Free to air TV: Reality shows have killed off the much-loved Aussie drama
The domination of reality shows in prime time has reached almost preposterous proportions on commercial free-to-air channels and it’s time to bring back some much-missed good old Aussie drama, writes Lisa Woolford.
Entertainment
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Remember when long-form dramas reigned supreme in prime time?
Think Packed to the Rafters, All Saints, Blue Heelers, McLeod’s Daughters, Offspring, A Country Practice, Underbelly, Heartbreak High, The Secret Life of Us. The list goes on and on.
Now we’re served up a steady diet of reality TV. The domination of reality shows in prime time has reached almost preposterous proportions on commercial free-to-air channels.
The year is jam-packed with cooking and renovation contests, talent quests and mating and dating games that run from January to November.
A quick glance at the TV Guide confirms it – The Voice, Big Brother and MasterChef, covering Sunday-Thursday, with nary an Australian drama in sight on the commercial networks.
David Knox, of blog TV Tonight, says networks have recognised that viewers largely prefer to watch dramas on their own schedule, rather than interrupted by ads or with fluctuating start times.
“Drama shows are nearly always the most popular genre in catch-up TV, whether through free-to-air or subscription platforms,” he says.
“There’s so much competition around that trying to ‘cut through’ can be a nightmare, and is directly tied to the marketing budgets, star power or the lead-in.”
However, Knox believes there’s still an appetite for drama on the commercial networks.
“Nine did good business with Underbelly: Vanishing Act on the back of Married At First Sight,” he says.
“ABC has forged success with The Newsreader, Total Control and Mystery Road. Binge commission Love Me was fantastic.
“So drama can still work, but it’s high risk.”
Knox also agrees networks are increasingly turning to their subscription platforms instead for local dramas.
Ten has swapped Five Bedrooms to its streaming companion – Paramount+ and there’s no official news whether a fourth season will be greenlit. It has announced Spreadsheet, Last King of The Cross, Six Festivals, The Secret She Keeps and More Than This.
And Paramount Senior Vice President for Content and Programming Daniel Monaghan hinted there were more local programming announcements to come, saying his network was very much committed to drama across its channels.
“On Network 10, the highly-anticipated NCIS: Sydney and Paper Dolls in the schedule for 2023,” he said.
“While, we are disappointed that much-loved Australian drama Neighbours is coming to an end, we are excited about our already announced projects, and some yet-to-be announced, over the next 12 months.”
A Nine spokesman also defended its record on Australia dramas saying they were a crucial part of the programming mix.
“Our local dramas evolve with viewer appetite and continue to capture large audiences on free-to-air, most recently with Underbelly: Vanishing Act with a current average Total TV number of 1.62 million,” they said.
“Channel 9’s new drama series After The Verdict will launch later this year, recently announced miniseries on the late cricketing legend, Shane Warne with further drama announcements to come.”
SBS and ABC are the anomalies, commissioning the lion’s share of Australian drama content on free to air, with much less reality content.
SBS TV and Online Content Acting Director Chris Irvine said drama continues to be an important part of the network’s offering – both locally commissioned programs, as well as the series it acquires from around the world.
“Alongside our flagship long-form dramas such as recent series’ New Gold Mountain, The Unusual Suspects and The Hunting, we are also committed to investment in short form dramas, to premiere on SBS On Demand,” he said.
“(These) support the development of emerging diverse creative talent.”
Irvine also pointed to True Colours – a joint SBS and NITV series – following a murder mystery set in the outback east of Alice Springs. In an Australian TV first, it will be delivered in English and the local First Nations language of Arrernte.
“We’re championing under-represented voices and communities,” he said.
“We believe there’s a growing appetite among Australians for more diverse dramas on our screens that explore and celebrate who we really are as a nation.”
In 2020/21, the ABC provided the most finance for Australian drama of any single platform. Screen Australia’s Drama Report highlights the ABC’s critical role in supporting Australian production and found the ABC, invested $42 million – up 22 per cent on 2019/20 – on 17 titles that commenced production in 2020/21.
ABC’s Head of Drama, Entertainment and Indigenous Sally Riley says Aunty remains firmly committed to Australian drama.
“In an increasingly crowded market full of global content, the ABC is proud to be the home of drama programming which reflects Australian identity, celebrates Australian talent, and supports the local creative sector,” she says.
While Seven announced a host of reality TV for its 2022-23 slate including the return of My Kitchen Rules and Australian Idol, new drama was notably absent.
However, Seven’s Chief Content Officer, Entertainment Programming, Angus Ross pointed to its commitment to the ongoing ratings juggernaut Home And Away.
“The Seven Network runs Australia’s No. 1 drama – Home And Away – at 7pm on the main channel for over 40 weeks a year,” he says.
“No other network makes a bigger, more prominent nightly commitment to drama. It is also Seven’s biggest show on 7 Plus.”
Apart from soaps, the remaining dramas fighting for their slot in the preponderance of reality have shorter and sweeter seasons.
“It’s usually eight episodes maximum, because we are all time-poor and the costs are so high,” Knox explains.
“But we’re also seeing fewer seasons. Soaps aside, Wentworth’s nine seasons may stand as the last long-running drama series Australia will produce.
