BCM289 Blog Post #2
Quality TV is inherent in the modern media culture, it is the favoured content of fandoms and binge-watchers alike. Identified by a particular aesthetic that relates to the high quality of films, consisting of “large ensemble casts”, “interwoven plotlines” and “a sense of artistry” that contribute to a high-quality piece of television (Barker, 2017 p. 449). Not just defined by its physical production appearance but also by its audience, viewers who seek a quality that is exclusive to paying customers, in the form of VOD (video on demand) or DVD. This type of pay-for-view consumption of Quality TV is accredited famously to HBO, who employed their Quality TV “discursively as a component of branding strategy” to add value to the particular “characteristics of production – narrative complexity, enormous casts, immaculate production design” of paid television content (Barker, 2017 p. 449-450).
In today’s media climate, Quality TV is legitimatised by its “binge-worthiness”, a practice that has now become commonplace for Quality TV viewing. The use of the conventions seen in Quality TV, adds to the value of the show, and thus a show’s “binge-worthiness” has become a modern measure of Quality TV (Jenner, 2017 p. 312-314). The popularity of this style of television viewing has increased the demand for content on streaming platforms and thus made the VOD industry translate popular genres of television into more similar content. An example of this content creation can be demonstrated in HBO MAX’s production of the teen series, Euphoria (2019) and Genera+ion (Generation) (2021).
When Euphoria (2019) was released on HBO Max in June 2019, it became a cultural phenomenon, particularly with Gen Z. Its dark themes, adventurous wardrobe/makeup, euphoric cinematography and starring of teen star Zendaya ticks all boxes of Quality TV. Therefore, the shows gained a devoted adolescent that showed appreciation through emulating the fashion and makeup from the show. The success of Euphoria (2019) pushed HBO to translate this successful genre of television to more shows, to maintain this young demographic and expand their “teen universe” by creating another “binge-worthy” show for adolescent audiences (Hardini, 2021). The hype of Euphoria translated into their new show Generation (2021) released in March 2021, Generation (2021) is a teen dramedy, focused on mainly LGBTQ+ teenagers in a soapy, camp show that is reminiscent of the colourful, trendy wardrobe and aesthetic of Euphoria (2019). Generation (2021) was marketed through the success of Euphoria (2019), Glamour magazine (2021) noted “the shows are practically sisters: Both centre on moody, impossibly cool teens” (glamour).
The translation of the genre within the same VOD of HBO Max demonstrates how the demand for content intersects with the translations of this popular “moody, impossibly cool teen…” drama to maintain audience loyalty, catering to the demographic’s desire for binge-worthy quality tv (Rosa, 2021). Though the shows have differing storylines, it’s evident that HBO used the success of Euphoria to continue to expand its audience of young viewers. But the demand for content overrules the borrowing of genres, why not stick to what works? As long as it’s entertaining.
Reference List
Barker, C 2017, ‘“Great Shows, Thanks to You”: From Participatory Culture to “Quality TV” in Amazon’s Pilot Season’, Television & new media, vol. 18, no. 5, pp. 441–458.
Hadadi, R 2021, ‘How Genera+ion Fits Into The HBO Teen Universe’, GQ, online article, viewed 29 August 2021, <https://www.gq.com/story/generation-hbo-max-teen-universe>.
Jenner, M 2017, ‘Binge-watching: Video-on-demand, quality TV and mainstreaming fandom’, International journal of cultural studies, vol. 20, no. 3, pp. 304–320.
Rosa, C 2021, ‘Generation on HBO Max Is Perfect for Euphoria Fans’, Glamour, online article, viewed 29 August 2021, < https://www.glamour.com/story/generation-on-hbo-max-review>.
Hallie Rutter 
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