Despite what most high school science teachers might think, Darwin never used the phrase ‘survival of the fittest.’ To be honest, it’s always struck me as more of a wrestling term than an explanation of natural selection. Sound science shouldn’t sound like it came from the wwe.
However, Darwin did say: ‘In the struggle for survival, the fittest win out at the expense of their rivals because they succeed in adapting themselves best to their environment.’ Adaptation: that was Darwin’s key.
This issue marks the next great leap in realscreen‘s evolution – our adaptation to a new form that will better serve an evolved industry. Beyond a completely fresh look, in this issue you’ll find new sections that reflect the change in the way we’re thinking about the industry. In ‘Audience + Strategy,’ we uncover how audiences are consuming media, and how non-fiction suppliers can better and more effectively respond to their needs. In this issue, for example, we feature stories about the potential of the Hispanic demo in the US, and what broadcasters are doing to create one-on-one feedback loops with their viewers. (Although that’s a story that can apply just as well to producers and distributors, given the access the Internet offers to audiences.)
‘Insight + Innovation’ concentrates on the creative, from initial planning through to delivery. This is where you’ll find craft stories about the best content non-fiction has to offer, such as our take on casting for established hit shows, or what the Writers Guild says about integrating client content into non-fiction TV.
In ‘Ingenious,’ we concentrate on the people in the industry: the creatives, the brains, and the agents of change who challenge us to think in ways we haven’t before. ‘Think About It’ offers first-person insight from players in the industry, including Why We Fight‘s Eugene Jarecki, who addresses political bias.
For our first cover story, we assemble seven of the premier minds in factual television in the UK, who deconstruct the genre and talk about what affect it is having on the non-fiction industry writ large. (We ended up with more than the usual amount of Brit content this issue, but we want to focus on the best the industry has to offer. In a lot of instances, it’s found in the UK.) There are other highlights as well, but I’ll leave some surprises for the issue.
I’ve always been of the school that says magazines should constantly adapt to guard against complacency. I hope that in the majority of readers’ eyes we’ve evolved into a more useful form. The goal is to balance traditional documentary with emerging offshoots, and cover the people, technology and other industries that influence the non-fiction genre as a whole.
As always, please get in touch to let me know how you think we’re doing and what you think of our changes.