US network television in recent years has become shy and predictable, not very groundbreaking, with a tendency to be extremely formulaic. When other networks saw that CSI was successful, for example, they started developing their own forensics shows to see if they could emulate those ratings. Once Glee became a hit on Fox, NBC responded with Smash. The slew of reality shows coming hard and fast on every network are another illustration of the way the networks mimic each other in an attempt to keep ahead in the race.
Truly radical, remarkable television is becoming rare on the US networks. Some cable networks are changing the dynamics a bit, and meanwhile PBS is achieving astounding success with British imports like Downton Abbey. The British media struggle to make sense of why the show is so popular in the US, probing deep into our psyche and attempting to explain our strange fascination with it; it’s apparently inconceivable that some of us just like good television and are excited to have a show we can really sink our teeth into. Maybe we like it for that reason alone, and no particular motivation beyond that, because some of us happen to like good television.
There are a lot of explanations for why network television in the US seems to be on the decline. Some people point to the changing landscape of media as a whole, and the impact this has had on television. Viewers are using more platforms to follow their favourite shows, may not always see advertisements, don’t gather around the television at the appointed time to catch something. They also have differing expectations from their television, and these changing demands and standards force networks to adapt if they want to continue growing and attracting viewers.
A deep fear of advertisers also seems to be playing a role. Advertisers have growing clout at the same time that they are increasingly vulnerable to outside pressure. Since the nature of media is shifting and advertisers have so many options, television shows have to appeal to them, and offer a good deal, for them to be willing to fork over the cash for a spot on a show. A handful of shows have highly competitive commercial slots, while others are less so, and networks struggle to make them more competitive in order to attract funding.
Meanwhile, consumers are more aggressive than ever about pressuring advertisers, in larger part because of social media. If something appears on a show and viewers dislike it, they can look up the advertisers and the brands involved in product placement and shoot them complaints. They can organise campaigns to put pressure on advertisers, demanding that they withdraw support. This pressure comes from all areas of the political spectrum, from members of the religious right protesting abortion storylines to progressives demanding to know why advertisers are willing to be associated with shows that contain offensive content.
Advertisers are more cautious about what they associate with because they do not want to alienate their base, a base which has become a lot more vocal and powerful. They are extremely careful when it comes to the kind of material presented on television shows alongside their ads, and because networks need their support, they have more vetting power over what does and does not appear. Producers warn creative teams away from storylines that are likely to upset advertisers, run potentially sensitive subjects past sponsors, and effectively live in fear of advertisers. Agencies get to dictate the nature and presentation of content on television, and this means that what consumers see is really shaped by advertisers, from beginning to end.
Not just the ads themselves, but the content sandwiched between them. For every ‘controversial’ storyline that does manage to make it to air, many more end up on the writing room floor, never to be spoken of again, because they represent too much risk for the network. Forced to think about bottom lines, the network wants to appease prospective advertisers and knows that the most effective way to do so is to keep content light. Unchallenging. Neutral.
This is one of the reasons US television is not as exciting as it could be, or as it once was. Great creators have their expression limited by simple economic concerns. Once advertisers start to withdraw support, it can create a ripple effect as more and more companies pull out. They don’t want to be associated with controversy, and suddenly a single advertiser cutting ties can turn into a cluster, an event that will be thoroughly covered by the media, leaving the show without sponsorship because of a creative decision.
The decision may have been a good one for the show and for the characters, it may have been the right move, but it would also be the show’s death knell. So producers warn their writers and their creative teams, direct the focus of shows with advertisers in mind. They make small moves that they present as ‘bold’ and ‘revolutionary’ so viewers don’t feel like they’re watching a watered-down version of television that doesn’t have any real spirit or teeth.
And thus, shows are rewarded for storylines that really aren’t innovative or remarkable at all, because there’s nothing else to take note of, and nothing else to celebrate. It creates a system that feeds itself, as creators retreat to safe ground to retain good relationships with advertisers and are rewarded for it. They take home diversity awards and other recognitions, they remain employed, the network wants to continue working with them into the future.
Viewers, meanwhile, are left wondering why they’re still watching television at all, if it’s going to be so dull.

