Non Pulp Pulp Genres
As of this writing it appears that the pulp era has finally
ended. The two last pulp magazines, True
Story and True Confessions, seem to have suspended publication. The website of their publisher is no longer
active to any degree and subscriptions are not being offered. There is always a chance that publisher True
Renditions may come roaring back and if we see any evidence of this, we will
report it here.
The pulp era has, of course, been over for a long time. It still lingers in the present. The characters, character archetypes and
genres first spawned in the pulps are now mainstays of popular culture. Many of the escapist tropes displayed in
movies, television and video games have deep roots dating back to the first
flouring of fantastic magazine fiction in the 1890s. The magazines may be dead, but pulp fiction
moves on.
Pulp fiction is an innovative form, with most of its
branches having subdivided from Romance. The broad genres of Western, Detective,
Romance and Horror spawned Science Fiction, Jungle Adventure, True Confessions
and other offshoots. In the end it was
the Romantic Western and the True Confessions genres which held on as
exclusively pulp magazine genres. Once
the appeal of the other genres was proven, they fled to other mediums—following
the audience first to radio and the movies and then to television and video
games.
During the pulp era, from 1890 to 1950, new genres and slants
were constantly being rolled out. Since then, the creation of new genres has
massively slacked off. Some of this can be ascribed to the barrier for entry
with other mediums. In the pulps if one
wanted to test the appeal of something new and dubious, such as stories
centered on zeppelin travel (Zeppelin Stories) or religious setting perverted
sex confessions (My Life in a Love Cult) all you needed to do was put out the
word, buy 100K words worth of the stuff, commission/repurpose a cover and
print. Issued as a quarterly, it flies or dies and the capitalist is not out
all that much. With other mediums the sensibilities of external monied
interests have to be considered. Sponsors, lenders and marketing departments
all have an undo say. The process leans towards building off themes which have demonstrated a strong draw.
Please no games about directed flower
pollination possibilities, we have tens of millions at stake. You want
something that’s going to sell—and the best pattern for that is something that sold
well before.
That said, 1890 to 1950 is a long time for innovation. The field of genre innovation may simply be
covered. This type of fiction is
reflective of the general human condition in an industrialized society—or those
things people would like to escape from or escape into. Not much seems to have
changed with that. There have been some
changes in presentation, specific to electronic mediums. Movies manipulate
audience reaction through beats, visual and audio ques designed to speed up or
slow down the heart rate. (A trick stolen from music.) Television has its
encased perception blobs, conditioning to intake content between commercial
breaks. Video games have First Person Shooters and 360 perspective. These are all certainly unique, however they
are medium features, not alternative genres. By genre we refer to the theme of
the content. Since the demise of the pulps and the rise of these other mediums,
there have been all of three new genres which have emerged in popular fiction:
Pulp Dystopia, Soap Opera and Reality Programming. All three forms are thoroughly post pulp magazine,
but do have roots tracing to pulp era parallels.
Pulp Dystopia: I
am about five years tardy in reporting on the popularity of the dystopian
novel. Dystopia is an old novel form, with some early pulp genre convergence in
science fiction. It has, however, been largely a literary convention rather
than a popular fiction type, at least until relatively recently. The divergence of Pulp Dystopia from the
literary form requires explanation. Dystopia is itself a spin off, a reverse of
the classical Utopian novel form. While most Utopian novels have been travelogues
of hypothetical perfect places, dystopian works are generally personal horror
stories.
Dystopia is literally un-Utopia, a work set in a
hypothetical bad place. Dante’s Inferno is one of the earliest dystopian works,
predating the term, itself a hypothetical tour of hell and sticking closely to
the Utopian travelogue style. Even the
book Utopia is a positive slant to dystopia, although unintentionally and
mostly to modern eyes. (Wives having to confess their sins while naked and
prostrate before their husbands every evening is only ideal probably for one of
the parties involved.) Both forms are extrapolations of an organizing global
theme—peak oil, a comprehensive nanny state, zombie apocalypse.
