The relationship between Pemberley Digital and PBS Digital Studios—the two producers behind Frankenstein M.D.—makes a lot of sense to those familiar with both parties involved: both have taken their respective “projects” as creators and translated them for an online audience, taking advantage of the affordances of platforms like YouTube to create content that connects with those consuming content outside of “traditional” spaces of distribution. In this way, the idea of combining the former’s literary webseries development with the latter’s investment in creating STEM-related content on digital platforms with an adaptation of Frankenstein makes perfect sense to those following along.
At the same time, however, their inherent philosophical compatibility must nonetheless negotiate the fact those philosophies have been heading toward two different goals: whereas Pemberley Digital has been developing web franchises that can be spun off into ancillary projects like books or merchandise, PBS Digital Studios remains bounded within the logics of public television where its primary goal is serving the public interest.
And so while web content has proved a valuable tool to both producers within the contemporary web video environment, building connections with audiences from both profit and non-profit perspectives, the convergence of these two companies nonetheless requires each to adapt accordingly. Whereas unscripted YouTube content related to science and culture showcases PBS translating its interest in documentary programming into a more web-friendly format, how does one design a scripted webseries to fit into that mission? And if you’re the one designing that webseries, how do your goals for audience engagement change when views might become less important than connecting with audiences in an educational—or at least informative—way?
While the interview I posted yesterday touched on a number of these issues, and the series itself will ultimately stand as the answer to this question, I wanted to create a second part to the interview focused on this intersection of approaches to web video content. Some of these questions and answers also appear in the previous interview with executive producer Bernie Su, star Anna Lore, and PBS Digital Studios senior director Matthew Graham, but they’re presented here to isolate the relationship between the two companies and their relationship with webseries, transmedia, and the various component parts that will make up Frankenstein M.D. as it rolls out over the next few months.
Cultural Learnings: From a PBS Digital Studios perspective, this is the first time you’ve developed a fictional webseries of this kind—what drew you to Pemberley Digital as a partner for this milestone?
PBS Digital Studios senior director Matthew Graham: What was great was that they had this amazing track record, and the qualities of Lizzie Bennet and Emma Approved that we really look for: audience engagement, smart content that’s innovative and totally different from anything else you see out there, etc. It’s unique, and it appeals to the kind of person that is drawn to PBS, and a big push behind Digital Studios is reaching those 13-34 year-olds that are on YouTube and consuming lots of content. And Bernie’s a great guy. [Laughter]
During the PBS executive session [at July’s TCA Press Tour], president and CEO Paula Kerger was talking about how PBS has audiences at a young age, and then it gets them again when they’re older, but sort of loses them in the middle. So you see this specifically serving a similar function from an educational perspective for one of those generations in between?
Graham: Absolutely. I think it’s an incredibly exciting opportunity to reach these younger folks with higher-quality, educational, entertaining content. The mission’s a little different when you’re talking about very young kids: there the PBS kids team does incredible work structuring the content so that it’s age appropriate and they’re actually learning letters. Here it’s a little bit more “Sure, there is science information that the audience is consuming, but it’s a little bit more of a cultural exposure: STEM careers are cool, this is an exciting space, there’s a lot of exciting stuff happening around it.” So it’s more kind of inspiring people to think about these career directions as opposed to trying to teach them science.