Heavy Expectations: Grief and Performance
Our society has a deeply conflicted relationship with grief. It doesn’t really want to see grief and mourning or be made aware that they happen and that people experience real sensations of pain and loss. People want to see grief neatly boxed away and tidied up, want to see people ‘moving on,’ by which they mean that the subject will never arise again and the deceased should simply be forgotten. At the same time, though, they also demand performances of grief; the bereaved is expected to walk the walk and will be viewed as suspect for not performing grief in the expected way.
People seem to maintain a sort of internal rubric for acceptable grief levels, based on degree of relation with the deceased. Dead parents and children rank high on this scale, as intense personal losses that would be intensely traumatic. Siblings. Partners. The rubric tends to rate down aunts and uncles, cousins, more distant relatives. Friends. Pets. For each, there is an assigned level of grief that is allowed, and you should not exceed it, but you also shouldn’t perform below standards.
Not everyone grieves in the same way. Some people may be deeply, deeply upset but they don’t communicate it in ways that are familiar to others. When one friend of mine lost her mother, her boss made arrangements for her to take time off work, but she said she didn’t want time off, and came to work anyway, and worked. People called her cold and hard even though she sobbed at home for months—she just needed one thing, work, to anchor herself to the world, to give herself something normal to do, something to focus on. One place that she didn’t associate with her mother, that was hers. And people condemned her for not grieving the way she was supposed to.
Some people are criers and screamers and tearers of hair. Others look at photo albums or lie quietly in bed. Others work ferociously. Grief takes many forms and they are all valid, despite the beliefs of those who seem to think there is one right way to grieve. Some people want to share their grief with the people around them because they cannot imagine a world without the deceased and they want to cry it out to the heavens and make sure everyone knows. Others are more private and prefer to mourn in closer circles, or entirely alone. The fact that someone isn’t manifesting an outward appearance of grief doesn’t mean that person is not mourning.
And others have nothing to mourn, which many people seem to find particularly discomfiting, especially when they lose someone close under the grief rubric. People are disturbed by the idea that someone might not mourn a parent, for example, and place judgments on that person for not performing grief. There are all kinds of reasons why people may be past the point of mourning; perhaps that parent was hostile and abusive and the survivor is finally free at last. Maybe that parent disowned the child for reasons of identity or affiliation, and the child has lived for years with a parent who is effectively dead. Maybe that child drifted apart from the parent, joined a close religious sect that doesn’t permit contact with outsiders.
It is not for us to speculate why someone might not experience grief after the loss of someone else. Perhaps it is not a loss at all. It might frighten us to think about it, the idea that someone might not mourn. Society puts tremendous pressure on people in this situation. Either they need to perform grief they do not feel to satisfy the needs of those around them, the people who want to see them manifesting emotion, or they need to explain why they are not grieving, which requires disclosing personal information. Information that may be sensitive and uncomfortable for them to discuss.
The pressure to grieve publicly and to do so in a certain way is yet another thing for people to navigate in the wake of a loss. They must do it just right or be branded as cold, or too emotional, or any number of other unpleasant things people can come up with to describe people who do not stick within the confines of the rubric. It is not enough to admit that yes, you have experienced a loss and you want to process it in your own way, not when you are living in a world where everyone thinks that everything is their business, right down to how you deal, or do not deal, with the death of someone in your life.
Pop culture repeatedly stresses the right way to perform grief, whether it’s television shows or novels, and the personal columns people write about death and grieving, the memoirs, also tend to fall within a very narrow range. A model of acceptable grieving behaviour for everyone to take note of. Those who dare to stray outside the lines attract eyebrows, because they are breaking the rules, suggesting perhaps that the rules should be broken and maybe don’t belong there in the first place. And this, we simply cannot have, because it would create a world where people could mourn how they want to, without having to consider what society wants for them during a time that may already be an extremely difficult one.
Death and dying are tangled, messy, complex things. Responses to them cannot be neatly summed up in a set of rules for everyone to read and obey, because death itself does not obey. Death is a cheater, a thief, a sneak, a stealer, and in the face of that, sometimes you have to fight dirty.