Tag Archives: tv shows

What children learn from HGTV #3: Houses are symbols of success and making it

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In watching HGTV with children and studying suburbs and housing, I have several ideas of what kids learn while watching the network’s programming.

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Put together the ideas in the previous two posts – homes involve emotionally satisfying arcs and they pay off financially in the end – and add decades-long American ideology and houses are symbols of success and making it. The house, typically a single-family home on HGTV, is a visible, tangible monument that the owner is successful. Residents and show hosts talk about how the house symbolizes all of the struggle and work of a family. They talk about passing down a legacy to kids. They usually do not come out an say it but the home and its exterior provide a positive impression to neighbors and those passing by about the status of the residents.

Homeownership is celebrated on HGTV. An attractive house that meets the needs of the residents and broadcasts a message of success to others is the ideal. Almost no one wants to rent or live long-term with family or friends. Almost everyone is trying to move up to a better and/or more attractive home. The goal is to acquire one’s own home which provides well-being and financial security.

Ultimately, HGTV helps perpetuate homeownership and its link with the American Dream in the way it presents houses and what they are for. The people on the network find success in acquiring and improving homes and almost nothing else is discussed. Kids watching HGTV see that people need to acquire and/or improve a house to be a successful adult.

What children learn from HGTV #2: Houses pay off financially

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In watching HGTV with children and studying suburbs and housing, I have several ideas of what kids learn while watching the network’s programming.

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In addition to the upbeat emotions on HGTV, the network relentlessly suggests houses are worth the financial investment. Numerous shows discuss how much money is involved, whether that is in the purchase price or the profit or equity made in repairing a home or the costs to particular changes. These are often not small sums; budgets are usually in the tens of thousands or more and few characters discuss how they have such money to spend.

But, the big sums of money are worth it in the end because homes are an important investment. Sure, they are to be enjoyed – and the reveals at the end of many HGTV episodes are full of positivity – but the money may be even more important. Everyone has spent a lot of money on these homes and they are worth it because they will be worth even more in the future.

HGTV often embodies the shift in the United States from homes as important centers of family life to financial investments. The money to be gained by owning or renovating a home is never far away on HGTV.

What children learn from HGTV #1: Houses are worthy of emotional investment

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In watching HGTV with children and studying suburbs and housing, I have several ideas of what kids learn while watching the network’s programming.  

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To start, HGTV shows are built around emotional stories about home repair or home acquisition. There is a regular narrative arc where people want to improve where they live or find a new place to live, they face some obstacles along the way, and then they are successful by the end of the episode. The shows are filmed, edited, and scored in such a way to create such a positive emotional payoff. The shows suggest they are helping people find happiness.

All of this weds the idea of homes with happy feelings. The shows are upbeat, the search for a better homes a success, and viewers have a positive resolution. HGTV has very few negative outcomes or unsuccessful work. The characters rarely talk about emotional distress, financial difficulties, and difficult family relationships. Only rarely do people not find what they were looking for and even then the ending is cast as a successful change in focus. Any obstacle is easily overcome.

In sum, HGTV is an emotionally positive network. I could see why parents or families might feel comfortable having kids watch such happy outcomes. A new or renovated home is good for the well-being of the resident(s) as well as the viewers.

When no one knows how popular televisions shows are

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The television streaming services do not release numbers on how many people watched their shows:

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But nobody else — not Disney, not Apple, not HBO Max, not Amazon, not Peacock — is providing numbers. Or when they do make an announcement, it’s relative: They might say it’s the biggest show in the history of Apple TV+, but that’s vague and data-free.

We’re heading into a football season next fall where Amazon is going to be the only place to watch the Thursday night game, and nobody I’ve talked to expects any viewer numbers to be released from Amazon. What a remarkable thing in the context of media history, that they don’t need to or feel incentivized to report these numbers.

The definition of success on their end is generating new subscriptions and retaining existing ones. Those are the key metrics. So a show that gets lukewarm reviews can be a huge driver of subscriptions. That’s the black box that we don’t really have access to, so we don’t know what is considered a valuable show. All of us — consumers and creators — are operating in the dark.

It’s a fascinating and discombobulating time. If you want to be open-minded and upbeat, you could say: For too long, there’s been this tyranny of the popular. We’ve all been bombarded by advertising that says “This is the No. 1 movie in America!” It was an incessant drumbeat and this syllogism that if it’s popular, then it’s worth your time. So maybe it’s healthy to break away from that.

