Nostalgia sells - or does it? About BBC’s rehiring of a previous showrunner for Doctor Who as a marketing strategy

All, right, this is the one where I deal with my issues about RTD’s rehiring from the standpoint of BBC’s business strategy . Brace for passive agression, swearwords, brief history of british television and numbers. So, so many numbers.

Allright, so I already wrote a post about my problem with RTD’s (re)hire from the creative standpoint (it’s here in case you’re interested), but hey, I can bitch about it all I want, but we all know what caused the BBC to make this decision, right? You’ve heard about it for sure. The Dropping Ratings. You’ve read about it on so many posts, lots of them probably oh-so-gladly conflating this fact with their own opinion about the deteriorating quality of the show. (Don’t worry, we’ll get to that.) So Obviously the execs at the Big BBC Quarters needed to do something about it, and what better way to go than rehire a guy who’s run at Doctor Who is a warm childhood memory for so many in it’s fanbase? After all, it’s what we’re seeing nowadays: from Star Wars return to wave of 80′s nostalgia to every old blockbuster star doing a comeback, there is but a single conclusion - nostalgia sells.

Or does it?

Part One: Moving with the change; or very much refusing to.

Let’s start this off with some facts about the ratings for Doctor Who. (Well, I warned you there’s gonna be numbers, didn’t I. Stick with me, I’m going somewhere with this I promise.) In it’s beginnings, in the sixties and seventies , the series flown high, averaging a viewership from 8 up to 10 million viewers per season. Collin Baker’s series 17 brought in a record of 11.21 milion viewer asses in front of a good ol’ TV screen, real champagne opener here. But, as it happens, things were downhill from here. During the eighties, the rating started dropping steadily, reaching an all-time low of 4.15 milion couch-warming bottoms in 1989, the last season of the classic era. 

Years passed, 16 of those years to be exact, and here comes our saviour RTD. Under his wings, the revived series premiered, bringing in over 10 milion viewers to the premiere episode of season 1, Rose. A viewership this high did not last for long, but still, RTD’s seasons averaged between 7 and 8 milion viewers per season, which seemed pretty respectable. But then, as the story likes to repeat itself, not unlike the bbc execs just did, along came the decline again. Ever since 2010, the ratings began steadily dropping again, from 7.95 in 2010 to 5.46 in 2017. Then DW experienced an unexpected peak in 2018 with the premiere of Jodie Whittaker’s first season, which averaged 7.96 viewing asses, but then continued the dropping trend on the next season, averaging 5.40 viewing butts.

So what went wrong?

You see, part of the reason that Doctor Who was bringing in such great viewership numbers in the 60′s and 70′s, was that, to put it simply, BBC did not have much competition. Or, to be exact, only had one competitor. ITV was literally founded in order to break BBC’s monopoly over British television. But in the 80′s, with the launch of Channel 4 and Sky, the british viewers had more and more options to choose from. So logically speaking, they no longer had to watch BBC’s programming just because there was nothing else on. There was more and more new programes to boredom-watch. And here’s something y’all need to know about the tv industry: the boredom-watchers, the casuals? That’s the most important demographic. As hard as it might be to swallow, us hardcore fans, forum dwellers and Ao3 gremlins, we’re not as big of a group as we’d like to think. Loving fans are important to the tv execs as providers of word-of-mouth advertisment, but the real numbers come from the casual, everyday viewer who will just put on the next episode cause the other one was kinda fun I guess. Or more fun than the other options, anyway.

And this is why, by the way, when someone is conflating low viewership with the show Dissapointing The Fans, they’re full of shit. I’m sorry, but we’re really not that much of a force here, definitely not enough to make such a big impact on the numbers. Another factor, that some of you probably noticed already, is that the numbers I’m quoting are from british tv only, while the online fandom is very much international, so our opinions matter even less to the british execs, I’m sorry again, hard pill to swallow I know, but true nonetheless.

But I digress. So, to sum up the previous paragraph, Doctor Who’s viewership decline in the 80′s was the effect of the changing landscape of the TV industry, with which the BBC struggled to come to terms with.

Sound familiar?

Let’s move on to the 2010′s, shall we?

