Today at The A.V. Club, I have a piece reflecting on the state of what has become known as the 10/90 model, specifically focused on its fate at FX given the failure of George Lopez’s Saint George earlier this year and the unlikelihood of Partners—which debuts on Thursday night—setting the world on fire.
The uncertain fate of TV’s most radical get-rich-quick scheme – The A.V. Club
What’s become clear since 2012 is that the 10/90 is a form of television development fundamentally incompatible with the FX brand, and with the brand of any channel fostering a creativity-driven environment. In a business that has always been a negotiation between economic imperatives and creative potential, the 10/90 model makes no effort to have that negotiation. It’s the television-production equivalent of a get-rich-quick scheme, and it shows in every pained, unfunny minute of Partners’ first two episodes, as well as in the creative struggles of both Anger Management and Saint George.
What struck me in doing research for the piece was how there was an untold story of the TBS 10/90, a marginalized narrative in the broader discourse. FX’s Anger Management was the first 10/90 to draw significant mainstream attention, despite the fact it only barely edged out the record-setting ratings of Tyler Perry’s House of Payne on TBS in 2006. But that show was on a less reputable channel, starring largely unknown actors, and—most tellingly—is primarily aimed at an African-American audience. And yet it also ran for over 250 episodes between 2006 and 2012, and spawned two other African-American led 10/90 sitcoms at the channel: Tyler Perry’s Meet The Browns ran for 140 episodes between 2009 and 2011, and Are We There Yet?—based on the Ice Cube film—produced 100 episodes between 2010 and 2012.
This story became more of a stepping stone for considering the more timely discussion of FX’s relationship with this development model in the final draft of the piece, but in earlier—overlong—drafts I had a line of discussion regarding the demographic implications of the evolution of the 10/90 that I wanted to explore here. Specifically, I want to consider how we can understand the 10/90 as an important space for serving underserved audiences, and how the evolution of the form has drifted away from what seemed like a key appeal of the model early on.
The return of Breaking Bad this summer drew headlines for its meteoric rise in the Nielsen ratings, transforming from a cult success to a breakout hit for AMC seemingly overnight. Many credited Netflix for this development, rightfully so, but I was struck that pieces like Andrew Wallenstein’s at Variety made no mention of Sons of Anarchy, which is arguably the first drama series to benefit significantly from Netflix in its continued—and trend-breaking for drama series—rise from season-to-season.
The reasons it hasn’t been mentioned range from the statistical (its increases have been more gradual) to the contextual (it isn’t in its final season) to the typical: for better or worse, depending on who you ask, Sons of Anarchy has slipped under the radar when it comes to the prestige drama trend. With Justified and The Americans more beloved by critics in FX’s lineup, and shows like Breaking Bad or Mad Men seen as better representatives of the dark, masculine dramatic series trend, Sons of Anarchy has largely been left to grow its audience outside of conversations like Wallenstein’s that privilege those series deemed most important.
Sutter and his bosses at FX have been expecting these audience increases: Sutter continues to hold a “contest” to hold a special fan screening of an episode late in the season if ratings go up over the previous year, which is more a way of rewarding fans for sticking with and promoting the show than an actual contingency (I expect he’d find a way to hold the event regardless of whether or not ratings had gone up, as it wouldn’t be the first time he’s privileged his relationship with fans over an arbitrary number). Still, one increase that perhaps works against the ongoing trend—gradual 10-15% increases per season—is the fact that ratings for the season six premiere among women 18-49 and women 18-34 were up 35% and 43% respectively.
Variety’s AJ Marechal posed the possibility on Twitter that this could be chalked up to the casting of Sons star Charlie Hunnam in female-friendly franchise 50 Shades of Gray, but I’d argue that’s a web of causality we can’t possibly break down. That being said, the increase in female viewership does tie into discussions of the series’ streaming success, as well as its expansion in non-linear platforms with the online Anarchy Afterword series that debuted following the record-setting premiere.
Offseason Shenanigans: The Return of Glee
February 6th, 2011
For a show which has yet to air an episode in 2011, Glee has been awfully ubiquitous.
No, this isn’t surprising: people can’t get enough of Glee, so it is inevitable that a brief hiatus with a much-hyped post-Super Bowl episode on the other end would result in an infinite number of stories relating to the series. However, what struck me as particularly interesting is the degree to which the series’ absence created a vacuum for something approaching controversy. Ryan Murphy announced that he was breaking up one of the show’s couples because he was bored. Ryan Murphy started a flame war with Kings of Leon. Ryan Murphy claimed that Glee is at least partially aimed at seven-year-olds (in the same sentence, no less).
There were a few moments when people wondered why I, as someone who “deigns” to cover this series from a more critical perspective, wasn’t commenting on these numerous stories. In truth, I just didn’t have time to respond to every piece of new surrounding the show, but I also never felt any sort of impulse to do so. Yes, I could comment on what it means for a showrunner to admit to a show’s fans that he makes decisions based on things which bore him, and there’s certainly analysis to be done of the impact of public flame wars; there is also most certainly a lot to be said about Murphy’s perception of the demographic makeup of his audience, an audience which I would presume is more for the show’s music (a sort of pop culturally-driven Kidz Bop) than for the show itself.
However, maybe because of my scholarly approach, I didn’t feel particularly moved by any of these stories. I wasn’t angry that Murphy was bored because I’d rather showrunners be honest than not. I wasn’t aghast at Murphy’s battle with Kings of Leon because I don’t have the time to care about celebrities sniping at one another over a misunderstanding. And while I raised an eyebrow at Murphy’s comments regarding demographics, that seems like a more detailed, long-term study than it does an instant reaction.