The lack of data on viewership makes it difficult for serious observers – journalists, pundits, researchers – to know what Americans are watching and consider the consequences. This may seem inconsequential but those interested in what the masses are watching are then left to other methods to figure out what people are watching. Does a lot of Twitter activity suggest a show is popular? Do many conversations with friends and colleagues about the same show make for a popular show? Are subscriber numbers indicative of something?

Much has already been said about the fragmentation of television and other media sources in recent decades. The most enduring or cohesive media forms today might be viral videos or memes. Concurrently, the lack of numbers regarding viewers only adds to this trend and perception.

Satirizing the suburbs by poking fun at past depictions of suburbia

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A review of a new television comedy notes that part of its appeal is that it plays with previous portrayals of the suburbs:

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The layers of brilliance within the writing continue. While the series satirizes the suburbs, the trio takes it a step even further. The show also makes fun of all the clichés in film about American suburbia – from Blue Velvet to American Beauty toThe Stepford Wives. Because each one of those films is trying to say something about the darkness of the suburbs, Three Busy Debras pokes fun at them by doing exactly not that. The series is so perplexing and over the top, not a single character learning anything to “progress” in their worldview, that it pokes fun at these tropes through their use of absurdist comedy. You can immerse yourself in the surreal world of Lemoncurd and witness the masterful work of Three Busy Debras for yourself by streaming the latest season on HBO Max.

The genre of suburban critique is alive and well in numerous culture industries including poetry, books, music, film, and television. For at least seven decades, these works have depicted the darker sides of suburbia, the true issues facing suburbanites beyond the shiny single-family homes and nuclear families. This is a familiar genre that both speaks to some realities in suburbs and tells similar stories over time.

Thus, I am intrigued by an absurdist or surrealist take on this. Are the suburbs just absurd and the only way to deal with them is to laugh rather than to try to overcome them or find out what is truly going on?

It will also be interesting to see how this fits in the long run with the other critical depictions of suburbia. Laughter and humor can be good ways to address difficult situations. Would suburbanites, the majority of Americans, laugh gently at absurd or surreal depictions or would it be the laughter of realizing how absurd the suburbs actually are?

What exactly makes for an “unscripted series”? The case of Flip or Flop

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In an announcement about the end of HGTV’s Flip or Flop, the network said the show was an “unscripted series”:

“Tarek El Moussa and Christina Haack are long-time, fan-favorite stars on HGTV and it’s true that ‘Flip or Flop’ is coming to an end after an epic 10-season run as a top-rated unscripted series,” a representative for HGTV said in a statement to Insider. “More than 90 million viewers have watched the popular series since its premiere in 2013.

When this show is described as “unscripted,” what exactly does this mean?

Having watched a lot of episodes, here is my guess: there is not necessarily a set script for every episode. At the same time, the producers, El Moussa, and Haack make sure there are narrative elements to build an episode around including crises or cliffhangers for commercial breaks, summaries of the work at hand, and reshoots to get the right angles and lines.

When the typical viewer hears “unscripted,” is this what they imagine? It does not mean that the main actors just do their business, cameras are rolling, and they piece it together at the end. Does any reality show come close to that these days? However, there is likely some wiggle room of how much can be improvised or how much the main characters can get right in the first pass.

The wait for a weekly TV show versus binge watching a show quickly

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We are far into a world where viewers of television shows can watch season after season of a show. Whether through a streaming service, on DVD, on a DVR, or on-demand, fans can watch everything right in a row. Depending on the length of the series, this can go relatively quickly or stretch out a while. Because of this possibility, I just recently started a list of TV shows where I have seen every episode and most of this has happened in the last ten years.

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In contrast, I had two primary options in the past: watch episodes as they aired each week or watch an occasional episode. For the first, I only really remember doing this for a few shows. The most memorable is Lost. We started watching late in Season One and did not miss a weekly episode for years. The show certainly took advantage of this with numerous cliffhangers and important episodes to start and close seasons. For the second option, I saw a number of TV shows through syndication as they worked through their cycles. For example, I am not sure I ever saw Frasier in its prime-time slot but I saw nearly every episode because of the 2+ episodes that there on every night.

The two types of watching are very different. Binge watching allows viewers to take it all in quickly. I can enable mass consumption. Feelings come and turn quickly with changing narrative arcs. The weekly or episodic watch required a certain discipline and memory or the kind of show where one could easily dip in for a few episodes and then tune out for a while. The resolution of stories takes longer.

It will be interesting to see how shows continue to navigate these options: release everything at once or a show at a time? How long can a traditional TV model of shows every week hold on? Or, will we see more hybrid approaches where episodes come out in different batches tied to story lines and times of the year?

