NG
No worries - I think "accepted wisdom" often needs to be challenged by facts...
However (speaking as a 25-45) in Scotland at least, while the programme probably does scare off anyone under the age of 20, it's generally one that can be left on in the background while any house party continues. And that's surely the case in most places with new year shows.
Not sure - I think some people do sit down and watch the show with a quiet drink. Not everyone goes to parties for New Year - particularly outside Scotland. I think the "switch on and leave in the background" requirement is pretty well catered for by the BBC One networked show in recent years, as it has a higher music content than previous years.
The event was relatively contemporary and had the likes of Amy Macdonald performing.
Contemporary yes - but very MOR. I think that lots of programme makers have discovered that a wider audience appreciates contemporary MOR than "old fashioned" MOR.
Get Katie Melua and Teatro on singing MOR songs and you probably have a wider appeal than older, more established performers doing the same songs. (Josh Groban is a good example of this)
Would it really have scared the English audience any more than that hideous version of Auld Lang Syne, or the amateurish commentary over the fireworks?
The Auld Lang Syne performance on the network show was so short and right at the end... Not really that relevant - any audience switching off at this point wouldn't have dented the ratings by much at all.
The fireworks commentary is always contentious. I don't think it was as bad as the previous two years if I'm honest - so it has been improving!
(That's not a loaded question by the way, because the answer may be yes)
Hogmanay Live, incidentally, is from the Pacific Quay studio, but crosses to the bells in Edinburgh and the resulting fireworks display. But as the advantage of the OB was the inane 'ask people their new year resolutions to fill time', I don't think we missed much.
I think you are missing my OB point (I probably didn't make it that well). By broadcasting from an OB location - you get a feeling of being in amongst the celebrations - and a much greater sense of scale and event. It isn't being able to interview people that makes the OB work - it is the sense of location (not specific but generic) and scale. Seeing the huge mass of people at the Embankment, and the audience braving the rain at Somerset House was much more "real" than invited hangers on in a faux studio.
Studios can be good for intimate stuff - like Jools' Hootenanny - but don't have that "special event" feel that I think a New Year show needs.
I agree that the "What is your New Year Resolution?" sequence on the Embankment was a bit ropey (I suspect Gethin didn't have much location production support, and someone more experienced would have "pre-interviewed" the people who he was going to talk to - and prepared enough to fill for longer. This wasn't the case as most of the people he chose were dull performers with no real idea...)
noggin
Founding member
p_c_u_k posted:
Interesting breakdown there, and a very good case that possibly puts a different perspective on things.
No worries - I think "accepted wisdom" often needs to be challenged by facts...
Quote:
However (speaking as a 25-45) in Scotland at least, while the programme probably does scare off anyone under the age of 20, it's generally one that can be left on in the background while any house party continues. And that's surely the case in most places with new year shows.
Not sure - I think some people do sit down and watch the show with a quiet drink. Not everyone goes to parties for New Year - particularly outside Scotland. I think the "switch on and leave in the background" requirement is pretty well catered for by the BBC One networked show in recent years, as it has a higher music content than previous years.
Quote:
The event was relatively contemporary and had the likes of Amy Macdonald performing.
Contemporary yes - but very MOR. I think that lots of programme makers have discovered that a wider audience appreciates contemporary MOR than "old fashioned" MOR.
Get Katie Melua and Teatro on singing MOR songs and you probably have a wider appeal than older, more established performers doing the same songs. (Josh Groban is a good example of this)
Quote:
Would it really have scared the English audience any more than that hideous version of Auld Lang Syne, or the amateurish commentary over the fireworks?
The Auld Lang Syne performance on the network show was so short and right at the end... Not really that relevant - any audience switching off at this point wouldn't have dented the ratings by much at all.
The fireworks commentary is always contentious. I don't think it was as bad as the previous two years if I'm honest - so it has been improving!
Quote:
(That's not a loaded question by the way, because the answer may be yes)
Hogmanay Live, incidentally, is from the Pacific Quay studio, but crosses to the bells in Edinburgh and the resulting fireworks display. But as the advantage of the OB was the inane 'ask people their new year resolutions to fill time', I don't think we missed much.
I think you are missing my OB point (I probably didn't make it that well). By broadcasting from an OB location - you get a feeling of being in amongst the celebrations - and a much greater sense of scale and event. It isn't being able to interview people that makes the OB work - it is the sense of location (not specific but generic) and scale. Seeing the huge mass of people at the Embankment, and the audience braving the rain at Somerset House was much more "real" than invited hangers on in a faux studio.
Studios can be good for intimate stuff - like Jools' Hootenanny - but don't have that "special event" feel that I think a New Year show needs.
I agree that the "What is your New Year Resolution?" sequence on the Embankment was a bit ropey (I suspect Gethin didn't have much location production support, and someone more experienced would have "pre-interviewed" the people who he was going to talk to - and prepared enough to fill for longer. This wasn't the case as most of the people he chose were dull performers with no real idea...)