Welcome to the first in a series of 10 posts, written for a university assignment last year (I write this disclaimer in Nov 19), which required blogging about current issues in television. As a result, the material is rather dated/irrelevant now, and the tone a little more formal than I prefer, but I thought I'd publish it on here anyway as I put a lot of work into it. I hope you enjoy/find it insightful!...
24.11.18
As part of what seems to be a promotion for the BBC’s brand new mobile app, BBC Sounds, news broke yesterday that a special podcast series is being created for EastEnders. I thought this would provide the topic for an ideal first post to demonstrate the overall theme of this blog - that soap operas reflect current issues in the media due to their constant need to stay relevant; not only to ensure their stories are contemporary, but also to remain popular in a time when traditional television-watching habits are quickly being replaced.
This is the first post of many in which I will explore this theory and develop my own opinions and ideas around how this corresponds to particular current issues. Additionally, I will be exploring how soap operas provide an ideal forecast for predicting the future of the television industry.
An advert used as part of the promotional campaign for BBC Sounds (BBC, 2018).
But first, some background. Back in February, EastEnders reintroduced the character of Kat Slater, who had left our screens alongside her husband, Alfie Moon, to star in a rare spin-off series, Redwater. However, when Redwater turned out to be a be a bit of a damp squib, it seemed the story behind that spin-off was completely erased from Kat’s history. Not once since her return has she mentioned her psychotic Irish son, or her husband’s brain tumour. It seems the storylines from Redwater have been brushed under the carpet.
But perhaps not, if we are to have faith in this new podcast; the first episode of which will feature the actors behind Kat (Jessie Wallace), Alfie (Shane Richie) and Kat’s cousin, Hayley (Katie Jarvis) discussing the events which led to their characters returning to the show this year. Future episodes promise a similar insight into the unspoken dramas of other Albert Square residents.
A trailer used to promote Redwater (BBC/BritBox, 2017).
I certainly find it fascinating that the BBC have decided to go down this route. Fans of EastEnders are rarely treated to world-expansion, especially when it transcends the medium of television altogether. Hugh Miller wrote a series of books about the characters of the show back in the 1980s, but there has never been anything audio-based in terms of story-telling.
This is certainly a good reflection of the times we are living in - not only is radio a force to be reckoned with once again (what with smartphones meaning it is more accessible than ever); but it seems broadcasters, and the BBC in particular, are taking note of the fact that engaging with fans is a creative and easy way to make sure a show remains a hot topic amongst the public. Shane Richie (Alfie Moon) even mentions this in an interview published in the Metro yesterday, stating, ‘… it’s the future now, television seems to be doing the radio side of it a lot now, it’ll be interesting’.
It certainly will be. In fact, according to RAJAR data published only last month, ‘listening to BBC radio digitally has reached its highest proportion to date’. It seems the BBC are making good use of their audio popularity, and re-branding from the clunky BBC iPlayer Radio to the slicker, younger BBC Sounds is, in my opinion, a clever and well-overdue change.
The fact that the BBC are choosing EastEnders to represent their new focus on radio is a good glimpse into the future of programming and accessible trans-media storytelling. Soap operas are not only a cheap way of entertaining millions, but they are also a good testing ground to gauge audience appetite when it comes to new features and changes that a broadcaster is introducing. Therefore, it’s no surprise that the BBC are letting EastEnders into our headphones as well as our living rooms.
As I stated before, this is an intriguing glance into what future plans the BBC might hold. Although some may claim that we are living in a so-called golden age of television, it is undeniable that online streaming is changing the entertainment landscape, and traditional broadcasters must do all they can to utilise new technology so as to stand out. Therefore, I would advise that it is always worth keeping an eye on the soaps and how they revolutionise themselves, for they seem to be the first indicators that something exciting is afoot in the industry.
-ASIS
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