The Handmaid’s Tale: the future of television.

The Hand­maid­’s Tale.

In the first decade of the new mil­len­ni­um the music indus­try was destroyed, felled in a sin­gle strike by Nap­ster. Sud­den­ly, indeed overnight, every song that had ever been record­ed was freely avail­able over the internet.

Tra­di­tion­al media was a thing of the past, and any day now, tele­vi­sion, news­pa­pers, mag­a­zines and all of those oth­er relics of the twen­ti­eth cen­tu­ry would like­wise be con­signed to the dust­bin of history.

The Nap­ster him­self, Sean Parker.

But as we move into the third decade of the new cen­tu­ry, news­pa­pers and mag­a­zines are still around, TV is thriv­ing and even the music indus­try is actu­al­ly doing rather nice­ly, albeit in a dimin­ished form.

There are two per­spec­tives on the dig­i­tal rev­o­lu­tion. One says that the future is dig­i­tal, and every­thing else is doomed to go the way of vinyl. The oth­er slight­ly more nuanced view goes as fol­lows; we all have a cer­tain amount of mon­ey that we enjoy spend­ing on stuff. All the dig­i­tal rev­o­lu­tion does is to change the way that we dis­trib­ute what­ev­er that sum is, by adding a new out­let to chan­nel those funds into.

So if you had a cer­tain amount of mon­ey that you looked for­ward to spend­ing on cds in any giv­en year, the fact that any album you might be inter­est­ed in is now freely avail­able on the inter­net will very prob­a­bly mean that you now spend lit­tle or none of that cash on actu­al cds.

The hand­maids.

You’ll still spend that mon­ey on the music indus­try though. It’ll just be on going to gigs, on down­loads or on mer­chan­dise, say on a rare, deluxe cd boxset, or on a vinyl edi­tion of an orig­i­nal recording.

Indeed, what all the research shows is that you’ll very prob­a­bly spend more than you used to now, whether that be on music, film, tele­vi­sion or pub­lish­ing. As the inter­net cre­ates fur­ther syn­er­gies for all of the oth­er medi­ums, in much the same way that tele­vi­sion, and then video and cable did for cin­e­ma, in the 50s, 70s and 80s. Hav­ing access, in oth­er words, to all that free music just makes you want to spend even more of your mon­ey on music than you used to, before every­thing was avail­able for free.

Ama­zon’s Seat­tle bookstore.

The same thing has hap­pened in pub­lish­ing. When ebooks began to take off about ten years ago, the death of the print­ed book was con­fi­dent­ly pre­dict­ed and was, more over, a mat­ter of days and weeks.

But ten years on, ebooks have plateaued and been super­seded by audio books. Nei­ther of which, we now realise, are going to replace the print­ed word. Rather, ebooks and audio books are an added source of rev­enue for a reju­ve­nat­ed pub­lish­ing indus­try. And it’s not just the indus­try that’s bounc­ing back. Inde­pen­dent book stores are expe­ri­enc­ing a mini renais­sance as well. Indeed, the big bad wolf itself, Ama­zon, has start­ed open­ing up its own bricks and mor­tar, actu­al phys­i­cal books stores.

Most obvi­ous­ly of all, tele­vi­sion is alive and well and boom­ing. Which isn’t to say that the dig­i­tal effect has been neg­li­gi­ble. Far from it, dig­i­tal has com­plete­ly dis­rupt­ed every con­ceiv­able cor­ner of the media land­scape. So that the way that we now watch, read and lis­ten to films, tele­vi­sion, music, the radio, books, news­pa­pers and mag­a­zines has been com­plete­ly trans­formed. It’s just that none of them are about to dis­ap­pear any time soon.

Apple’s view of the future.

If you want to see what the future of tele­vi­sion is, all you have to do is look at screen size. Mobiles want to be smart phones, smart phones want to be lap­tops, lap­tops want to be desk­tops, desk­tops want to be TVs and TVs want to be cin­e­mas­cope. Every­thing is get­ting big­ger, not small­er. And all con­tent is fol­low­ing suit, and is try­ing per­pet­u­al­ly to move in the same direc­tion. How many TV stars do you know that dream of one day being on the internet?

Try watch­ing the Handmaid’s Tale and see how you feel. Of course you could watch it on your lap­top, or even on your mobile. But as you do so, you’ll have this increas­ing itch to see it on a prop­er screen and with a grown-up sound sys­tem. So you can real­ly lux­u­ri­ate in the tac­tile sound of an old fash­ioned foun­tain pen, as it scrawls and scrapes its ital­ic script clum­si­ly across the fibres of an actu­al piece of old fash­ioned paper. And you can pick

out with pleas­ing clar­i­ty the dusky book cov­ers as the Com­man­der runs his fin­ger lov­ing­ly over their cor­ners, as he appears from the depths of the shad­ows to gaze greed­i­ly on his mahogany bookcase.

Eliz­a­beth Moss and Joseph Fiennes square off.

And the peo­ple who make the best tele­vi­sion, and the tele­vi­sion being made at the moment is some of the best that’s ever been made, the Handmaid’s Tale being a case in point, feel exact­ly the same way about mak­ing their pro­grammes as we do about watch­ing them.

Nobody’s going to choose to watch some­thing on a lap­top if giv­en the choice of see­ing it on a 32 inch tele­vi­sion. And no-one’s going to be sat­is­fied with watch­ing it on that 32 inch screen if offered the chance to see it on a 55 inch one. Television’s not dead. On the con­trary, it’s get­ting big­ger and bigger.

You can see the trail­er of the Handmaid’s Tale here.

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