電視劇的黃金時代還是過剩時代？

電視劇的黃金時代還是過剩時代？

真的有太多好看的劇來不及看嗎？在艾美獎吸引了大多劇迷之際，F(xiàn)X電視網(wǎng)的首席執(zhí)行官表示，這種過量供應(yīng)令電視節(jié)目很難“透過喧囂，創(chuàng)造真正刺激的東西”。

測試中可能遇到的詞匯和知識：

serialize 連載

renaissance 文藝復(fù)興

script 劇本

overwhelmed 淹沒

sketch 簡述

pedigree 血統(tǒng)

edgy 尖銳的

evaporate 蒸發(fā)

Death to the bland as TV viewers seek an escape from reality（785words）

By Matthew Garrahan in New York

Jeff Bezos did not hide his enthusiasm at the Emmy awards on Sunday night,leaping to his feet and cheering when Transparent,the Amazon show about a transgender father,scooped five awards — the first ever won by the online group's streaming video service.

The success of the show,part of a new generation of serialised television programmes that has wowed critics and audiences,has led to talk of a golden age of television. From The Sopranos through to Mad Men ,Breaking Bad and Game of Thrones — another big winner at the Emmys — television is enjoying a critical and artistic renaissance. Such is its ascent that many in Hollywood say it has supplanted films as the medium of choice for the best writers,actors and directors.

But is there too much of it?Across the media industry,concern is growing that there are simply too many quality scripted shows to watch. John Landgraf,chief executive of FX,the cable channel that is part of 21st Century Fox,sounded the warning bell last month when he warned that audiences were “overwhelmed” by the number of available shows. The industry was “choking” on its own abundance,he said.

Mr Landgraf has a point. The network estimates that there were about 280 scripted series on air five years ago,a number that had climbed to more than 370 by 2014.On a series such as Game of Thrones,which just finished its fifth season,each episode is an hour long,so a 50-hour time commitment would be needed by someone starting from scratch. Add in other must-see series,and watching television or video streaming services requires a substantial time investment. For working adults there are not enough hours in the day to watch everything.

This point was illustrated at the Emmys. In a sketch that opened the show,comedian Andy Samberg retreated to a bunker to catch up on all the programming he had missed. He emerged with a long beard a year later.

Some TV executives agree with Mr Landgraf's assessment. After all,investments in original production are fraught with risks. For those broadcast and cable networks that depend on advertising,there are clear implications if shows do not immediately find an audience and generate ratings. At FX,The Comedians,which starred Billy Crystal,was cancelled when it failed to bring in enough viewers — despite favourable reviews from critics.

The warning from Mr Landgraf carries weight but do not expect a slowdown in the number of scripted series being commissioned anytime soon. One reason is a slowdown in reality television. From the mid-1990s onwards into the next decade,this was a reliable cash cow for media companies. Cheap to produce and produced in formats that were eminently exportable — the American Idol format was remade for almost 50 countries — reality TV became the industry's golden goose.

But the format has lost its shine and viewers are seeking something else from their viewing. In the US this summer,companies that relied on reality TV — and did not have a pedigree in scripted drama — were hit by a big share sell-off,when concerns about disappearing audiences and declining advertising revenues spooked investors.

Channel owners are betting that original,quality dramas are the best way to retain audiences. USA,the cable network owned by Comcast's NBCUniversal,used to be best known as the home of reruns and bland,middle-of-the road dramas. However,its edgy new series Mr Robot,about a vigilante cyberhacker,was the most talked about show of the summer. Even Lifetime,which is more commonly associated with pulpy style and reality shows,has changed direction,winning plaudits for Unreal,a dark comedy about a fictional dating programme.

In both cases the channels have bet on original writing,taking a punt that audiences will respond well when challenged by something they may not have expected. The best scripted programming can help networks stand out in a crowded marketplace — consider what House of Cards and Orange is the New Black did for Netflix,for example.

Bland television designed to appeal to everyone has had its day,one senior TV executive told me this week. Instead,programmes that may have once been earmarked for niche audiences are most in demand. There may be too much scripted programming around,but broadcast networks and cable channels have few other choices. With the ratings for the Emmys,TV's starriest night of the year,down 20 per cent on 2014,it is clear that audiences are evaporating. Drastic measures are needed — and brilliant,challenging drama may hold the key.