Dystopia writ small is horror. The form can be seen as a
subset of large horror themes, a sister genre to Lovecraftian horror or sword
and sorcery. There is a certain amount of rules setting—or world building, to
borrow a fantasy term—involved in all of these forms. With literary dystopia
most of the novel’s words are spent on just this function. After the rules are
set, the character moves towards the classic horror results, escape (Logan’s
Run, Brave New World) or doom (1984, Night of the Walking Dead). The walls do a
lot of talking in literary dystopia, with the ramifications of potential
actions and other naval gazing given pride of place. In literary dystopia the scenery itself is an
active menace.
This active menacing scenery is all literary dystopia shares
with Pulp Dystopia. The inhabitants of Pulp Dystopia have a wider range of
personal preoccupations. (Mostly ignoring the immediate situation.) High minded
Pulp Dystopian protagonists may attempt to “solve” the whole crisis, find a
cure for zombie-ism or overthrow Big Brother. But that’s a minority. Although there is plenty of torture and death
lurking in the Pulp version of dystopia, our main characters are seldom
involved—in fact, they are seldom the main focus of whatever the overall idea
run amok may be.
Pulp Dystopia does not have any direct pulp roots, unless
one counts a serial which ran in Operator Number Five called The Purple
Invasion. In 13 novels the United States was conquered and destroyed. Prior to
that, Operator Number Five took place in the real world, or a world as real as
most James Bond movies. From the onset of The Purple Invasion the series was
set in an entirely alternative universe. It’s not a stretch to describe it as a
dystopia, perhaps the first dystopian serial. Using an established dystopia as
a setting for a series of stories is one of the central features of Pulp
Dystopia.
Pulp Dystopia’s popularity has been building for decades. At
its root is Cold War fear of nuclear annihilation, a real world theme which has
lingered for generations. From there it
branched to environmental crisis, fear
of mad science, economic/social domination by the Japanese (now the Chinese), absorption
by clans of lawless corporations, to the highly implausible (yet popular)
zombie hordes. Each one of these themes
have built up their own fictional architecture, reused over and over. (Stopping zombies by shooting them in the
head.) It may have started in paperback novels, but I am pinning the big blame
for Pulp Dystopia’s rise on video games and role-playing games. By the time Mad
Max reared his ugly head, the whole post-whatever universe had been established
so well that the actual cause of dystopia need not be mentioned.
The form Pulp Dystopia cleaves closest to is the Western. In my mind this is because Pulp Dystopia is
essentially a renamed Western. The drawback to the Western genre is that it is
in the past. Its little clichés and
props—high noon shoot outs, the code of the west—have as little to do with life
in that historical period as Dungeons & Dragons does with the Renaissance.
Like the Western, Pulp Dystopia is a land of minimal opportunity for ambition, remote
from fame and fortune. In the evening oppression of it all, the characters are
focused on survival and love to the exclusion of all else. Divorced of its no
internal logic dystopia, the Hunger Games series is a tale suitable for the
classic Romantic Range western pulp. Unlike fantasy or space opera, Pulp
Dystopia uses a stripped down version of the commonplace: like here, but
without celebrities and Twitter. It’s a Western, only without the livestock and
the hicks. The appeal is in both its
familiarity and its general literary democracy.
Now that Pulp Dystopia has been firmly established, it has a
long way to run. The zombie slant is on
its way out and quasi feudalism is currently ascendant. The prime conflicts of
love and survival along with premixed conventions from the Western and Historic
Romance genres will provide material aplenty for some time. It may even return to its sociology/poly sci
experiment in written form roots eventually. Like the Western before it, Pulp
Dystopia may die from overexposure, but not anytime soon. The same cannot be said of our next form…
Soap Opera: Serial
stories involving a repeating cast of fictional characters, produced at the
hands of several writers, was a advent of the late Dime Novel era. None of these magazine stories involved
female leads or elements of romance, however. Ditto the later pulps, which had
an emphasis in character driven titles. Despite the pulps offering several
types of romance for female readership, none of them to my knowledge ever
involved characters who were reused over the course of several stories. And no
pulp series, no matter how convoluted, ever ran several plotlines at once over
the course of a single work. Only Stan Lee’s comic books did that—and he was
deliberately imitating the soap operas.
