Essay Exampe on Audience-TV Industry: Complex Relationship for Profits

Introduction

The relationship between the audience and the television industry is a complex one with the industry perceiving the audience as both a consumer and a product. The television industry just like other media businesses depends on the magnitude of their command and influence in specific target regions to earn profits (Napoli, 2015). In this case, if a television network has a high viewership, the higher the likely hood of earning more profits from advertisements and endorsement (Cantor 2003). Production cost is a vital element that is based on the audience-industry relationship. Notably, the more the audience, the higher the production cost. Noticeably, both control the producer-audience relationship in a myriad of ways, which makes it vital for producers to find a balance between the audience and the industry for successful program production. However, miscalculations in show productions may occur, which largely affects the producer’s ratings. Even though the audience has significant influence over television media production, television networks support the current hegemony in the progression of TV programs since they perceive the audience as a product that can be packaged and sold to sponsors.

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Nature of Relationship

Audiences are vital for the television industry. The industry perceives the audience as a commodity that can be sold to sponsors and advertisers. In this perspective, audiences are the primary economic element that ensures that they move the wheels of the industry. Noticeably, the industry acknowledges that audiences are not easy to find; therefore, television networks often seek to understand the dynamics of their "economic commodity.” In this case, they use tools such as marketing research and ratings to get a glimpse of their audience's tastes and preferences. For instance, movies or shows sold via IDMB allow viewers to rate the work on a given scale or give constructive critics. The feedback enables the networks to improve on their content and programs to attract more audiences, which culminates in higher income.

Advertisers and sponsors are the primary sources of income for television networks. For them, they perceive the audience as consumers who can be mobilized to purchase various products. Hence, they sponsor various shows and in return, their brand names are embedded in the programs (Napoli, 2015). They depend on consumer hysterics that if an individual likes a specific program, they are likely to be attracted to the brand or product that supports the show. Moreover, advertisers may buy time to advertise their programs between a specific influential program that has high viewership. The situation has led to most networks introducing commercial segments between shows to market various brands. Initially, when the television industry was at infancy, single sponsors controlled what was aired in most networks making it difficult for producers to control the game. Single producers supported, developed, and produced programs, which allowed them to hedge the industry (Napoli, 2015). For instance, they could even have their brand names embedded in show titles, for example, the Colgate Comedy Hour show. Nevertheless, in the 1970s, sponsorship costs soared making it difficult for sponsors to control the entire program, which forced them to shift to purchasing a one or two-minute block in a show. The move enables d the industry to have some control that facilitated the inclusion of consumer preferences.

Noticeably, due to the complexity of the television industry, the audience is not at liberty to solemnly control the dynamics of the industry such as the continuity of a show. The situation is caused by various influences and factors that influence program content. For instance, advertisers and sponsors always review the content and scripts before they are aired to determine if they would change anything or support the production. Therefore, advertisers are at liberty to change various scenes, which might seem to counteract the efforts of the financiers. For example, if a sponsor sells margarine and the script says a character will be poisoned through a bread sandwich, the bread would be substituted for a drink or beer. Additionally, financiers may withdraw support for specific shows despite them having large viewership since they engage in controversial topics that affect their businesses (Napoli, 2015). For instance, conspiracy shows often get discontinued while in the third or fourth season, which leaves the audience enraged towards certain networks.

Moreover, competition and ratings may directly influence the relationship between the audience and the television network. In this case, in a bid to please potential sponsors and advertisers, television networks may decide to cancel the production of various shows. Notably, the situation arises aftermarket research where a network realizes that a show has low ratings and poor consumer engagement. The low ratings may affect a television’s ability to gain high offers; thus scrapping the show would allow room for a more engaging masterpiece (Napoli, 2015). Shows with low ratings or negative critics may lead to loss of appeal for a network for both the audience and sponsors. Therefore, removing it and replacing it with a more entertaining one is essential to maintaining the influence of a network in the industry. For example, the American Conspiracy series, Zero Hour, which aired in the US and Canada was canceled from the ABC network in its third episode a month after its premiere in February 2013. The network attributed the removal from the schedule due to poor ratings. Notably, the series was also expected to premiere in the Seven Network in Australia but was stalled until in 2015 when it was aired in an overnight slot at 11.30 pm. The series is among many shows that have been discontinued due to poor ratings.