2010 was is actually a good marker of a year to choose, because it marks one important thing that begun a big change in the industry. This was the year in which Netflix expanded their services overseas, from being a DVD rental company to providing VOD services. Over the next decade streaming services grew in importance, from being an add-on to your cable TV that you didn’t really want but they were throwing it in for cheap, to very much self-sustainable media services you might very well buy instead of buying the cable. And if you look at the numbers for Doctor Who viewership declining over the last 10 years, that’s precisely what’s been happening. It’s not that people don’t want to watch Doctor Who on tv, they don’t want to watch tv in general. Do you know what was the most popular channel in Britain this year? Can you guess? Fucking Netflix that’s what. It’s just slowly-yet-steadily ceasing to be the way we use home entertainment anymore. Again, not much to do with the audience approval, because for that matter, let’s see about the specific episodes that saw the spikes in viewership. 

Rose, which i mentioned at the start of it, was for the longest time the unquestionable queen when it comes to viewership, at 10.81 milion. The next episode, The End of the World, pulled in 7.97 - almost 3 millions worth of lost viewer-butts in one week? Is it because it was so much worse than it’s predecessor? No, it simply did not have the smell of Newness, the Event You Must See, and as such brought forth less of the casual viewers who were simply curious about The New Thing. The next season followed the similar formula, peaking at the premiere, when the marketing was at it’s strongest, going down during the season, sometimes rising slightly for the finale, sometimes not. The most popular episodes are, of course, the specials - yet again, the vibe of The Event To Be Seen worked here, but one more thing working to their advantage is they often aired in spaces between seasons, serving as both a long-waited Crumbs of Content for the fans, and the basically stand-alones for the casuals. Do you know what the single most watched episode of revived DW is? No, it’s not Tennant’s goodbye with the role (yeah I know, I thought it had to be that as well). It was Voyage of the Damned, between seasons 3 and 4. The perfect standalone for the casual watcher. And last but not least, you know one more special feature that brought, maybe not as much, but definitely more than expected? The 1996 movie Doctor Who, with 9.08 million. Again, a perfect standalone.

But the standalones aren’t the only way to grab the viewership. The currently-highest viewing non-special episode of DW? The Woman Who Fell to Earth, Jodie Whittaker’s introduction. In 2018 no less, in the year when the streaming was the ruler supreme, this episode brought a whooping 10.96 million buts to the good ol’ TV again. Let me reiterate: this episode brought in more viewers than Rose did in 2005, while having WAY more competition and way less favorable circumstances of release that RTD’s debiut did. Not only that, it managed to bring on some numbers for the entire season as well, not as good of course as the premiere (because again, the Event vibes faded), but still brought a better average than the last six seasons did. (Again, let me reiterate: more than the last SIX seasons. More viewership than any series since 2010, since the Streaming Wars.) So clearly, this must be the way, right? Catering to this Weird New Trend, that saw directors notice there do in fact exist other actors than white men, that surely brought in some profit, even Marvel does it now, right? Out with the old, in with the new!

Part 2 The Deceitful Charm of Nostalgia

Well, it turns out the whole Doing New Things deal didn’t work out that well after all, now did it? The second season penned by Chibbnal averaged 5.40 milion, that’s 2.5 million drop from the previous one! It must mean it didn’t work, right? Well, yes and no. As much as the refreshment of the formula as simple as Let’s Put A Woman In It absolutely worked for one season, it very visibly did not hold up for longer. An Event-Episode is something that can still happen on TV, Event-Series? That’s pretty much reserved for streaming now, if you think about it, and it’s honestly kind of a miracle that Series 11 did as well as it had. Two consecutive Event-Series on network tv? Flat out impossible. 

So how to make those ratings great again? How to get those butts in seats of the Good Ol’? Well, the execs of the BBC have a plan for that. They brought in a devouring beast, and it’s name is: Nostalgia.

Without a doubt, there is a number of people who feel nostalgic about RTD’s era of Doctor Who. It’s a lot of people’s fond childhood memory, or the series they started with, and judging by the numbers, there should be quite a lot of them. So the new plan, as it appears, is to get to those who maybe lost interest in the show and lure them with the promise of the thing That Is Totally Like The Thing You Used To Love, Remember? (This is why I don’t actually think that RTD will be allowed to do anything new and interesting, that’s not what they hired him for. And that’s why I think this is bad from the creative standpoint.) So there are two questions here: One, will the people be lured? And two, for how long?

