Everything about long-form TV drama
LFTVD: industry, audience, representation and language
Industry- competitors, companies that make them: channel 4- Walter presents (those who
deal with foreign tv dramas) for Deutschland 83 and Netflix- Duffer brother for Stranger
Things.
Netflix- a streaming service
Channel 4 is a tv service
Audience- what audience would like the genre of the show, the age rating (both are rated a
15), nostalgia, back-cataloguing
Representation- The representation of age and class in stranger things, and status in
Deutschland 83, both have a female character that subverts stereotypes, the representation
of the 80s,
Language (media language)- subtitles for DL 83, violent, explicit language used in ST, what
message they are trying to imply (using a camera, editing, sound and mise en scene),
sensationalised language
Industry
Stranger Things
Ownership
The Duffer Brothers, Matt and Ross Duffer are American film and television writers, directors and
producers. Stranger Things, a Netflix science fiction horror series, was created by them, and they are
executive producers of Stranger Things.
Netflix legally owns the drama as they made it a Netflix original television series while the Duffer
Brothers still own most of the right to the show.
They grew up in the 80s and took a lot of inspiration from that decade when developing the idea.
Influence from favourite directors- focus on science fiction, strange paranormal goings on.
The Duffer Brothers have been active since 2005 when they directed a horror film which was
acquired by Warner Bros Pictures. Next, the Duffer brothers were hired as writers/producers for the
Fox television series Wayward Pines. With experience in television, they began pitching their idea
for Stranger Things
21 Laps Entertainment is an American film and television production company. The company
accepted to create the show and wanted to create the special effects “in camera” as much as
possible -> didn’t want too much CGI or blue/green screen. INSTEAD use techniques such as
animatronics, costume and makeup.
The company did a deal with Netflix to get funds for the show and give them exclusive rights to
the show. The show was immediately taken up by Netflix, due to Levy's 21 Laps production
business.
,The 21 Laps Entertainment company is best known as the creator of Stranger Things and exclusively
distributes content through a partnership with Netflix.
Originally the Duffer brothers planned for Stranger Things to be a movie but were concerned
because of the amount of content there would be in a 1hr 30mins/2hr movie. However, they were
also concerned if it was going to be a TV show, it would stretch out the material over 22 episodes
which was the standard length of TV shows in the US which would be too long and make it a bit
boring and dull.
Netflix allows for more flexibility with series lengths, so they were able to compromise with 8
episodes-> allowing the series to have more of a filmic quality and keeping episodes more
interesting and entertaining.
Netflix does not feature AD breaks because it was going to be a Netflix original. So the programme
makers offered brand product placement instead-> placing their products within the show which is
how they raised some extra funds for the program.
Funding
- It was funded by Netflix as they brought the show and because Levy’s 21 Laps is one of
Netflix’s most prolific producers.
- Netflix gaining money through merchandise and memberships. E.g. clothing, toys, posters
etc.
- Netflix also released a range of comics and books relating to the show which helped to
generate more profit and publicity. Targeting young and mostly male audiences.
Circulation and Distribution
- Social media, Netflix- Distribution and Circulation
Distributing on streaming services like Netflix appeal to audiences who enjoy binge watching series.
The show has 15m views in 35 days of its release. -> Netflix measured viewership and immediately
commissioned a 2nd series as they could see how popular it was.
Netflix- Despite Netflix having a worldwide audience, it is not available in China, North Korea,
Crimea and Syria due to restrictions and the US government’s restrictions on American companies
in North Korea, Syria and Crimea prevent it from doing business there.
Marketing
Social media and innovative viral marketing campaigns e.g., Twitch Plays Haunted Basement, 360
degree/ VR video, Hawkins Monitored
- Trailers- released a month before on YouTube that targeted a global audience who shared
it multiple times.
- Word of mouth marketing by both everyday fans and celebrities helped to publicise the
show and build hype. Helped target more audiences, especially the younger generation who
use social media a lot.
, - Cast and crew took part in activities and appearances on shows where they promoted the
series and create a “star appeal” for the cast which made the show more marketable. Also
did multiple magazine covers and articles targeting older audiences.
- Unusual decision of releasing 8 minutes of episode one on YouTube before it was released
on Netflix. This built anticipation for the show and got audiences hooked with the enigma
code (a theory that suggests a text portrays a mystery to draw an audience in).
- Media convergence has also allowed for different platforms to be used to target different
audiences. The use of Twitch and live game streams with the cast and other celebs helped to
target young male audiences.
- Interacted with audiences by using platforms like Twitter to promote hashtags which
created viral conversations online about the show.
- Netflix placed a trailer for Stranger Things in the ad break of the Super Bowl targeting a
massive mainstream global audience.
- Synergetic partnership with Hasbro, a toy company, helped to create a Stranger Things
version of the Dungeons & Dragons game. Targeting young and older, mostly male fans into
the gaming culture. As well as draw in audiences of these nostalgic games.
- Stranger Things themed Lego- targeting a young audience. As well as a crossover
partnership with both Fortnite and Minecraft helped to target young male audiences.
- Use of billboards promoting the fictional power company Hawkins from the series, helped
to add some realism and enigma.