Soap Operas have little directly to do with the pulp
magazine form in any of its permutations. It origins are in slick woman’s
magazine fiction serials and promotions which tied such works with silent movie
chapter plays. It was a unique cross-promotional effort. Magazines would run a
treatment of the installment concurrent with a release of a short movie which
dramatized highlights of the story. It kept people coming back to both the magazine
and the movie theater on a regular basis. Some of these tandem efforts, such as
the Perils of Pauline, went on for dozens of chapters. Unlike a lot of media
inventions, this one was truly international in scope. The serial novellas were popular from
Argentina to Canada, from Spain to Germany. As successful as this was, the
arrangement unwound before the advent of talking pictures.
Other than demonstrating that there was a fair-sized
audience for serial entertainment targeted at women, there isn’t a lot of
similarity in content between these efforts and the style that Soap Operas
would eventually take. They were
extremely visual, action-oriented dramas with female leads. This isn’t normally
the type of material that women gravitate to.
Its rise and demise may have been more based on novelty than anything
else. The Soap Opera form would borrow heavily from the personal adventure
slants of these serials, but emerged in the medium of radio.
Radio in the United States went through several phases. Initially
the invention was seen as a replacement for the telegraph, with many early
systems being dubbed (oddly) visual telegraphs. It was not seen as a method of
mass communication, but rather person to person (or ship to shore) contact.
Radio’s pioneers, the Marconi Company, envisioned their device as a safety
system for transatlantic shipping. It
was only after crystal sets became widespread in the late 1920s that the
concept of directing broadcasts widely was first explored. In this, and in
every phase of radio’s development, the focus was on monetizing the invention.
In the second phase the emphasis was on selling transmitters. Early
broadcasters were commercial or community entities—stores, trade unions,
service providers—who plied the airways with self-service promotion. In short,
radio was wall to wall commercials.
Once the radio audience became established, in the 1930s,
the focus shifted first to providing higher quality receivers and then to providing actual
programming for the airwaves. (Long story short. It was an uneven
process.) The largest manufacturer of
radio receivers, the Radio Corporation of America (RCA) successfully petitioned
the government to restrict access to transmitters. The newly minted Federal
Radio Commission then assigned
set frequencies to stations. RCA then formed the first national broadcasting
network, the National Broadcasting Company. In fact, it had two networks, NBC
Red and NBC Blue. NBC was effectively an advertising agency, selling blocks of
time on stations from coast to coast. Other, smaller networks, soon also
cropped up: Columbia Broadcasting System, which was purely in the programming
business and the Mutual Broadcasting System, which was a coalition of station
owners banded together to share programming. (1)
In this phase, the advertisers served as the producers of
the programming. Advertisers conceived
the programs, hired all of the talent and paid the network for the airtime. It
was during this era that the Soap Operas first emerged. As the name suggests, most were produced by
the makers of household cleaning products.
Then as now, advertisers were interested in getting the most
out of their investments—either by reaching the broadest audience possible or
making a direct appeal to the likely consumers of their goods. The broad part
came first. Radio was initially an
evening medium. It was believed, fairly,
that the bread winners of a family were most prone to listening after work or after dinner. This span became
known as Prime Time and the programming on all networks was built around it.
Over time, broadcasters began expanding slated offerings either before or after
the Prime Time block. Most of the expansion was in slates of time before the
Prime Time block, the audience after 10:00 PM dropping so low that most radio
stations simply signed off the air. As opposed to being broadly focused,
programs in the earlier slates were targeted at who the advertiser believed had
control of the home receiver.
