This summer, when USA’s spy drama, Covert Affairs, returned to the air, it’s laughable but fun credit sequence was replaced with a simple, serious white on black title card. When the change was discussed on twitter, the writers claimed the “maturity” of the show and its storylines led to the change.
Covert Affairs has evolved to the point that the winkingly cheap credits would seem disjointed. Just as the tongue-in-cheek voiceover on Burn Notice did as the series relied more heavily on dark, high stakes serial stories and Leverage‘s introduction of character roles might have been if it continued to focus on serious, serial narratives. These shows were all once the ideal escapist summer fair. They were, at one point at least, fun shows that you could tune in to after a day baking in the sun or when you missed a few episodes while on vacation. They were the “blue skies” summer cable fair that required less intense, prolonged focus than the season-long network dramas, but still mined deeply their characters and offered a satisfying episodic resolution at the end of the hour. They were fun but also had strong contingents of vocal fans that kept them from being guilty pleasures. They were able to exemplify the connotations of summer: easy, breezy, satisfying but not heavy, popular but not a zeitgeist. And they seem to be gone, or at least going.
TNT is still making its procedurals in the vein of these summer shows–Rizolli & Isles, Franklin & Bash, and King & Maxwell–that aside from their ampersands share a location in a relative blind spot of social media. Where the former grouping of shows would get mentioned on the AV Club, featured on Television Without Pity, and the like, these drama merit barely a dollop of all the virtual ink spent on discussing television. More frequently this summer has seen heavy serial dramas populate the summer: The Killing, Ray Donovan, The Bridge, and Breaking Bad.
As television more generally is shifting its economic models, the standard logic of summer being an escapist, lower-stakes season populated mostly by reruns and reality is shifting as well. Now the summer is a time of less competition and more potential reward to build an audience and/or find the quality audience that is starved for serial, complex entertainment and have the DVRs and means to keep up the the series. But this means that cable programming is going through a change that seems precedented in the 1980s network shift to quality. Leverage and the like share a historical kinship with the light, mostly-episodic network dramas of the early cable era like Quantum Leap and Remington Steele. These 80s hour-long, episodic, comedic dramas became folded under the televisual quality drive spearheaded by Hill Street Blues, and the early 2000s saw them reappear on cable channels. In the 1980s this marked a shift in the idea of what television is or could be; likewise, this trend illustrates a similar shift in cable. Whereas the 1980s was mostly a network response to the threat of cable, this current shift seems the fulfillment of that threat. Cable is now competing with and beating the networks in ratings in any season and are less mired in older forms of business logics that are slower to change.
For now, it appears that the summer is becoming home to serial dramas and quality programming–and all that connotes. But as these television forms move in, they force out the former residents of the summer: the episodic or lightly serial summer drama, the sense of escape, and the “blue skies” mode of cable programming. As a fan of all these things, I hope they find a place somewhere else. Until then, the series of the past are mostly available on Netflix and Hulu for summer rewatches. I’ll be streaming them and basking in the cheesiness of the Covert Affairs credits there.