“Doctor Doctor wrapped at five. It’s getting harder for commissioners to justify returning titles beyond a handful of seasons.”
So, yes, long gone are the days where drama underpinned the schedule for 45 weeks of the FTA year – it’s now akin to a punctuation mark with high-profile, event dramas. And that’s the reality we have to accept.
DRAMARAMA ON STREAMING SERVICES
While there’s been a dearth of dramas on free-to-air, the first half of 2022 has offered up a dazzling array of series to choose from on streaming services.
Here’s my top 10 picks:
HEARTSTOPPER
Netflix
This coming-of-age story is a straightforward, heartwarming tale. The British series follows a teenager navigating life as one of the few gay guys at an all-boys school. He soon finds an ally in the captain of the rugby team, only to discover that they may have more alike than he initially suspected. Bonus: Olivia Colman is one of the protagonist’s mothers, and as always, she steals every scene she is in.
PACHINKO
Apple TV+
Apple TV knows a good thing when they see it, so they’ve taken the novel of the same name, placed Academy Award winner Youn Yuh-Jung at the forefront, and have truly created something spectacular. In the upswing of Korean-language series available to American viewers, Pachinko exceeds the hype.
GILDED AGE
Paramount Plus
The brilliant team behind Downton Abbey created this stunning nine-part series about New York in the 1880s. And it shows – from the sumptuous sets and gorgeous costumes and clever scripts moving seamlessly from upstairs to downstairs as the old money families such as Agnes Van Rhijn (Christine Baranski) go to war with the stupendously rich new ones. It’s simply splendid in every sense and will definitely fill that immense Downton Abbey-shaped hole you’ve had in your life. Huzza!
FIRST LADY
Netflix
This fascinating drama looks at three unique women – Eleanor Roosevelt, Betty Ford and Michelle Obama – each take on the role of First Lady of the United States. Following up her award-winning turn as Margaret Thatcher in The Crown, Gillian Anderson takes on another formidable lady in Roosevelt, while Michelle Pfeiffer is outstanding as Ford. But it’s Viola Davis as Obama who has the biggest challenge, given how familiar viewers are with the real deal. But, as always, Davis nails it, and special mention to OT Fagbenle as her husband Barack.
THE STAIRCASE
Binge
This brilliant drama series is based on the 2001 death of Kathleen Peterson, whose body was found at the bottom of a staircase in her family home in North Carolina. Her husband Michael initially claimed she fell, but he was later convicted of her murder. Starring Toni Collette as Kathleen and Colin Firth as Michael, this gripping eight-part series delves into the couple’s relationship and the dynamics of their family before the incident. Opening with Michael’s infamous 911 phone call, it also examines the aftermath of that fateful night.
EUPHORIA
Binge
After a long hiatus, Euphoria’s glorious, if extremely stressful, return shows the series is not a one season wonder. It’s sophomore season was the second most-watched show in HBO’s history, behind Games of Thrones and it was the most tweeted about show this decade. And it’s not hard to see why – picking up after Rue’s Season One relapse, the series from Sam Levinson moved at a breakneck pace.
OZARK
Netflix
It’s hard to keep a series fresh season after season. That’s what makes Ozark so special. With its fourth and final season, the series starring Jason Bateman, Laura Linney, and the incomparable Julia Garner, has continued to reinvent itself and offer some of the best television on any platform. Throughout its epic run, Ozark had many twists and turns. But nothing could’ve prepared fans for the heart-wrenching season four finale. Sob.
LOVE ME
Binge
Look, technically this six-episode drama was last year – but it is magnificent – the script, the casting, the direction. Exploring the search for love across three different family members – Glenn (Hugo Weaving), Clara (Bojana Novakovic) and Aaron (William Lodder) – you’ll likely relate, laugh and shed a tear or two. Throw in Celia Pacquola, Bob Morley, Heather Mitchell, Sarah Peirse, Mitzi Ruhlmann and Shalom-Brune Franklin, some deft storytelling and you have the perfect antidote to reality (the world and the TV genre).
BRIDGERTON
Netflix
There’s far less sex in this second season of the Regency romance based on Julia Quinn’s novels, but there’s still plenty of longing looks as the Viscount (Anthony Bailey) looks for a wife. But quite apart from the love story, it’s worth a watch for the wardrobe and this new season continues on with the grandeur and extravagance from the first. Plus there’s a fab soundtrack full of classical twists on tunes such as Madonna’s Material Girl to Harry Styles’s Sign of the Times, Nirvana’s Stay Away, Rihanna’s Diamonds, Alanis Morissette’s You Oughta Know and Miley Cyrus’ Wrecking Ball.
THE WILDS
Amazon Prime
It was one of the biggest surprises of late 2020, a clever take on Lost filtered through a young adult lens and a young female perspective. With a great cast, smart writing, and some fascinating plotting, it was one of the most watchable escapist pleasures of the pandemic. And it’s back with another very watchable, fast paced eight episodes. And a major twist: the female survivors aren’t the only ones being manipulated by a wayward scientist on a desert island. There’s a ragtag bunch of boys too.
Originally published as Free to air TV: Reality shows have killed off the much-loved Aussie drama
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