- Additionally to brand product placement, companies like Burger King and Coke promoted
the show outside of the actual series e.g., Stranger Things theme coke cans and an upside-
down whopper burger.
Audience
Ways audiences were targeted
- Targeted through Netflix recommendations
- Sent out reminders when new shows released
- Measuring Viewership- does not circulate exact figures
- Budget for series/season 1 was $48m – which was high for a new TV drama series. The high
budget allowed for a range of filming locations including town streets, hospitals, malls,
churches etc. And they could create custom sets in studios for more complex scenes. It also
allowed for the casting of famous actors like Winona Ryder who would be familiar to an
older audience who may recognise her from iconic films in the 80s and 90s- she played Joyce
Byers, Will’s Mother.
Famous actors help to reduce the risk of a show failing by attracting pre-sold fans and
helping to market the show using their names.
This show had helped build new actors and intrigued audiences with new casts- good for upcoming
actors/casts.
, Genre
The real hybridity of the genre within the show:
- Sci-fi
- Horror
- Action
- Teen
- Romance
- Comedy
This helps to broaden the audience
Genre Theory- Neale
Genre depends on the repetition of codes and conventions in media products.
Genre conventions are not fixed but evolve over time as producers subvert established conventions
or use hybridity with other genres.
Genre codes are also established beyond media products themselves through sources such as
reviews and marketing.
Stranger Things demonstrates generic hybridity, blending a range of elements from genres such as
horror and science fiction. Arguably this blending of genres helps it appeal to a broad audience. A
range of generic conventions is used including character types, settings, lighting, and sound codes.
Neale’s theory is useful for identifying how genre influences narrative, characters, representations,
and the use of technical codes in Stranger Things. It also draws attention to the importance of
genre to audience appeal.
Genre codes in Stranger Things are potentially less important than its use of intertextuality and
narrative to address the audience.
It could be argued that the distribution of Stranger Things limits the importance of intertextual relay
in constructing genre expectations. As Netflix released all episodes of season one simultaneously
reviews and marketing may have had less influence on shaping audience expectations in relation to
genre.
References
The period setting of the show in the 1980s would be engaging to audiences aged 30-45 due to the
nostalgic style of the series.
Intertextual references to the 80s films like E.T. will attract those who are familiar/grew up in the
80s.
Some younger audiences might not recognise these references. Recognising the intertextual
references might make an audience feel quite clever.
The main protagonists being children helps to target and engage younger viewers.
Focus on male characters (friendship group of boys, the sheriff etc) may engage male viewers and
offer them, role models.
LFTVD: industry, audience, representation and language
Industry- competitors, companies that make them: channel 4- Walter presents (those who
deal with foreign tv dramas) for Deutschland 83 and Netflix- Duffer brother for Stranger
Things.
Netflix- a streaming service
Channel 4 is a tv service
Audience- what audience would like the genre of the show, the age rating (both are rated a
15), nostalgia, back-cataloguing
Representation- The representation of age and class in stranger things, and status in
Deutschland 83, both have a female character that subverts stereotypes, the representation
of the 80s,
Language (media language)- subtitles for DL 83, violent, explicit language used in ST, what
message they are trying to imply (using a camera, editing, sound and mise en scene),
sensationalised language
Industry
Stranger Things
Ownership
The Duffer Brothers, Matt and Ross Duffer are American film and television writers, directors and
producers. Stranger Things, a Netflix science fiction horror series, was created by them, and they are
executive producers of Stranger Things.
Netflix legally owns the drama as they made it a Netflix original television series while the Duffer
Brothers still own most of the right to the show.
They grew up in the 80s and took a lot of inspiration from that decade when developing the idea.
Influence from favourite directors- focus on science fiction, strange paranormal goings on.
The Duffer Brothers have been active since 2005 when they directed a horror film which was
acquired by Warner Bros Pictures. Next, the Duffer brothers were hired as writers/producers for the
Fox television series Wayward Pines. With experience in television, they began pitching their idea
for Stranger Things
21 Laps Entertainment is an American film and television production company. The company
accepted to create the show and wanted to create the special effects “in camera” as much as
possible -> didn’t want too much CGI or blue/green screen. INSTEAD use techniques such as
animatronics, costume and makeup.
The company did a deal with Netflix to get funds for the show and give them exclusive rights to
the show. The show was immediately taken up by Netflix, due to Levy's 21 Laps production
business.
,The 21 Laps Entertainment company is best known as the creator of Stranger Things and exclusively
distributes content through a partnership with Netflix.
Originally the Duffer brothers planned for Stranger Things to be a movie but were concerned
because of the amount of content there would be in a 1hr 30mins/2hr movie. However, they were
also concerned if it was going to be a TV show, it would stretch out the material over 22 episodes
which was the standard length of TV shows in the US which would be too long and make it a bit
boring and dull.
Netflix allows for more flexibility with series lengths, so they were able to compromise with 8
episodes-> allowing the series to have more of a filmic quality and keeping episodes more
interesting and entertaining.
