Whenever I write reviews of summer television, I always sort of rub up against society’s general conception of summer programming – for example, if I get around to reviewing Covert Affairs, my review will likely discuss how its low-impact spy environment feels like “Alias gone Summer,” which implies that there is something about Alias (a darker vision into the struggles facing a new CIA recruit) which is inherently different from summer programming. In these reviews I rarely offer an overarching glimpse of what summer television is, largely because it means something different to every network and every viewer, and its meaning changes from year to year. There is no definitive role which summer television plays, and this summer’s programming has us no closer to understanding the enigma which is television’s most maligned, and yet perhaps most fascinating, season.
Well, this week a Fellowship of Summer Television (ala the Fellowship of the Ring) has converged at In Media Res to confront this enigma, as a collection of professors, critics, grad students and even unaffiliated intellectuals have come together to discuss trends within summer television, or the historical or social context of some of the season’s most popular programs. The goal of the week, which I’m very proud to be a part of, is to better understand how viewers and the industry confront summer television: the pieces are short observations accompanied by a video or a slideshow which provides additional context, and our goal is not achieved through extensive analysis but rather through discussion and interaction. In fact, the pieces aren’t even as long as this blog post, which long-time readers will know made this project particularly challenging for me; however, the result was a greater focus on the core of my idea, and throughout the week as others pieces have been posted I’ve seen how clarity of purpose helps to create new avenues of discussion that even the longest of independent posts wouldn’t have been able to achieve.
So far this week, Charlotte Howell looked at the ways in which USA Network has formed their own genre, while on Tuesday Jaime Weinman looked at how the Summer’s breakout cable hit, TV Land’s Hot in Cleveland, is related to both 90s sitcoms and Disney’s efforts to target the tween demographics with similar fare. Yesterday, meanwhile, Jeremy Mongeau looked at how summer series use pleasure (or the appearance of pleasure) to create a ‘must watch’ series amidst a season very different from fall or winter. Tomorrow, Chris Becker is going to look at how DVD marathons are changing our summer viewing habits, which I’m very much looking forward to.
However, today is my day, and I am looking at something which nicely bridges the gap between Jeremy’s discussion of what makes a successful summer series and Chris’ discussion of the ways in which alternate viewing methods are changing those qualifications. I discuss what I call “Seasonal Synergy,” that being an inherent (and clearly understood by both network and viewer) connection between a series and the summer in which it airs, or premieres. I specifically look at Royal Pains and Burn Notice, and how the challenges the series have faced after becoming so synonymous with the sunniest of seasons.
The Rigidity of Seasonal Synergy – In Media Res
If you’re intrigued by summer programming and interested in discussing more about it (or hearing more about it), I truly suggest clicking through and reading these great pieces. Summer TV may be lighter than regular fare, but I do not believe it to be lesser, and discussions like this one (masterminded by Noel Kirkpatrick) are integral to better understanding what role it plays in our media consumption and in the industry as a whole. I’ll be reflecting on the week as a whole, including an elaboration on my own piece, early next week, so stay tuned for that as well.