For networks eager to cut through the clutter of “peak TV,” and viewers with more scripted original series to choose from than ever before, “Chernobyl” highlights the perfect storm of contributing factors often required to help a TV show break through.
“The Chernobyl Podcast” taps into this organic fascination in part because it doesn’t come across as a form of marketing: Mazin, whose “Scriptnotes” podcast with co-host John August launched in the summer of 2011, wanted to make a companion piece from the outset.“I was pretty sure that no one was going to listen to it,” Mazin explains. “I just thought this was something that I was doing because it was the right thing to do.
And in a crowded landscape, viewers seeking relevance to the present political moment could find it — whether in the form ofand composite character Ulana Khomyuk , scientists who must fight tooth and nail to be heard by high-ranking officials with their heads in the sand, or Zharkov , the apparatchik willing to sacrifice the residents of the nearby town of Pripyat in order to save face.
Along with its willingness to draw on popular genres — disaster movie, legal drama — to ensure engagement with challenging material, à la FX’s “American Crime Story,” this range of ways into “Chernobyl” allowed HBO to capitalize on existing interest in the catastrophe. “I think in some ways, the most powerful subjects are those that are familiar enough to be understood but foreign enough to be exotic,” says Justinian Jampol, executive director and founder of the Wende Museum of the Cold War in Culver City. “[N]obody goes from nothing to a seasoned cultural historian or thoughtful, nuanced observer [overnight]. I see ‘Chernobyl’ as a gateway drug. It is a great way to understand the basics enough to get people to dive in.
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