On the other hand, the audience indirectly controls the production costs of the television industry. In this case, if a show has high viewership, the cost of producing the show would be higher (Bourreau, Gensollen, & Perani, 2003). Notably, fans idolize various celebrities and characters in specific shows, which increases the actor's ratings in the industry. For instance, Marvel and DC actors may bargain for high pay since they celebrities with huge followership. For example, Chris Hemsworth—popularly known as “Thor”—and Denzel Washington may be paid higher to appear in a given film or series compared to other low rating individuals. The actors’ ratings in the industry are high since they are often adored by fans, who follow them in their social media platforms and are likely to watch all their films.

Despite seeing the audience as a commodity that can be sold to advertisers and sponsors, idealists in the television industry also perceive the audience as a political constituent that can be influenced by various societal discourses (Allen & Hill, 2004). For example, television programs and films have been extensively used since the 1980s to influence the adoption of LGBTQ rights among other vital issues such as racism (Allen & Hill, 2004). Media scholars identify that most films often influence people to adopt various cultural trends such as racial and sexual diversity. Notably, in the last decade, most states in the US legalized same-sex marriages and criminalized discrimination against gay people. The television industry in support of the notion has seen the premier of various shows such as Empire and Modern Family, which promote diversity among audiences.

Audience and Industry Control over the Producer-Audience Relationship.

Audiences

Advancement in technology has changed the audience position consumers and products in the mass media industry. Today, the audience also plays a part in the production of the shows and films that occur in various television networks. According to Napoli (2015), technology has foreseen audiences take a new dimension from the traditional dual role, especially over the Internet. Digital interactive media is giving the audience opportunities to directly engage with show producers and influence their content significantly. For example, before airing a show or producing a film, most producers create trailers, which they post over the Internet, especially YouTube, and IDMB for potential viewers. The audience often comments and express their opinion concerning the show. From the information collected from the trailer reviews, producers can change or modify the script to attract more target audiences (Napoli, 2015).

Audiences can also assume control of the producers over social media. Platforms such as Facebook, Instagram, and Twitter allow audiences to air their views and opinions concerning various continuing shows. For instance, HBO’s Game of Thrones series gained popularity across the globe from word of mouth and social endorsement by the viewers. The show which first aired in 2012 in the US gained global recognition as audiences shared its reviews and opinions over the media. Notably, audiences would even air their expectations concerning how they would want their favorite characters to do in the nest series. During its season finale, the show trended on Twitter in most countries—even those that did not air the program—with people anticipating how it was going to end. Noticeably, the producers failed to deliver on the audience’s expectations leading to a backlash due to its final episode.

According to Cantor (2011), audiences often assume indirect control over producers concerning their favorite shows. Notably, the production process is filed with creators with conflicting public interests, which they represent through their scripts. The producers must engage their target audience to ensure that the media resonates with their interests. If a producer creates a program that does not tap his target segment, the show may choose viewership or attract poor ratings. Noticeably, each program has its target demographic; hence, the audience of such media indirectly influences the content of a show or film. If a show targets financial traders, the producer must ensure that the film’s dynamics match the audiences’ lifestyles or fantasies. If they doubt that the programs do not attract their audiences, they may discuss their cancellation with executive producers and directors.

Additionally, audiences may control the audience-producer relationship during the early stages of a film or a show production. In most cases, before a show is made, producers engage with audiences through market research to identify is a certain show or movie title is appropriate. In this case, a survey would be conducted on a select number of target audience concerning, which title they seem fit for a certain film. The producers use the information gathered to identify a suitable title for their work revealing audience control. Occasionally, some great movies go unnoticed due to poor titles that do not trigger interest from the audience. Moreover, poor ratings from target audiences may lead to the cancellation of a show since it becomes economically unviable.

Audiences may assume control of the production process if they feel a certain show should continue or be discontinued. In this case, viewers may assume direct control of the relationship and force producers to respect their demands. For example, if a show becomes controversial due to its depiction of a certain race or social issues, audiences ay directly inquire about the network to pull down the program or change the script (Cantor, 2011). On the other hand, fans control producers to continue with a program due to public demand.