My generation(s): cycles, branding and renewal in E4’s 'Skins'

In an era of fragmenting audience and diversified viewing platforms, youth television needs to move fast and make a lot of noise in order to capture and maintain the attention of the teenage viewer. British ensemble youth drama Skins (E4, 2007-2013) calls attention to itself with its high doses of drugs, chaotic parties and casual attitudes towards sexuality. It also moves quickly, shedding its cast every two seasons as they graduate from school, then renewing itself with a fresh generation of 16 year old characters - three cycles in total. This essay will explore the challenges of maintaining audience connections whilst resetting the narrative clock with each cycle. I suggest that the development of the Skins brand was key to the programme’s success. Branding is particularly important for an audience demographic who increasingly consume their television outside of broadcast flow and essential for a programme which renews its cast every two years. The Skins brand operate as a framework, as the central audience draw, have the strength to maintain audience connections when it ‘graduates’ those characters they identify with at the close of each cycle and starts again from scratch. This essay will explore how the Skins brand constructs a cohesive identity across its multiple generations, yet also consider how the cyclic form poses challenges for the programme’s representations and narratives. This cyclic form allows Skins to repeatedly reach out to a new audience who comes of age alongside each new generation and to reflect shifts in British youth culture. Thus Skins remains ever-youthful, seeking to maintain an at times painfully hip identity. Yet the programme has a somewhat schizophrenic identity, torn between its roots in British realist drama and surrealist comedy and an escapist aspirational glamour that shows the influence of US Teen TV. This combination results in a tendency towards a heightened melodrama at odds with Skins claims for authenticity - its much vaunted teenage advisors and young writers - with the cyclic structure serving to amplify the programme’s excessive tendencies. Each cycle wrestles with a need for continuity and familiarity - partly maintained through brand, aesthetic and setting - yet a desire for freshness and originality, to assert difference from what has gone before. I suggest that the inevitable need for each cycle to ‘top’ what has gone before results in a move away from character-based intimacy and the everyday to high-stakes drama and violence which sits uncomfortably within British youth television.

ENSO and greenhouse warming

The El Niño/Southern Oscillation (ENSO) is the dominant climate phenomenon affecting extreme weather conditions worldwide. Its response to greenhouse warming has challenged scientists for decades, despite model agreement on projected changes in mean state. Recent studies have provided new insights into the elusive links between changes in ENSO and in the mean state of the Pacific climate. The projected slow-down in Walker circulation is expected to weaken equatorial Pacific Ocean currents, boosting the occurrences of eastward-propagating warm surface anomalies that characterize observed extreme El Niño events. Accelerated equatorial Pacific warming, particularly in the east, is expected to induce extreme rainfall in the eastern equatorial Pacific and extreme equatorward swings of the Pacific convergence zones, both of which are features of extreme El Niño. The frequency of extreme La Niña is also expected to increase in response to more extreme El Niños, an accelerated maritime continent warming and surface-intensified ocean warming. ENSO-related catastrophic weather events are thus likely to occur more frequently with unabated greenhouse-gas emissions. But model biases and recent observed strengthening of the Walker circulation highlight the need for further testing as new models, observations and insights become available.