The first additional programming block to develop was the
one just previous to Prime Time, called the After School segment. As the name implies, this block was focused
on children having returned home from school.
Many advertisers of the time attempted to tap into existing audience
appeal by licensing comic strip characters for their programs. Superman and
Little Orphan Annie were two of the most successful of these programs. The
majority of these programs were 15 minute daily serial installments, with story
arcs which resolved in either one or two weeks. This is also the same format
the early Soap Operas used.
The Soap Operas owe a lot to the early After School
programs. Many of the programs at the edges of the After School block had dual
appeal to both children and adults—as did some of the comics strips they were
based on. Then as now, however,
licensing other entities is expensive. Although sharing a similar 15 minute
format and serial orientation, the majority of Soap Operas were custom designed
original programs. And they were largely targeted at women.
Pulp publisher Street & Smith embraced the medium of
radio by providing stories from their magazines, first in the Detective Mystery
and then in the Romance genres. (2) The Street & Smith program switched
genres with the seasons, offering Detective yarns during the normal season and
then switching to Romance during the summer ‘Replacement Season’. (Unlike TV, the radio era had no off season or
summer reruns.) Other publishers in the Romance genre soon followed suit. Stand
alone Romantic radio treatments fared well early on, but never became a
mainstay of the medium.
Soap Operas are a convergence of the Romance genre and the
serial form. They came to dominate the before After School radio timeframe,
which became known as Mid Day. Sort of. Only about a third of all Soap Operas
aired in that time period. Many Soap Operas were ‘transcribed’ or pre-recorded
in advance. Being the products of distinct sponsors, many were aired
whenever the air rates hit a certain threshold, either towards the end of
Prime Time or as counter programming against higher-rated shows. This was especially the case when the
higher-rated program was not geared to a female audience.
The appeal of the serial form is that it required audiences
to make an appointment to return each week day. Beyond form, Soap Operas also
adopted the same “Play it Straight” tone common to the adventure serials such
as Jack Armstrong the All-American Boy and Captain Midnight. These were pot boilers, delivered with
dramatic flourish, taking themselves very seriously. This may be evidence of
the forms reflecting back to the base Romance form. Like the juvenile serials,
Soap Operas had a tendency to come off as
breathless dreck.
Once established, the form became widely popular, not just
in the United States, but all over the developed world. Not all of the international efforts clung to
the 15 minute serial format—or even the medium of radio. In Argentina and other
Latin American countries, Soap Operas came in the form of photo illustrated
magazines, reading something like comic books.
The overly serious tone also spread to other genres, the longest lasting
of the splices being the Western program Gunsmoke.
Soap Operas began to diverge from the basic story arc form
employed by the other serials early on.
The juvenile serials such as Superman were told in a straight-forward
manner, with one plot line moving through its three stages without much
sidetracking. By contrast, the Soap Operas often sidetracked their plots,
inserting character introductions or dream sequences along the way. They came
to adopt what is called an ABC construction, a permutation of the “One Damn
Thing After Another” plot form. The ABC
form balances three distinct story lines at one time: (A) one which is in the midst of concluding; (B)
a plotline which is in its second act or mid-resolution; and (C) a story
element which is just coming to light. Each segment of a Soap Opera will be
dedicated to either A, B or C and usually in this order.
Compared to other forms of programming, radio Soap Operas
were inexpensive to produce. Anyone with access to a recording studio and a transcription
facility could get into the game. Many
Soap Operas were not networked in a classical sense (delivered to the radio
outlet via a dedicated phone line), being sent via transcription disk through
the mail. Due to this mechanism, the installments of a program might air at
vastly different times in different places—sometimes with a variance of days,
weeks, months or years between outlets. It was not unheard of for a program
which had gone out of production to start up from the beginning on a new outlet—the
new outlet doing nothing more than playing old recordings in order. Soap Operas
also benefited from a lowered expectation of production standards. There was little expectation of realism,
originality or wit. Events which would
have blown the budget were explained rather than dramatized. Sound effects were
at a minimum and musical accompaniment generally consisted of an organ
flourish, right before the commercial break. All in all, Soap Operas were a good bang for
the producer’s buck—and the form proliferated like bunnies.
