Tagged: television

Brands, product consistency, and the ascent of television and subscription-based VOD

One economic explanation of why brands proliferate is that brands provide consumers consistency of product. A classic illustration is a national restaurant chain. A traveler who’s passing through an unfamiliar town doesn’t know local restaurants, and the variance in quality among the mom-and-pop shops is high. Even though the quality of a chain might not be the highest in any given town, a risk averse consumer might prefer eating an average meal at a chain, rather than risking a low-quality meal at a mom-and-pop shop.

In Hollywood, it’s exceedingly difficult and rare for film studios to establish such consistency across their different marquee offerings. There are some mechanisms for doing so: moviegoers will often select films based on specific directors or actors. For more formulaic movies, sequels provide consistency for established demographics.

In the past decade, television has exploded with a vast amount of content. John Landgraf, the CEO of FX, has even worried that there is too much television. There’s more dreck, like reality television, but there is also more high production value television. Such high production value television competes with 2-hour theatrical feature films.

Story arcs are fractals. An audience will follow characters in a good story through a not only a 2-hour film, but also through a 12-episode television season, a single 45-minute television episode, or even just a 2-minute scene.

What does this mean for television? Filmic shows might contain long story arcs that follow characters across six seasons, but episodes often function as standalone short films. Episodes of The Walking Dead in later seasons often have self-contained, coherent stories that can draw in new viewers without requiring that they watch earlier seasons. Characters come and go from season to season. No additional context is required. This is a highly successful mechanism to actually create a consistent product across tens and tens of hours of entertainment content. This is more successful branding than any traditional movie studio could hope for, even one that specializes in zombie horror.

Subscription-based VOD services like HBO, Netflix, and Amazon, through their original content, have been able to establish brands in a way that film studios never quite could. Sophisticated audiences understand what it means for a show to be “an HBO show” or “a Netflix original.”

Is the brand loyalty to these subscription-based VOD services merely an artifact of their captive audiences? Subscribers who have already opted into particular subscriptions might actually be receptive to mere feature-length films, and not just entire television seasons. Economies of scale nudge subscription-based VOD services toward the production of entire television seasons rather than two-hour films, because consumers who have opted into a subscription want the most bang for their buck. There are exceptions, however—the Netflix feature film “Beasts of No Nation,” HBO documentaries like “Going Clear,” or even just shorter miniseries like “Oliver Kitteridge,” “Angels in America,” et cetera. Perhaps, insomuch as content producers own distribution channels, they can maintain attractive brands for their subscribers.