Television or “Television?”
[This is the second post in a five-part series about the pending U.S. adaptation of Norwegian teen drama Skam. You can find the other parts of the series here, as well as my other posts about Skam here.]
In the era of “Peak TV,” there is no shortage of homes for television programming: while not all shows fit in all networks, channels, or streaming services, there are more options for more types of scripted series than ever before.
Skam is not a normal television show, however. Although it is ostensibly a once-weekly drama series as broadcast on NRK, it is primarily a transmedia webseries, distributed and consumed online through the NRK website. This is a crucial part of the format, allowing the show to build anticipation and suspense among its users, as well as reach a generation who is historically watching less and less linear television as their viewing moves to mobile devices.
Skam is built for an era where television content is inextricably linked to the internet, and for an audience that increasingly watches content online: accordingly, there are a wide range of options for its future as television channels become more deeply invested in online streaming, and as internet companies move increasingly into content production. However, all options present challenges compared to the free, open access model established by NRK, which—as noted in part one—is likely impossible in a commercial environment. Even before we consider the cultural challenges of adapting Skam, the industrial challenges are themselves something any adaptation would be forced to navigate.
April 24, 2017
When it was announced late last year that Norwegian teen drama Skam—which I wrote about catching up on last week—would be adapted for American audiences, I doubt anyone was particularly surprised: it is common practice for producers (in this case Idol producer Simon Fuller) to see international television hits and think of ways to adapt them for the larger and more lucrative American market.
However, while I wasn’t following the show closely at the time, I also doubt many members of the show’s international fanbase were particularly excited. The group of people who care about Skam are not the group who would require an American version to become invested in it: while there are no doubt people out there who would balk at the idea of watching a Norwegian teen drama with subtitles, it seems unlikely that those people know Skam exists, given it remains a niche text outside of the specific circles in which it carries. Perhaps there’s people who have seen the show comes across their Tumblr dashboards and wish there was a way to invest without subtitles, but for the most part an American version of Skam—tentatively titled Shame, the English meaning of the title—exists for people who have never thought for a single second about Norwegian television.
It wasn’t surprising to find some pushback against this news, then—take, for example, this Change.org petition. The people who’ve signed it are effectively offended on behalf of the show, defending it against the suggestion that it is some way lacking such that it requires a “Hollywood” approach. These people have been burned before, with many citing MTV’s failed attempt to remake U.K. series Skins, and I don’t blame them for having a lack of trust in Fuller or the process in general. There are lots of reasons to be skeptical about the idea of turning Skam into Shame, and I have to share their sentiment that it’s unfortunate the show can’t just be enjoyed by a larger audience in its current iteration.
However, the fact is that it can’t. The idea of distributing Skam to the U.S. with English subtitles sounds great in theory, but it faces two fundamental barriers. The first is legal: the show’s substantial use of music is economically feasible because that music is only licensed for broadcast in Norway, and so the vast majority of it would need to be stripped out should it arrive in the U.S. (as compared to smaller markets where the show has been exported in Europe, notably through other non-profit broadcasters). The second, though, is the fact that the show’s target demo has not been trained to watch shows featuring subtitles: while Netflix’s push into local language production might eventually get us there, the fact is that the subtitles are a fundamental barrier to the show reaching a wider audience in the United States, and thus being seen as valuable to potential distributors. Fan subs are going to be the only way the Norwegian version of Skam will make its way to America, and that creates a logical opening for an adaptation.