Naperville’s status and Farley’s “Van Down by the River” performance inspired by Naperville bridge over the DuPage River

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According to Naperville native Bob Odenkirk, he was inspired by his hometown when writing Chris Farley’s famous SNL skit “Matt Foley: Van Down by the River.”

Q: Speaking of “SNL,” that famous sketch for Chris Farley you wrote, about him living in a van down by the river — were you writing with Naperville in mind?

A: There is the DuPage River, and when I was writing that I did picture the bridge in Naperville over the DuPage. It was a bridge for stoners when I was a kid. Stoner kids hung out there. So this guy parking his van by a river — yes, that was the image I had.

There are several bridges Odenkirk could be referring to. Could it be this bridge (in a picture from nearly a decade ago)? This is a little removed from the busier downtown area and the more manicured areas of the lively Riverwalk.

Naperville has a reputation as a wealthy and large suburb with a thriving downtown and numerous high-status jobs. Does the image of a guy living in a van down by the river fit this or kids smoking pot by the DuPage River? Probably not and the city in recent years was not interested in marijuana dispensaries.

I cannot imagine a statue of Matt Foley near the DuPage River in downtown Naperville among the suburb’s collection of public art...but perhaps Odenkirk could eventually make the cut?

TV writers playing with floor plans for fictional residences, The Simpsons edition

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The depictions of residences on TV do not always line up with reality (examples here and here). Here is another example: the writers of The Simpsons played around with some inconsistencies in the home.

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Weinstein engaged with Twitter users after posting the photo, responding to comments about the rarely seen “rumpus room” on the main floor’s northeast corner, the “mystery door” in the entryway, and other inquiries…

“Simpsons” fans may notice the layout doesn’t include the basement — a frequent location for various Simpson shenanigans. Twitter users chimed in, noting the different spots the show has placed the basement staircase.

Here is my interpretation of this “flexible” floor plan. On one hand, television shows need a predictable set of spaces. The audience needs to be able to recognize quickly where a scene is taking place. The behavior of the characters connects to where they are. In many shows, a residence, whether a single-family home or an apartment, is one of the most important settings as this is where the characters eat, sleep, and interact.

On the other hand, a rigid floor plan limits what can be done. Most homes and apartments would make bad television sets due to walls and angles not conducive to filming and/or particular activities. Parts of the home of the Simpsons family are fixed and predictable: the TV is in the same place, the kitchen looks the same, the stairs go upstairs from the front door, etc. But, other portions allow for some creativity. A mystery room? A basement that can turn into all sorts of things (I am recalling what happened there in the episode “Homer vs. the Eightenth Amendment”). An animated show does not suffer from the same camera issues but it too could benefit from slight changes to the floor plan that enable all sorts of plot lines.

The academic rabbit trails to watching a particular TV show for fun/analysis

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In a recent trip to the campus library, I checked out the first season of a television show. I briefly interacted with the checkout clerk who remarked that I was in for a good viewing experience. My path to this show was not a straightforward one; rather, it involved reading, my own research, and a lot of time. Here is the path to this one TV show:

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  1. I develop an interest in the sociology of culture as an undergraduate studying both sociology and anthropology. The study of the “processes of meaning-making” becomes one of my primary graduate school interests and I continue to work within this subfield today. In my daily life, any cultural product or expression can then be both experienced and analyzed. This can be applied both to cultural activity as well as places, connected to my interest in suburbs and cities.
  2. Even as I continue with the sociology of culture, I also run into media studies, a field that combines insights from multiple fields and tackles all sorts of media. I teach a class titled “Culture, Media, and Society” where we consider multiple media and cultural forms including documentaries, films, television, comics, theater, music, art, news coverage, social media, and other phenomena. In conducting research on social media (several studies here, here, and here), I also encounter media studies research and journals.
  3. Several years later, I combine an interest in places and media by publishing two studies: one considers television shows set in suburbs and one examines the role of McMansion on The Sopranos. These works straddle the lines between sociology and media studies.
  4. In the summer of 2021, I read the book Divine Programming by television studies scholar Charlotte Howell. I watch one television shows Howell points out treats religion seriously (see posts here and here).
  5. With a little more flexibility in my schedule as we reach the holidays and approach the end of the semester, I decide to watch a second show featured in Howell’s book to continue to explore and enjoy how religion is depicted in television.

There are certainly other ways to come to a television show, including receiving recommendations from friends and family, reading a review, browsing or receiving a recommendation on a streaming service, and more. My path is probably not a typical one. But, I am also reminded of the ways that knowledge and studies develop as an academic: there is not necessarily a linear path toward a predetermined goal and a guaranteed outcome plus there can be a lot of time involved as ideas and projects wax and wane.