Britain's Got Buzz

by J. Butler, Content Development Specialist

By now, it’s hard to scroll down any kind of social media blog, news outlet or networking site without hearing at least one mention of viral darling Susan Boyle. This inspiring story has attracted attention from online and traditional media alike; the singing sensation even nabbed an interview on Larry King. 

On the off chance you haven’t heard of her, she’s a 47 year old unemployed woman from Scotland who recently appeared on the UK show Britain’s Got Talent (a variety show seeking the most talented people in the country). It's a classic story of triumph and defeating expectations: her frumpy appearance, down to earth manner and drab clothing had the judges and audience preparing their most effective eye rolls. But when she opened her mouth, a truly stunning rendition of “I Dreamed a Dream” from musical Les Miserables filled the theater—and every person in that place who had judged her prematurely was left speechless. 

It’s always hard to pinpoint why a particular online element ever becomes viral, but why is this one in particular so popular? It’s fast becoming one of the most watched YouTube videos of all time, slowly gaining traction on YouTube mainstays like Obama’s victory speech or Tina Fey’s infamous Sarah Palin appearances. 

Graphic from Mashable. 

It’s hard to say exactly why, naturally, though plenty of online sources have tried to figure it out. Cal Thomas called her a “phenomenon” that teaches a superficial media to focus on inner beauty first. Kendall Allen of MediaPost Publications chalks it up to the human need to feel something—from metaphors to media—at a instinctual gut level. 

I think when the dust settles on this Susan Boyle chapter of social media, what will remain as the more remarkable story may not be her considerable vocal talents—but the reactions of an online community to hearing it. 

Watching The Future of TV

by J. Butler, Applecore Content Development Specialist

The days of appointment TV are looking like a thing of the past.

In recent years, viewers have found themselves with more choice than ever when it comes to television, with even basic cable clocking in at nearly 75 channels. More specialty channels crop up every year, with interests so finely tuned that you have to wonder who exactly tunes in (are there really enough viewers to justify WealthTV?). But something else has changed about TV: it's not just what we watch, it's also become a choice of how we watch it. 

The writing on the wall came when Tivo first appeared on the horizon. It eclipsed the sometimes unreliable, unwieldy technology of VCR, replacing tapes with a hard drive and human forgetfulness with automatic recording (which meant that viewers would never miss an episode of their favorite shows). A pioneer in digital video recording, Tivo allowed viewers the freedom to watch their favorite shows whenever they had the time, instead of making the time.

That, it turns out, was the first wave.

Now, the internet has taken it one step further, bypassing the need for a subscription or even a special device. With the advent of YouTube, Hulu and other online resources, the only thing many viewers need to catch up on their favorite shows is a speedy internet connection. In just one year, the percentage of Americans watching some prime time TV on their computer screens instead of their TV sets went from 6% in 2007 to over 20% in 2008.

The effects of this shift aren’t hard to see. Saturday Night Live made history this year with Tina Fey’s infamous impersonation of Vice-Presidential candidate Sarah Palin; by the following Wednesday, NBC.com reported the skit had become their most-watched viral video ever, with 5.7 million views. 

So the times began a'changing. No longer would you need to rely on external sources—such as the daily newscast or commentary programs—to catch all the highlights of the day. Miss Obama’s inaugural speech? No problem; just catch it later on YouTube. With that, history has been broken down into democratic snippets, letting everyone catch up in their own time. With the explosion of these easily uploaded, accessible video clips, the viewer is allowed to create their own highlights. 

Other networks have figured out ways to profit from this shift. New episodes of CW favorite Gossip Girl are available for purchase on iTunes the next day for $1.99, and the show’s popularity has exploded as a result—but only online, as the broadcast version consistently under-performs. The explosive online success of Gossip Girl has been called a preview of TV 3.0, and the larger networks have gradually followed suit, as ABC made popular shows Lost and Desperate Housewives into downloads for iPods, as well as streaming select episodes for free on their website. Rival powerhouses NBC and CBS quickly did the same.

This hasn't proven a huge moneymaker yet (at least not compared to the usual revenue from advertising sponsors, TV stations and cable channels) but the networks seem determined to stay on board this potentially lucrative bandwagon. It's a wise move indeed, especially as the Information Generation (that is, those born from 1980-2000 who grew up using computers) become the overwhelming majority. This kind of instantaneous delivery system is poised to only increase. 

What might be the next step in television's horizon? Telling stories in a way that lets everyone play along. A Finnish network has developed Accidental Lovers, a new romantic drama. The twist? Its concept puts the viewer in a pivotal storytelling position, encouraging text messages to influence the outcome of the story:

On the screen, viewers will see their text messages and will hear the characters respond to their messages. A glowing heart will show whether their messages are warming or cooling the hearts of the romantic couple, and viewers will see the relationship develop according to their wishes. 

If the romance doesn't progress as viewers wish, they can try again later as four runs of the programme will be broadcast showing 12 different evolutions of the love affair. Each one will be different, with each reacting to the viewers' wishes. 

Such a concept could mean the revival of appointment television once and for all—and a whole new meaning to how we see interactive media.