Glee, positive associations and fan evangelism

As I watch the Emmys, it’s impossible to not to notice the ubiquitous influence of Glee - a show that doesn’t pull in particularly stellar ratings (just under 10m an episode, although it skews young), but wields incredible pop culture influence.

Although Transmedia is sometimes erroneously thought of as merely synonymous with New Media, the idea of a personalized, internalized experience has been associated with music since the first record was pressed.  Music listeners quickly associate songs with their own experiences, in most cases jettisoning the intent of the original writer in the process.  If a song, or better still, band is associated with happy times, big fans will act as evangelists for that music – another cornerstone of effective Transmedia.

The brilliance of Glee, being based on preexisting songs, is that it adds a third voice to the material.  In addition to what the song meant to its author, and how it was internalized by the listener first time around, we have the third association – how the Glee character (and watching audience) felt when she was singing it.  Thus listeners have a new, visual memory to attach to that song.  TV songs have driven sales for a long time (think Snow Patrol or The Fray on Gray’s anatomy), but not with the clever exponential effect of Glee.  It works like this:

1. Viewer watches Rachel Berry’s heart be broken on screen.
2. Rachel sings a song reflecting her mood.  Let’s say it’s “Sorry Seems to be the Hardest Word.”
3. Viewer immediately forms a connection between the song, the drama on screen, and how the song and performance makes the viewer feel.
4. This association is added to any preexisting relationship with the song based on life experience.
5. Viewer downloads the song.
6. Viewer listens to the song on iPod, which strengthens her relationship with Rachel the character and Glee the show.
7. Viewer logs onto a Glee fansite or message board, and tweets about the show (e.g. @gleeks)
8. Viewer watches more episodes, possibly buys a ticket to the Glee stage show, and process recommences.

This obviously works best when the song is sung at a moment of high intensity and dramatic significance, and when it is a song with which many viewers already have a connection (perhaps dormant – see Don’t Stop Believing, resurrected first by The Sopranos, and now Glee).

The economics are clear – Glee is reinvigorating royalty checks for songwriters (and indeed master recordings – the originals are often downloaded almost as much as the Glee covers).  The show has already been renewed for two more seasons.  It will be interesting to see if the show pushes the Transmedia experience even further now financial security is assured.