On radio, Soap Operas clung to two basic story conventions.
One I will call the Oracle Formula, wherein the action is centered on a single
person who dispenses wisdom. This wisdom spewing gives her license to knee-jerk
mess with the lives of those unfortunate enough come into her orbit. (Usually
younger family members.) Mind you that the other characters in the drama are a
collection of nitwits, psychopaths and degenerates. Other than proximity, the
various problems endemic to the supporting player’s base state is what
qualifies them for the main character’s ad hoc intervention. And our main character is an intervention
dynamo. The second convention I will call the Poor Put On Me Formula. In this
formula our main character is deeply mysterious and currently beset by an
insurmountable personal circumstance. The character is defenestrated royalty of
some sort, broke, a single mother, married to a psychopath or some other
dreadful condition. Previously she was a circus aerialist, spy, drug mule. The
action floats from the character’s efforts to cope with her current problem,
attempts to conceal her past and things from her past reaching into the
present. In some Soap Operas you will see both constructions, with one Oracle,
one or two Poor Put On Mes and the usual assortment of deplorables. Couple
these dynamics with everyone under 60 having the sex drive of a rabbit and the
sexual morality of an alley cat and mix to taste. It’s the formula that made fortunes!
The Soap Opera form reached its height, on radio, by the
early 1940s. Nearly every station ran one. And if you ran one, you probably ran
a block of them. Although Soap Opera
production was a good business for small time players, about fifty percent of
the Soap Operas were created by one of three shops. Many of them were mass-produced entities, sharing writers, actors and recording studios. A few Soap
Operas were long lived. Gunsmoke and Edge of Night had enough proven draw to
make the jump to television. Most Soap Operas, however, had very short life
spans, usually disappearing before their third full season. It was more the rule that a show lost
audience as it went on and that this audience was invariably lost to new Soap
Operas. Thus there was a continual drive for novelty.
Setting wise, Soap Operas were fairly democratic. Rural
locations were as common as city or suburban ones. They were Lilly White, although the
protagonists came from all economic strata. As a whole, new soaps seemed to
follow the leads of trends in Romance literature in general—and quite a few
took their cues from what was last hot in Chick Flicks. Oddly, they never went
in for historical romance. Advertising considerations
are probably the reason for this.
Soap Operas held on in radio well into the television era. They
did start to go into decline on radio after the war ended. Two factors led to
the Soap Opera’s fall from prominence. First were changes in the radio business
itself, brought on by the rise of the car radio and the later advent of
television. The end of the Depression factored heavily as well. With radios in
cars starting to reach a critical mass, radio stations began grabbing back
segments of time from the networks. The orientation came to be catering to commuters,
broadly. Morning programming was added and radio became more and more local.
The two primary Drive Time slots ate into the Mid day, After School and Prime
Time slating where Soap Operas were scheduled. During the Depression, radio
stations were used to rather marginal returns. Once the Depression was over,
radio stations in major markets became gold mines. They became much less prone
to selling 15-minute segments of time or accepting crumbs before or after
network shows. Eventually much of what had been radio Prime Time programming
migrated to television. As television gained popularity, the radio networks
themselves began to dispense with providing anything other than news and sports
to their affiliates. Second, even before radio morphed into the form it is
today, Soap Operas were losing traction to Game Shows. Game Shows were even
cheaper to produce than Soap Operas and were, effectively, long form
commercials sans content. Rather a Game Show is a pretext to describe
advertising content, the prizes themselves largely being what is advertised.
