Page 216 - A Handbook Genre Studies in Mass Media

INDUSTRY PERSPECTIVE

dramatic units were suitable for broad action and vivid characters, rather
than narrative complexity. The narrative structure consisted of a buildup
to a climax at the end of the mid-segment, so that the viewer would be
drawn back to the show after the commercial break. (For further discus-
sion of formulaic structure, see Chapter 2.)

Conservative Sensibility

Because of the profit imperative, the media industry is very conserva-
tive in its approach to programming. Corporations like General Electric,
which owns NBC, measure success on the basis of quarterly reports. As
a result, the media industry often is forced into a short-term planning
mode. President and C.E.O. of CBS Leslie Moonves explains: “Unfor-
tunately you can’t have the patience for [a program to build an audience]
anymore. In your ideal world, where I have all the money in the world,
and I don’t have a corporation looking down on me, maybe I could be
more patient.” For instance, in the early days of television, a series
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would be on the air for thirty-two weeks before a decision was reached
on whether to renew it for the following year; today, programs may be
cancelled after only two episodes.
Unfortunately, genres such as comedies are disadvantaged in that
they require more time to develop. President of NBC Entertainment
Jeff Zucker laments, “I don’t believe that it’s possible for a ‘Cheers’ or
a ‘Seinfeld,’ both of which languished in their youth, to happen today.
It’s a shame. Comedies take time, and they have to find their voices and
get their legs.” 15
The reality genre epitomizes the short-term thinking of the media
industry. As discussed earlier, the reality genre requires relatively little
capital to produce. In contrast, scripted genres such as dramas, action/
adventure programs, and comedies almost always lose money on their
initial screening. Consequently, studios must recoup their production
costs through repeated screenings on the network, sales of DVDs, and syn-
dication to domestic and international markets. However, reality shows,
which make up an increasing percentage of the networks’ schedules,
have not been successful in attracting large audiences for reruns, largely
because their winners have already been revealed. As a result, although
reality shows do generate immediate earnings, they ultimately produce
less overall revenue than scripted shows. CEO of Turner Broadcasting
System Jamie Kellner explains, “Without the ability to repeat some

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