Has Streaming Killed the TV Moment?流媒體已取代傳統(tǒng)電視？

Traditional viewing is in terminal decline—but we’re more passionate about our favourite shows than ever.

傳統(tǒng)電視節(jié)目的收視率一蹶不振，但我們觀(guān)看節(jié)目的熱情空前高漲。

EastEnders1 was what might once have been referred to as a classic of the soap opera genre.

《東區(qū)人》似乎曾被稱(chēng)為肥皂劇中的經(jīng)典之作。

The actor who plays Freddie， Bobby Brazier， is the son of Jeff Brazier2 and the late Jade Goody3.

飾演弗雷迪的演員博比·布雷齊爾是杰夫·布雷齊爾和已故的杰德·古迪的兒子。

Brazier’s performance was first class， surrounded by concerned EastEnders veterans， watching nervously for his character’s welfare.

布雷齊爾的表演堪稱(chēng)一流。他身邊圍著一群憂(yōu)心忡忡的《東區(qū)人》老演員， 他們都緊張兮兮地關(guān)注著布雷齊爾所飾角色的安危。

It may well pick up trophies.

這個(gè)角色很可能得獎(jiǎng)。

Yet one important ingredient was missing， to alchemise Freddie Slater into a true fictional totem of his times： a massive audience.

然而，要將弗雷迪·斯萊特這個(gè)虛構(gòu)角色打造成他所在時(shí)代的真正標(biāo)志，缺少一個(gè)重要因素：龐大的觀(guān)眾群。

The average time spent watching TV in Britain is down a hefty 12 per cent， from 2.59 hours a day in 2021 to 2.38 hours in 2022. We know that young people have drifted away from traditional television shown at regular intervals on a prearranged schedule.

英國(guó)人看電視的平均時(shí)長(zhǎng)大幅下降12%，從2021年的每天2.59小時(shí)減少到2022年的每天2.38小時(shí)。我們都知道，年輕人已經(jīng)逐漸遠(yuǎn)離按預(yù)定時(shí)間表定時(shí)播放的傳統(tǒng)電視節(jié)目。

We probably could have guessed that TikTok’s share of the non-traditional broadcast market has spiked， averaging a peak hour a day for teenagers. But the old folk have joined in now， too. For the traditional 65+ market， who have kept the life raft afloat for soaps for well over a decade， traditional TV viewing is down 10 per cent. While BBC1 is still comfortably the most watched channel on TV， pensioners have caught the bug4 for streaming rivals.

或許我們都能猜到，在非傳統(tǒng)的節(jié)目播放市場(chǎng)上，TikTok的份額急劇增長(zhǎng)，平均每天都有長(zhǎng)達(dá)一個(gè)小時(shí)的青少年收視高峰?，F(xiàn)在，老年人也已加入其中。守舊的65歲以上人群10多年來(lái)一直支撐著肥皂劇的救生筏，但如今這一群體觀(guān)看傳統(tǒng)電視節(jié)目的收視率下降了10%。雖然英國(guó)廣播公司第一臺(tái)依舊穩(wěn)坐收視率最高電視臺(tái)的寶座，但是領(lǐng)退休金的老人們已經(jīng)開(kāi)始沉迷于電視臺(tái)的競(jìng)爭(zhēng)對(duì)手——流媒體。

Disney+ alone has seen a sizable seven per cent increased share among this age bracket.

僅迪士尼的流媒體平臺(tái)在65歲以上年齡段的市場(chǎng)份額就大幅增長(zhǎng)了7%。

The fresh statistics showed two major patients sitting limp in the waiting room of TV’s truest gauge of success： soap operas and news bulletins.

最新的統(tǒng)計(jì)數(shù)據(jù)顯示，在最能判定電視節(jié)目成功與否的候診室里，坐著兩位無(wú)精打采的重癥病人——肥皂劇和新聞簡(jiǎn)報(bào)。

Where once a major event on a soap could draw an audience of up to 20 million， shows reaching an audience of more than four million have halved in the last decade， to just over 200 in 2022.

曾經(jīng)，肥皂劇中的關(guān)鍵情節(jié)可以吸引多達(dá)2000萬(wàn)觀(guān)眾，而在過(guò)去10年中，觀(guān)看人數(shù)超過(guò)400萬(wàn)的節(jié)目減少了一半，2022年只有200多檔。

The big winners are royal events such as Queen Elizabeth II’s funeral and the King’s Coronation， live inter-national football fixtures5 and unusual upswing in interest in the Eurovision Song Contest6.