Nostalgia as a marketing strategy is something that you’re probably sick of seeing already (I know I am). But it has very much been effective on many levels, especially the eighties-baiting, Stranger Things style, can bring a new IP up to relevance. But what about old IP’s that want to have a comeback? 

It’s kind of dificult to find another TV show that I could compare to Doctor Who. Most series that have been running for that long are mostly soap operas, that operate on slightly different rules, and are also targeted to a different audience. So as much as the movie series is still not exactly the best comparison, when I think about a big IP, campy sci-fi, family-oriented (at least in theory) on its path back to relevance, I think about Star Wars, obviously. The Force Awakens gambled on that nostalgic feeling and won big, but the next two movies, while still financially successful, were nowhere near the astounding success of the first one. And that’s because - you guessed it - it created the Event You Must See again, The Great Comeback, but merely two years later, the comeback became old news. So what we can gain from that is that nostalgia can create an Event as well as a new trend, if not better. But the question remains: how long will that last?

That is, after all, the main difference between a movie franchise and a TV series in the traditional, network TV sense of the word: movie franchise must bring in the viewership every year or two, and TV series must bring in viewers every week for at least two months. Is RTD’s Nostalgia Vibes enough to provide for that?

I’ll say this: I’m absolutely certain that the 60th anniversary will be very popular. I still don’t think it will break any records because, as I’ve been trying to explain for this whole post, it is not 2007 anymore no matter how much the tv execs would like it to be. But ironically, the almost-certain success of the special is the very thing that could undermine the effect of bringing their precious Nostagia Boi back onboard. Remember, the first Event Episode is The Big Oof. That’s the one that gets asses to the Good Ol’, if anything ever does. After the first big event one, that’s the point when things start going down. They’re wasting their Special Event Boi for something that already would be an event, dear fucking gods, I hate your plan and I would still execute it better. Either have RTD be the Anniversary Guy and then hire someone new, use that hype and keep it going, OR have RTD come in after the anniversary, then at least you get the Event Effect for the premiere of his first return season. Fukin’ amateurs.

But even if they did that, here’s the thing: do you think that the people who departed from the show years ago actually want to watch another three to five seasons of The RTD Show? I mean, I’m sure the thought warmed some hearts, for sure. A number of people will definitely gladly watch the anniversary, probably the first few episodes of the first return to the basics, but after that? In the world when, due to streaming, they have an easy way to revisit the actual thing they’re nostalgic towards? I honestly don’t think so. And you’re not really gonna get many new people by going back, if that nostalgia factor isn’t there. And then there’s casual viewers, the backbone, as we established. And here’s the thing: lots of those people don’t even know who the current showrunner is, cause they’re not Terminally Online like we are, and the second thing? Lots of those people ARE JUST NOT WATCHING NETWORK TV, IM SORRY GARRY. They’re just. They’re just not. I don’t know how to spell it out better. Even my mum has netflix now. Your biggest base is in another castle mate, gotta get moving and gotta get moving quick, cause here’s another thing: all the nostalgia in the world will not do SHIT for you if your target, people who were kids/teens when the RTD era was airing, PROBABLY DON’T EVEN HAVE A FUCKING TV ANYMORE CAUSE THEY MOVED OUT OF THEIR PARENTS FLAT AND LOTS OF YOUNG PEOPLE JUST DON’T BOTHER. Just. I’m sorry but you’re trying to resuscitate a decade-deceased corpse there buddy. It just won’t work. The times have changed and you gotta swim or drown, and it’s just not gonna be 2005 again, no matter how hard you pretend it is. It’s not your content it’s your business model. Just push more marketing for your iplayer or whatever, focus on streaming as your primary not your secondary cause that’s just what it is now, and maybe don’t rely on the viewer-counting systems of the yesteryear to evaluate your business. Or else you’re gonna get stuck sacrificing the creative growth of your show for a marketing strategy that probably won’t even fucking WORK.

There, I got it of my chest. Feel free to reblog, and also: you somehow got to the end of this, congrats! I’ll make numbers nerds out of y’all yet.