This rivalry with Games Shows followed Soap Operas into
television. In television, the Soap Operas had none of the economies that they
enjoyed in radio. The mediums are quite
different from production standpoint. Tying up a soundstage with several sets
for the production of a daily hour-long broadcast is expensive business. The Soap Operas showed up on television
because the demand for them had already been well established. Changes in the working situations of women
began to impact their audiences from the 1960s on. With these changes came a demographic slide
towards the elderly and shut in. Eventually much cheaper to produce Game Shows,
Talk Shows and our next genre, Reality TV came to replace all but a few of
them.
Reality TV: I
consider something that is staged, scripted, improvised or otherwise faked to
be something other than reality, but is it a genre of fiction? It is at least
as much of a fiction genre as True Crime or True Confessions. In effect Reality
is something of a mix between True Crime and the Game Show. It oddly normally
follows the same basic construction as most Soap Operas, although without the
ABC formula.
Reality TV owes its origination to the degrading of the Mid
Day audience and its proliferation to the expansion of cable television. To pick up from where we left off in our
history of Soap Operas, the increase in the population of women working outside
of the home greatly diminished the demographics of the Mid Day audience. Today’s Mid Day audience is made up primarily
of retirees, the unemployed and assorted shut-ins. Even with VCR delays in viewing, the
demographics of this group were not enough to justify the expense of fielding a
block of Soap Operas. (3) Mid Day programming became a quest to produce
programs at the lowest dollar costs which had the capacity to outdraw reruns of
older programing. This led to the rise
of a new slew of Game Shows and Talk Shows. By the 1980s the demographics had
degraded such that it could not support the traditional all celebrity gab fest
talk shows—the impetus for name brand entertainers to appear on such
evaporating due to the low impact of the audience. Why waste one’s time
promoting movies and products to people who are not likely to engage with
such. This led to a degradation of the
Talk Show format.
Only Oprah succeeded in the new format, primarily through
crafty cultivation of her own media identity and a focus on stunt topics. All of the other talk shows became freak
shows, World Wrestling Federation type screaming matches and fights involving
no name nitwits, psychopaths and degenerates. No further devolution seemed
possible… then the cable channels got in the act. Today there are several
permutations of this format, which we will cover briefly. The rise of Reality
has coincided with the revivals of pulp genres True Crime and Gossip, also
largely on the same stations. It’s the new low rent pantheon.
Many forms of Reality TV are simply True Crime or True Confessions. A few stumble into the Utopian travelogue format, similar to Lifestyles of the Rich and Famous. There are three forms, however, which fall into their own subsets of fiction.
Many forms of Reality TV are simply True Crime or True Confessions. A few stumble into the Utopian travelogue format, similar to Lifestyles of the Rich and Famous. There are three forms, however, which fall into their own subsets of fiction.
Prison Time:
Let’s film prisoners! It’s a dramatic situation, filled with danger and
unpredictable actors. And you don’t have to pay the prisoners—in many cases it
is illegal to—just get their permission to be filmed. One imagines the
prisoners cue up when they spot the production advance men scouting their institution. From personal experience I can tell you that prisoners
just love to talk to someone new. This grew out of the True Crime revival and
is now quite the enterprise for several crews. I’m not sure this is a great
idea or just massively cynical. At this point the appeal is starting to fade.
After watching two or three of these most people will never tune in again.
(You’ve seen one prison, you’ve seen them all. Ditto crooks.) As a genre it is
a mainstay of the Insomniac Slot from 3:00 AM until the very early news. It has
very limited advertiser appeal and is deployed by True Crime and News channels.
Let’s Play Games:
Uses the Soap Opera Oracle construction. Here the assorted maniacs are set to a
task which has a distinct resolution.
Sometimes the Oracle acts as a real judge (Judge Judy decides who wins
your civil dispute with the other nitwit) or sometimes they just provoke and
guide when the maniacs need prompting. This construction is very popular,
taking the form of game shows, rehab sessions and mock court hearings. The
settings can either be isolated (remote islands), confined (a wired for sound
house) or free range (New Jersey). To “win” the game, you must do one of the
following: (1) Avoid being humiliated. Or avoid having the Oracle rule against
you; (2) Humiliate the most other people; and/or (3) Be the least humiliated
contestant. No one gets out of this with their dignity intact. And I guess
that’s the point. Sadly, the appeal of this may be as an analogy to modern
occupational situations.