最大的贏家是英國(guó)王室活動(dòng)，如女王伊麗莎白二世的葬禮和國(guó)王的加冕典禮；還有定期直播的國(guó)際足球比賽，以及關(guān)注度異常高漲的歐洲電視網(wǎng)歌唱大賽。

Outside these occasions， we are looking squarely at the death of television as a shared， communal crowd-puller.

在這幾種重大場(chǎng)合之外，我們正目睹電視作為吸引眾人聚集一堂的媒介漸漸消亡。

The outlook is bleak for old screen habits， which now look to be in terminal decline， robbing us of those collective dramatic moments which helped gauge the mood. TV was once the medium which effortlessly crossed class and age， embracing all in its butterfly net.

過(guò)去慣用的觀(guān)看方式前景黯淡，現(xiàn)在看來(lái)正走向末路，我們因此失去了有助于激發(fā)情緒的集體觀(guān)劇時(shí)刻。電視曾是一種毫不費(fèi)力就能跨越階層和年齡的媒介，能將所有人“一網(wǎng)打盡”。

Every other day， still， I’ll take a call from my mum and， with metronomic regularity， the third question， post “How are you？” and “What are you having for your tea？” will be “So， what are you watching then？”

每隔一天，我仍會(huì)接到媽媽的電話(huà)。在“你好嗎？”和“下午茶吃了什么？”之后，第三個(gè)問(wèn)題就是“你在看什么節(jié)目？”非常有規(guī)律。

There is always common ground. We’ve both been avidly watching The Sixth Commandment on BBC iPlayer， the exceptional dramatic retelling of the real-life calculated murderer， Ben Field.

我們總是有共同話(huà)題。我們都熱衷于在英國(guó)廣播公司的流媒體平臺(tái)上觀(guān)看《第六誡》。這部劇對(duì)現(xiàn)實(shí)生活中的蓄意殺人犯本·菲爾德進(jìn)行了非常精彩的戲劇性重述。

There will more than likely be a brief interlude from her on a preposterous dress worn by a minor character on And Just Like That...， Sky’s extension of the Sex and the City brand， which she picks up on Now TV.

我媽媽非常有可能會(huì)插一兩句嘴，說(shuō)天空電視臺(tái)的《就這樣……》中有個(gè)配角穿了條可笑的裙子，不過(guò)她是在電視臺(tái)旗下的流媒體平臺(tái)上看的這部《欲望都市》衍生劇。

Now， there is a Netflix show or two added into the chatter， too. Well into her eighties， she understands the workings of non-terrestrial TV like a teenager.

如今，我和媽媽閑聊時(shí)也會(huì)提起一兩個(gè)奈飛的節(jié)目。雖然年過(guò)八旬，但我媽媽像十幾歲的孩子一樣了解非地面網(wǎng)播平臺(tái)的運(yùn)作方式。

A movement in viewing habits has been discernible from Ofcom findings since the dawn of the streaming age.

自流媒體時(shí)代開(kāi)始以來(lái)，從英國(guó)通信管理局的調(diào)查結(jié)果中可以看出觀(guān)看習(xí)慣的變化。

For over a decade our habits have atomised to more nuanced and personal schedules. The idea of a set time for a set show has disintegrated， with catch-up options adding to the palette of screen options.

十多年來(lái)，我們的觀(guān)看習(xí)慣已經(jīng)分化，節(jié)目單趨于細(xì)致、個(gè)性化。隨著屏幕菜單欄中增加了“點(diǎn)播”選項(xiàng)，在固定時(shí)間觀(guān)看固定節(jié)目的觀(guān)念已經(jīng)瓦解。

For soaps and the news， there are obvious reasons for declining viewership.

對(duì)肥皂劇和新聞節(jié)目來(lái)說(shuō)，收視率下降的原因顯而易見(jiàn)。

The plethora of 24-hour news programming first dented the idea of set bulletins at set times. Audiences diminished.

過(guò)多的24小時(shí)新聞節(jié)目首先削弱了在固定時(shí)間播出固定新聞節(jié)目的觀(guān)念。觀(guān)眾因此而減少。

Now news can be felt in real time on the phone， with the ping of a social app.

如今，只要社交軟件的提示音一響，人們就能從手機(jī)上實(shí)時(shí)知曉新聞。

The dominance of social media has fed into how we react to drama.

社交媒體的主導(dǎo)地位已經(jīng)影響了我們對(duì)電視劇的反應(yīng)。

The massive improvement in budget and quality of dramas like Succession have come to dominate online conversation.

