[This is a piece I wrote for Broadcast Magazine, about Seven Days, a cross-platform project I’m working on in my dayjob. Posted here as its behind a paywall on their site]

Something very interesting happened on Channel 4 last Wednesday. About half-way through the latest episode of Seven Days, one of the characters, Cassie, took out her laptop and started talking about how people were talking about her on the show’s website. Sitting at home, monitoring the performance of the site on my laptop, I saw a huge spike in traffic as thousands of other people logged onto the site to see what all the fuss was about. This spike was higher than we’d seen the week before, when the rush of people coming to the site on launch night crashed the servers, and even higher than the biggest peak we saw in the final series of Big Brother earlier this year. We’d clearly hit on something, but what was it?

For the last 11 years, Big Brother has been the poster-child for cross-platform projects – a show which was inextricably bound up in the interaction between the format, the audience and the ripples it caused in the outside world. But those ripples never made it back inside the house – we never saw BB contestants pull out a laptop and see what people were saying about them outside those high Elstree fences. The spike in traffic we saw in the middle of Seven Days was something new – it was an audience realising that they could become part of the conversation, part of the story, part of the lives of the people they were seeing on television. Cassie and the rest of the Seven Days cast were recognisably people living their own lives –in cafes, living rooms and bars – not the artificial tasks and traumas of Big Brother.

Seven Days has demonstrated that we’re living in a new world – a place where our audiences see their own lives broadcast to friends across networks like Facebook and Twitter, and where jokes, arguments and love affairs are conducted through comments and responses, likes and retweets, friending and tagging. Broadcasters have probably been a bit slow to create formats fast enough and open-ended enough to reflect the way we live our lives now. Seven Days feels likes it’s starting to explore what this might look like. It’s an exhausting, messy and complicated project to be working on, with a constant cycle of chatter going on between contributors, commissioners, producers and web teams. It’s hard, two weeks in, to get a grasp on what the show is, what it might be, and how we can best harness the intense spikes of attention we’re seeing around every episode.

I sat at home last Wednesday, watching my TV with my laptop, watching someone else reading about themselves on a laptop, whilst thousands of other people were doing the same. This is the world we’re in now, and Seven Days is an innovative and ambitious attempt to represent this world. Like Big Brother 10 years ago, it’s probably not right yet, but it does feel like the first step on a very interesting journey.