Unfunny Situation
Comedy: If you have ever seen the Jack Benny Show then you have the plot of
every reality domestic situation program down pat. Jack Benny’s program was arguably about how
he got his program produced every week.
Over the course of the program’s running it was revealed that Jack Benny
suffered from numerous phobias, was cheap in the extreme, vain and basically a big
goof ball. The people Benny surrounded himself with weren’t much better, but
they were able to continually make Benny the butt of numerous jokes. Nothing about the show was real. Few of the
people on the program were what they seemed in real life. (Benny was a very
generous performer, always allowing others the big laugh line and flexible
enough to act as the universal straight man.) It was extremely well done and
the audience played along with the act. This last element is what is missing
from most of these shows. Almost all of the main characters are Jack Benny
types—venal, insipid minor league celebrities. Few of them have Benny’s timing
and most are unaware that they are the butts of jokes. Instead of being
interesting or kooky in any developed way, supporting cast members are servile
henchmen, fawning entourage, there to reflect glory or collect abuse. (I swear
Bruce Jenner drew the short straw at a production meeting. Guess what, Bruce?
You haven’t been pulling your weight here. And the DUI homicide is no bonus.
You’re going to become a woman. That ought to spike ratings.) Many of the shows
revolve around “characters” who previously appeared on the game show version of
reality, but most are built around a situation or business. There have been
bounty hunter shows, repo men shows, pawn shop shows, foodie shows, business
investor shows and a number of shows revolving around antiques.
The granddaddy of these shows might be the old Arthur Godfrey
morning radio program, but most seem to be inspired by Lifestyles of the Rich
and Famous. Even the better of these programs, such as England’s Top Gear, are
highly contrived. As with most split off genres, the best examples appeared
early on. The Ozzy Osbourne program came closest to capturing the Jack Benny formula
and did best the closer it clung to it. The oddball Bar Rescue had an intriguing
business slant and was well done, early on. Unfortunately Bar Rescue is
responsible for the overly serious tone which has now inflicted every show in
the business Reality sector. Frankly, the entire Reality field has now resorted
to High Camp.
High Camp does have a demonstrable draw, but I am not sure
how much of it the public can take. Cable cord cutting will be the real test of
Reality Television. Once the medium shifts to ala carte offerings I suspect
that many of the channels which rely on Reality are going to find themselves
left high and dry. Soap Operas have not died off in other countries and I
suspect there will be a revival of the form soon enough. It has the most
potential in a form where it can be consumed at leisure. Unless the Pulp
Utopias like Star Trek make some sort of come back, the dismal Pulp Dystopia
will be crowding out the space once reserved for Westerns and probably for some
time.
WE DON’T KNOW EVERYTHING! Your comments, corrections and
critiques are actively invited!
(1)
Mutual produced its own programs and then sought
sponsors for them. Their three big hits, all from the same affiliate, were the
Lone Ranger, the Green Hornet and Challenge of the Yukon. Eventually the
networks copied Mutual’s model, purchasing the shows directly. This gave the
network more control over content and allowed them to pitch programming at
multiple sponsors. But early on the
sponsors were in the driver’s seat.
(2)
The Street & Smith program eventually mutated
into The Shadow, a science fantasy adventure show which lasted for decades. Love Story magazine, True Story and Red Book
also had radio shows which were popular. All of the other romance shows faded
with the rise of the Soap Operas.
(3)
The audience for Soap Operas remained strong
through the 1980s, but only if you included the number of women who taped the
show for later viewing. The rating services refused to count these consumers. They felt, perhaps correctly, that the
majority of the taped viewers were fast forwarding through the commercials and
were therefore useless to the rating number.
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