describe the program's success, potentially creating a positive bias. The repeated emphasis on financial success and risk-taking could be viewed as subtly influencing the reader's perception of the importance of these factors in program commissioning decisions. More neutral alternatives might include 'popular show', 'successful program', and 'wide viewership'.
Bias by Omission
The article focuses heavily on the financial aspects and international success of the show, potentially omitting discussion of its critical reception or broader societal impact beyond the financial implications for British broadcasters. There is no mention of the show's potential negative impacts or criticisms, which could provide a more balanced perspective. The lack of diverse viewpoints on the show's content, beyond the producers, limits a comprehensive understanding.
False Dichotomy
The article presents a false dichotomy by framing the issue as either taking risks and achieving success (like Adolescence) or being risk-averse due to financial constraints. It overlooks the possibility of finding a balance between financial prudence and creative risk-taking, or other factors influencing program commissioning decisions beyond financial pressures.
Gender Bias
The article features multiple male executives (Jack Thorne, Mark Herbert) and one female executive (Emily Feller). While there is no overt gender bias in the language used or in the representation of views, the relative lack of female voices and perspectives in the discussion of program commissioning decisions may indicate a bias by omission.
Sustainable Development Goals
The success of the show Adolescence, which tackles complex issues like misogynistic culture and violence, highlights the potential of media to raise awareness and promote positive change. The show's global reach signifies its impact on education and awareness regarding societal issues. This indirectly supports the SDG target of ensuring inclusive and equitable quality education and promoting lifelong learning opportunities for all.