Is Your Show ‘Second Screen’ Enough? The Rise of Ambient TV

It is pitch day in the writer’s room. Laptops light up, coffee and green tea flow in, and scripts filled with color-coded sticky notes are placed on the table. Soon, the executives arrive with smiles and motivational words. After the team presents the first draft, highlighters come out and feedback begins. One note stands out: “Not second screen enough.” The team looks puzzled. The suits clarify, “Make it more ambient.” Once they leave, the head writer breaks it down: “Would someone still watch this while on their phone?” “No, it needs full attention.” “Exactly. That’s the problem. Let’s dumb it down.”

So, what is ambient television?

This trend was first seen in Emily in Paris. During the pandemic, audiences loved its light, feel-good vibe. Emily did not demand full focus—-she was there when you needed her and could be ignored when you did not. She was perfect second-screen content: as ignorable as interesting.

Streaming platforms have taken note. Shows, like Call Me Bae, Jamnapaar, Dupahiya, and Home Shanti, are made with this in mind. They are designed to play in the background while viewers scroll their phones. This shift has changed how stories are written. Writers are told to create content that is simple, snackable, and easy to absorb–even with low attention.

The Evolution of Writing for OTT

Writers like Sumukhi Suresh see this as both a challenge and a compliment. Her show Pushpavalli was never meant to be second. Others, like Shreemi Verma, explain that feedback often nudges them toward oversimplified writing for “wider reach”. Writer Sudeep Nigam notes that this focus on structure and drop-off points is getting close to writing for “wider reach.” Writer Sudeep Nigam notes that this focus on structure and drop-off points is getting close to writing directly for ambient viewing.

Ria Chopra points out that platforms are simply following audience trends. Shorter attention spans and overstimulated brains now crave low-effort content. Even on Instagram, people watch two videos at once—proof that attention is split more than ever.

What is the cost?

This isn’t just about evolving tastes. Writers worry that second-screen writing is a shortcut to cheap, low-risk, and forgettable content. As Supriya Prasad Rauniar asks, “If you have a great show, why won’t people put their phones down to watch it?”

There’s hope, though. Shows like Adolescence and The White Lotus prove audiences still appreciate depth and nuance. As Ria says, “They’ll soon realize that if the viewer can glance at their phone, they can also switch platforms.” Trends may come and go, but good storytelling always finds its way back.