1. The document discusses #7DaysLater, a comedy TV show produced by the Australian Broadcasting Corporation (ABC) that engages audiences through social media. 2. #7DaysLater gives audiences a chance to write briefs on social media each week that will be used to create episodes airing 7 days later. 3. The show aims to cross boundaries between professional and collaborative production through interactive storytelling where audiences help generate content.

1. Public Service Media and Social
TV: Crossing the boundary
between professional and
collaborative production through
ABC’s #7DaysLater
Jonathon Hutchinson, University of Sydney
@dhutchman
RIPE Conference, Keio University JJaappaann,, 2288 AAuugguusstt 22001144

4. PPrroobblleemmaattiicc PPaarrttiicciippaattiioonn
Embedded in ‘old’ media
Is it participation of interactive?
The reception of the audience requires
more attention
Participation benefits all
CCaarrppeennttiieerr,, 22000099

5. Professional quality
&
Social relevance

6. Social TV
“the interactions among other viewers and
between viewers, the characters, and the
producers of the show enabled by the ‘second-screen’
practice”
((GGiigglliieettttoo aanndd SSeellvvaa,, 22001144:: 226600))

7. Social TV
“a metaphorical ‘watercooler’ in the cloud, but
one where the watercooler conversations take
place instantly, rather than at work the
following morning”
(Harrington et al. 2013: 405)

8. IImmaaggee:: AABBCC,, CCCC BBYY NNCC

9. PPSSBB RReeiitthhiiaann vvaalluueess::
“the application of the
principles of universality of
availability, universality of
appeal, provision for
minorities, education of the
public, distance from vested
interests, quality
programming standards,
program maker
independence, fostering of
the public sphere”
((CCuunnnniinngghhaamm,, 22001133:: 6622)

10. “it is better to understand the ABC and SBS as
public service media organizations, rather than
public service broadcasters”
““TThhee AABBCC aanndd SSBBSS hhaavvee tthhee
ppootteennttiiaall ttoo bbee ccoonntteenntt
iinnnnoovvaattoorrss iinn tthhee pprroovviissiioonn ooff
nneewwss aanndd iinnffoorrmmaattiioonn iinn tthhee
wwaayyss tthhaatt uuttiilliissee UUCCCC ((uusseerr-ccrreeaatteedd
ccoonntteenntt) ssttrraatteeggiieess””
FFlleeww eett aall..,, 22000088:: 22

11. ““CCoommmmuunniiccaattiioonnss MMiinniisstteerr
SStteepphheenn CCoonnrrooyy hhaass aallssoo
aannnnoouunncceedd tthhee AABBCC aanndd SSBBSS
cchhaarrtteerrss wwiillll bbee uuppddaatteedd ttoo
ttaakkee iinnttoo aaccccoouunntt tthheeiirr oonnlliinnee
aanndd ddiiggiittaall ccoonntteenntt..””
hhttttpp::////wwwwww..aabbcc..nneett..aauu//nneewwss//22001133-0033-1122//ccoonnrrooyy-aannnnoouunncceess-mmeeddiiaa-rreeffoorrmmss//44556677555500

13. ##77DDaayyssLLaatteerr iiss aa pprrooggrraamm ““……
ttaakkiinngg ccoommeeddyy ttoo tthhee ssccaarryy
aarreennaa ooff iinntteerraaccttiivvee
ssttoorryytteelllliinngg wwhheerree tthhee
aauuddiieennccee ggeettss ttoo wwrriittee tthhee
bbrriieeff vviiaa ssoocciiaall mmeeddiiaa ffoorr eeaacchh
wweeeekkllyy eeppiissooddee tthhaatt wwiillll aaiirr
jjuusstt sseevveenn ddaayyss llaatteerr oonn AABBCC22””
((AABBCC,, 22001133))..

14. Challenges
Opportuniti
es
The Audience
Visibility
Cut Through
Growing Digital
Experiment
Think Titles
Invest in up & coming talent
RRiicchhaarrdd HHuuddddlleessttoonn
SSuuppeerrvviissiinngg EExxeeccuuttiivvee PPrroodduucceerr,, AABBCC TTVV

15. The Work Pipeline

17. 1.@7DaysLaterTV
2.@Daley_Pearson
3.@HarrisonTheFan
4.@MWhalan
5.@henry_and_aaron
6.@bajopants
7.@ABC2
8.@WASHINGTONx
9.@JordanRasko
10. @tomandalex
1.#7DaysLater
2.#qanda
3.#ZandA
4.#spooky
5.#Animation
6.#FlightoftheConchords
7.#Western
8.#Hawaii
9.#ggtv
10. #zombie

18. “I eventually want to end up writing
and producing for film and television
and thought this would be just a good
experience to start with. I mainly have
a background in writing and directing
for theatre and handling social media
(as a job), so this was the perfect
crossover.”
@@HHaarrrriissoonnTThhee FFaann

20. Social TV = The Disappearing NNaattiioonnaall BBoouunnddaarryy??

22. PPSSBB 22..00
““PPSSBB 22..00 bbeeccoommeess aa mmeeddiiaa ppoolliiccyy
iinnssttrruummeenntt ((SSyyvveerrsstteenn,, 11999999))
bbaasseedd oonn aa sseett ooff nnoorrmmaattiivvee
vvaalluueess tthhaatt aaiimmss ttoo ffuullffiill tthhee
ddeemmooccrraattiicc,, ssoocciiaall aanndd ccuullttuurraall
nneeeeddss ooff tthhee ssoocciieettyy bbyy
ttrraannssffeerrrriinngg ttrraaddiittiioonnaall PPSSBB
eetthhooss oonnlliinnee”” ((BBrreevviinnii,, 22001133,, pp..
3311)).. FFoouurr nnoorrmmaattiivvee ccrriitteerriiaa::
cciittiizzeennsshhiipp
uunniivveerrssaalliittyy
qquuaalliittyy
ttrruusstt

23. PPSSBB 22..00
It is problematic, beyond the economical
perspective, to introduce PSB 2.0 through
these criteria for reasons including liberal
versus social democracy or access and
retrievability via differing internet
protocols in different countries

24. JJoonnaatthhoonn HHuuttcchhiinnssoonn
jjoonnaatthhoonn..hhuuttcchhiinnssoonn@@ssyyddnneeyy..eedduu..aauu