And, as it would againtwenty years later, that meant good things for quality TV. The fragmentation of the American audience had begun.
Instead of aiming to attract one-third of all viewers (which was becoming increasingly impossible in any event), networks now targeted specific demographics-rich, young, educated, male, and so on. And what was that revolution? According to Martin, since the mid 1980s, The subtitle of the book - Behind the Scenes of a Creative Revolution: From the Sopranos and The Wire to Mad Men and Breaking Bad makes clear that the male series, with characters and production teams formed above all by men, and with male themes, are those considered as exemplary of that revolution. We can ask if a heroine would benefit from the same indulgence or would be classified as a whore, an opportunist or hysterical. London: Faber and Faber, Bloomsbury House, 2013., p. One man interviewed in the book tells what he learned about the heroes of the series: “ can do a lot of bad things, he can make all kinds of mistakes, can be lazy and look like a fool, as long as he’s the smartest guy in the room and he’s good at his job.” (apud MARTIN, 2013 MARTIN, Brett.Difficult Men Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad. These characteristics are transferred to the characters in the series, whose success is attributed to their idiosyncrasies. As is customary in patriarchal society, the extravagances of actors and showrunners, when associated to the male sex, are seen as a type of special undeniable charm linked to talent.
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The work seems to gain pleasure in dealing with the complicated, extravagant and unpredictable personalities of the men involved in the TV series market. In his book, Difficult Men, for example, Brett Martin (2013) analyzes the recent impact of contemporary series, creating a theoretical narrative that gives total protagonism to men, whether as characters, actors or showrunners. The universe of the TV series is constituted as an important symbolic, political and cultural space in the contemporary world, which has yet to be occupied by women, although we can glimpse some recent changes, conquered thanks to the efforts of artists and activists.Īs important as it is to quantify and qualify the participation of women in contemporary audiovisual entertainment, it is also important to understand how an ideology is constructed that strives to characterize series as products opposed to old narrative televised formulas, which are considered less sophisticated. ReFrame, a US organization that evaluates gender diversity in film and television, found that in 2018 only two in ten series analyzed include a significant number of women among their characters and production staff. Like much of the entertainment industry, however, the segment is dominated by men.
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From the perspective of production, women have gained more space on production staffs, beyond the traditional functions of costume design, and act as directors and showrunners, as have Lisa Joy, who shares with Jonathan Nolan the production of Westworld, and Shonda Rhimes, who is responsible for Grey’s Anatomy (2005-) and How to Get away with Murder (2014-). Series in traditionally male genres, such as westerns, fantasy or science fiction, such as Godless (2017), Game of Thrones (2011-2019) and Westworld (2016-), have developed strong female characters, culminating in a war among queens in the second example and in a rebellion led by women in the third. In recent years, we can note that series with female (and feminist) themes have created great enthusiasm among spectators, such as The Handmaid’s Tale (2017-) and Big Little Lies (2017-2019). In the traditional media, the coverage of cinema has inevitably given space to reviews of new series and seasons, while an entire sector of criticism has come to be dominated by Youtubers and users of Twitter who exhibit what we can consider to be an erudition applied to mass culture, watching a chapter many times and analyzing its formal aspects. While Netflix has become consolidated as a producer and distributor of streaming content, traditional cable television broadcasters such as HBO have modernized their applications for mobile devices, while new players, such as Amazon, have entered the market. Fictional series have occupied an important place in contemporary audiovisual productions, in terms of both the reception of critics and the public they have reached.
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