Netflix does not feature AD breaks because it was going to be a Netflix original. So the programme
makers offered brand product placement instead-> placing their products within the show which is
how they raised some extra funds for the program.
Funding
- It was funded by Netflix as they brought the show and because Levy’s 21 Laps is one of
Netflix’s most prolific producers.
- Netflix gaining money through merchandise and memberships. E.g. clothing, toys, posters
etc.
- Netflix also released a range of comics and books relating to the show which helped to
generate more profit and publicity. Targeting young and mostly male audiences.
Circulation and Distribution
- Social media, Netflix- Distribution and Circulation
Distributing on streaming services like Netflix appeal to audiences who enjoy binge watching series.
The show has 15m views in 35 days of its release. -> Netflix measured viewership and immediately
commissioned a 2nd series as they could see how popular it was.
Netflix- Despite Netflix having a worldwide audience, it is not available in China, North Korea,
Crimea and Syria due to restrictions and the US government’s restrictions on American companies
in North Korea, Syria and Crimea prevent it from doing business there.
Marketing
Social media and innovative viral marketing campaigns e.g., Twitch Plays Haunted Basement, 360
degree/ VR video, Hawkins Monitored
- Trailers- released a month before on YouTube that targeted a global audience who shared
it multiple times.
- Word of mouth marketing by both everyday fans and celebrities helped to publicise the
show and build hype. Helped target more audiences, especially the younger generation who
use social media a lot.
, - Cast and crew took part in activities and appearances on shows where they promoted the
series and create a “star appeal” for the cast which made the show more marketable. Also
did multiple magazine covers and articles targeting older audiences.
- Unusual decision of releasing 8 minutes of episode one on YouTube before it was released
on Netflix. This built anticipation for the show and got audiences hooked with the enigma
code (a theory that suggests a text portrays a mystery to draw an audience in).
- Media convergence has also allowed for different platforms to be used to target different
audiences. The use of Twitch and live game streams with the cast and other celebs helped to
target young male audiences.
- Interacted with audiences by using platforms like Twitter to promote hashtags which
created viral conversations online about the show.
- Netflix placed a trailer for Stranger Things in the ad break of the Super Bowl targeting a
massive mainstream global audience.
- Synergetic partnership with Hasbro, a toy company, helped to create a Stranger Things
version of the Dungeons & Dragons game. Targeting young and older, mostly male fans into
the gaming culture. As well as draw in audiences of these nostalgic games.
- Stranger Things themed Lego- targeting a young audience. As well as a crossover
partnership with both Fortnite and Minecraft helped to target young male audiences.
- Use of billboards promoting the fictional power company Hawkins from the series, helped
to add some realism and enigma.
- Additionally to brand product placement, companies like Burger King and Coke promoted
the show outside of the actual series e.g., Stranger Things theme coke cans and an upside-
down whopper burger.
Audience
Ways audiences were targeted
- Targeted through Netflix recommendations
- Sent out reminders when new shows released
- Measuring Viewership- does not circulate exact figures
- Budget for series/season 1 was $48m – which was high for a new TV drama series. The high
budget allowed for a range of filming locations including town streets, hospitals, malls,
churches etc. And they could create custom sets in studios for more complex scenes. It also
allowed for the casting of famous actors like Winona Ryder who would be familiar to an
older audience who may recognise her from iconic films in the 80s and 90s- she played Joyce
Byers, Will’s Mother.
Famous actors help to reduce the risk of a show failing by attracting pre-sold fans and
helping to market the show using their names.
This show had helped build new actors and intrigued audiences with new casts- good for upcoming
actors/casts.
, Genre
The real hybridity of the genre within the show:
- Sci-fi
- Horror
- Action
- Teen
- Romance
- Comedy
This helps to broaden the audience
Genre Theory- Neale
Genre depends on the repetition of codes and conventions in media products.
Genre conventions are not fixed but evolve over time as producers subvert established conventions
or use hybridity with other genres.
Genre codes are also established beyond media products themselves through sources such as
reviews and marketing.
Stranger Things demonstrates generic hybridity, blending a range of elements from genres such as
horror and science fiction. Arguably this blending of genres helps it appeal to a broad audience. A
range of generic conventions is used including character types, settings, lighting, and sound codes.
Neale’s theory is useful for identifying how genre influences narrative, characters, representations,
and the use of technical codes in Stranger Things. It also draws attention to the importance of
genre to audience appeal.
Genre codes in Stranger Things are potentially less important than its use of intertextuality and
narrative to address the audience.
It could be argued that the distribution of Stranger Things limits the importance of intertextual relay
in constructing genre expectations. As Netflix released all episodes of season one simultaneously
reviews and marketing may have had less influence on shaping audience expectations in relation to
genre.
References
The period setting of the show in the 1980s would be engaging to audiences aged 30-45 due to the
nostalgic style of the series.
Intertextual references to the 80s films like E.T. will attract those who are familiar/grew up in the
80s.
Some younger audiences might not recognise these references. Recognising the intertextual
references might make an audience feel quite clever.
The main protagonists being children helps to target and engage younger viewers.
Focus on male characters (friendship group of boys, the sheriff etc) may engage male viewers and
offer them, role models.