《繼承之戰(zhàn)》等電視劇在預(yù)算和質(zhì)量上的大幅提升已經(jīng)成為網(wǎng)絡(luò)熱議的話(huà)題。

Another Sky show， The Idol， which garnered relatively small viewing figures， was perhaps the most talked about TV show， for all the wrong reasons， a psychosexual potboiler which has been routinely denounced on socials.

天空電視臺(tái)播放的另一部劇《偶像漩渦》雖然收視率相對(duì)低迷，但可能是討論度最高的電視劇，可惜這討論度純屬罵出來(lái)的——這部“黃”爛劇在社交網(wǎng)絡(luò)上經(jīng)常遭到譴責(zé)。

Catching a fever for airing an opinion for something on TV is no longer the terrain of critics or industry folk. It is a new national sport.

激情澎湃地就電視節(jié)目發(fā)表意見(jiàn)已不再是評(píng)論家或業(yè)內(nèi)人士的專(zhuān)利。這是一項(xiàng)新的全民運(yùn)動(dòng)。

One of the most frequently asked questions on socials is for viewing recommendations.

社交媒體上最常問(wèn)起的就是有什么推薦的節(jié)目。

The paucity of event shows has somehow spread its own spider’s web of interest in TV as a genre. The obvious analogy is with music， which is streamed everywhere， from endless libraries of every song imaginable， yet greeted with investment sales of products that are rapidly vanishing.

轟動(dòng)性節(jié)目的匱乏像蜘蛛網(wǎng)一般擴(kuò)散，某種程度上影響了人們整體上對(duì)電視的興趣。一個(gè)明顯的類(lèi)比是音樂(lè)產(chǎn)業(yè)——無(wú)限大的曲庫(kù)收錄了人們能想到的所有歌曲，大街小巷播放的音樂(lè)都源自其中，但實(shí)體音樂(lè)產(chǎn)品的投資銷(xiāo)售卻在迅速消失。

Perhaps a special TV show which captures the interest of a nation while incubating a relatively small audience is the new buying a vinyl copy of your favourite record from a specialist shop？

也許，觀(guān)看一檔既能引起全國(guó)關(guān)注又能培養(yǎng)一小群受眾的特別節(jié)目，就像重新走進(jìn)專(zhuān)賣(mài)店去購(gòu)買(mǎi)你最喜歡的那張黑膠唱片？

Amid the doomy Ofcom findings， there are nuggets of excitement. The BBC drama， The Tourist， starring Jamie Dornan， was among the top 10 most viewed shows of 2022.

在英國(guó)通信管理局不樂(lè)觀(guān)的調(diào)查結(jié)果中，也有令人興奮的小插曲。由杰米·多南主演的英國(guó)廣播公司電視劇《旅人》躋身2022年收視率最高的10部電視劇之列。

It was smart， witty and looked sensational， not just because of an unusual-ly photogenic and gifted cast.

這部劇的劇情機(jī)智、詼諧，看著非常精彩，而不僅僅是因?yàn)檠輪T們極其上鏡、演技精湛。

That appetite for the old element of fantasy and escapism TV offered is still there， despite the kicking doled out to contents that look a little too close to real lives.

盡管對(duì)稍顯過(guò)于貼近現(xiàn)實(shí)生活的內(nèi)容頗有微詞，但人們對(duì)電視提供的老派幻想和消遣方式依然感興趣。

The message of the statistics seems to be that there is plenty of that elsewhere. The shift from entertainment beamed into your living room to the screen in the corner， to entertainment beamed out of it， from the screen in your lap， is not quite with us yet.

統(tǒng)計(jì)數(shù)據(jù)所傳達(dá)的信息似乎是，其他地方也有很多人依舊愛(ài)看電視。人們不再用客廳角落里的電視觀(guān)看娛樂(lè)節(jié)目，轉(zhuǎn)而用筆記本電腦觀(guān)看——這樣的轉(zhuǎn)變還沒(méi)有完全實(shí)現(xiàn)。

1英國(guó)肥皂劇《東區(qū)人》于1985年2月17日首播，持續(xù)至今。這部劇講述了住在倫敦東部沃爾福德區(qū)（Borough of Walford）的居民的故事。" 2英國(guó)電視節(jié)目主持人。" 3英國(guó)“真人秀”明星，2009年因?qū)m頸癌去世。

4 bug熱衷；著迷。" 5 fixture（定期定點(diǎn)舉行的）體育活動(dòng)。

6歐洲廣播聯(lián)盟（European Broadcasting Union）主辦的歌唱比賽，自1956年開(kāi)始每年舉辦一屆，是目前全球規(guī)模最大的歌唱類(lèi)比賽。