“These are... A gift. Probably from the cable company. We're getting the Disney Channel now. Merry Christmas.” Scott Calvin, The Santa Clause
In 1994, this line hit a little different. The Disney Channel was along with pay channels like HBO, Cinemax, and Showtime for those who paid extra for the cable packages. That was something I was not going to do as a young adult, especially since the programming was meant for really really young kids. That left my young adult years only seeing the Disney Channel on preview weekends, where those pay channels would try to get more subscribers by showing off their finest shows, so maybe I’d catch a classic Disney movie that weekend. For me, the Disney Channel was a luxury that as a kid my family would have never paid for or couldn’t pay for being off a cable network. The channel's founding in 1983 was a non-issue for me, with Michael Eisner showcasing Disney programming on Sunday nights being more important to my childhood.
But Santa Scott’s line in 1994 did point out a major change as the Disney Channel joined the basic cable lineup. As a parent, I had a first-row seat to some of the Disney channel’s most iconic shows like Wizards of Waverly Place, Hannah Montana, The Suite Life of Zack & Cody, and High School Musical. I’ll admit, I didn’t hate it, with some of these tween shows still giving me a little chuckle.
Disney High: The Untold Story of the Rise and Fall of Disney Channel's Tween Empire by Ashley Spencer is a journalistic history of the Disney Channel’s rise and the creation of media superstars that became more than household names. Spencer outlines the creation of the channel and the addition of experienced executives who began to channel Nickelodeon for kid’s television as they moved from a pay to a basic channel. The channel began to be taken more seriously as creators from network sitcoms were forced to find work outside of primetime. This combined with new likable actors began to create a slate of shows that became popular beyond their 22-minute programs. The real rise began with Even Stevens and Lizzie McGuire, which began to show Disney executives the possibilities of the future, while they made plenty of mistakes with handling talent and non-program opportunities. By the time of Hannah Montana and High School Musical, Disney had learned how to best capture the multiple outlets their stars could dominate. Finally, the Disney Channel with the Jonas Brothers looked to capitalize on star power already made in place of creating their own superstars. In the end, the story of the Disney Channel is one of learning as the success of the channel and how to properly manage young stars evolved over time. And finally, it is the story of a Disney outlet that received little respect as it grew from a niche outlet to the superstar factory it became for well over a decade.
Spencer’s writing is extremely engaging and interesting. Disney High was one of those hard-to-put-down books, as Spencer was able to pull me directly into the story of the Disney Channel. It is a must-read story for me. I think that is true for both Disney and non-Disney fans, as Spencer presents a story that is easy to enter and stay with for everyone.
One thing that Disney High reminds us of is that Disney executives can be harsh. The sad part of the story of the Disney Channel is that financially executives had to be aware of the budget. And they took cost-cutting measures that were often impersonal and hurtful to creators and crew. For example, the goal was to reach a set number of episodes, so the program could be syndicated for a quarter. At that point, unless the show was a super success, the program would be canceled. Or shows would be extended episodes for a season to avoid pay increases or the show would be rebranded for the same reason. It was not atypical for a showrunner to be let go before their salary would become budget unfriendly even if they were nominated for an Emmy.
Another recurring theme in the book is the mix of managing young talent. Being in the public eye could often create physical and mental health challenges for the kid stars. At the same time, for some of the actors who had difficult home lives, the set and their cast families were safe heavens. But even in those safe heavens, Disney was still budget-conscious and could get into protracted negotiations with the kids’ representation. Due to image standards, Disney may not have been as supportive in situations where the kids were victims but needed to be seen by the public as apologetic for making typical teen mistakes. While externally, I think we still joke about the stereotype of the Disney Channel star, in the end, Disney was a large organization where there were wins and losses on how to best support kids. And sadly some of those losses left emotional scars on youngsters. And every Disney Channel star has a story that goes beyond the generalization.
Despite being a little too old for the peak of the Disney Channel, I still look on it fondly as a parent who used this entertainment to bring the family together. Disney High: The Untold Story of the Rise and Fall of Disney Channel's Tween Empire by Ashley Spencer allowed me to be thoroughly engaged as I looked back on that time, feeling both joy and sadness. In the end, she shares a story of the growth of an important, yet often ignored, media outlet. Readers also get views of the people who made that growth happen and were caught up in the momentum of the machine. For me, it is the stories of the kids, cast, and crew that made me continue to feel attached to the entertainment they created and for which I hope they continue to be proud of on their resumes.
Review Copy Provided for Review
Excellent write up and sounds like a great book to pick!
ReplyDelete