ITV has commissioned Desire, a new five-part drama serial, written by acclaimed screenwriter Jeremy Brock.

The story focuses on Leia, who is just about managing to hold her life together in the face of a messy divorce when she finds herself falling in love with an intensity she's never experienced before. It's the wrong man at the wrong time but Leia can't give the relationship up. Desire looks at what happens when a passion is so powerful it starts to jeopardise your job, your home, and even your kids…

Type: Scripted

Languages: English

Status: In Development

Runtime: None minutes

Premier: None

Desire - Desire - Netflix

Desire is a sense of longing or hoping for a person, object, or outcome. The same sense is expressed by emotions such as “craving”. When a person desires something or someone, their sense of longing is excited by the enjoyment or the thought of the item or person, and they want to take actions to obtain their goal. The motivational aspect of desire has long been noted by philosophers; Thomas Hobbes (1588–1679) asserted that human desire is the fundamental motivation of all human action. While desires are often classified as emotions by laypersons, psychologists often describe desires as different from emotions; psychologists tend to argue that desires arise from bodily structures, such as the stomach's need for food, whereas emotions arise from a person's mental state. Marketing and advertising companies have used psychological research on how desire is stimulated to find more effective ways to induce consumers into buying a given product or service. While some advertising attempts to give buyers a sense of lack or wanting, other types of advertising create desire associating the product with desirable attributes, by showing either a celebrity or a model with the product. The theme of desire is at the core of romance novels, which often create drama by showing cases where human desire is impeded by social conventions, class, or cultural barriers. The theme of desire is also used in other literary genres, such as Gothic novels (e.g., Dracula by Bram Stoker, in which desire is mingled with fear and dread). Poets ranging from Homer to Toni Morrison have dealt with the theme of desire in their work. Just as desire is central to the written fiction genre of romance, it is the central theme of melodrama films, which use plots that appeal to the heightened emotions of the audience by showing “crises of human emotion, failed romance or friendship”, in which desire is thwarted or unrequited.

Desire - In marketing - Netflix

Desire, in its simplest form, is a strong feeling of wanting to have something ( n.d.). In the context of marketing, desire is a consumer’s affective response to the acknowledged or remembered presence of a need; this need recognition is usually induced by a marketing message, communicated to the consumer by marketers (Dahlen, Lange & Smith, 2010). To understand this concept in more depth, it is helpful to first consider how desire fits into the marketing communications process; marketers call this process the linear model of communication. As contended in Belch & Belch (2008), the linear model of communication is a basic dissection of the participants, communication tools, communication functions, processes and dysfunctions that constitute the marketing communications process. The two major participants in this process are the sender and receiver; respectively, the marketer and the consumer (Belch & Belch, 2008). The communication tools in this model are the marketers’ message to the consumer and the media vehicle (also known as the channel) in which the message is sent (Belch & Belch, 2008). The marketing communication process itself begins with communication functions; at this stage of the process, encoding occurs (Belch & Belch, 2008). Belch & Belch (2008) assert that the sender uses their field of reference to convert data into information that can be understood by the receiver. Data are streams of raw facts that have not yet been put into context; whereas, information is the form that data takes once it has been organised into a structure that is meaningful to the user (Laudon & Laudon, 2013). To make the information meaningful to the consumer, the marketer encodes the message with appealing words, numbers, shapes, colours, sounds and perhaps even smells and tastes (Belch & Belch, 2008). The information is reformatted to catch the consumer’s attention while still suiting whichever media vehicle in which it is being sent. For example, Belch & Belch (2008) argue that if the channel is a newspaper advertisement, the marketer will use words, numbers, shapes, images and sometimes colour to encode the message. From here the sender releases the encoded message into the channel and awaits a response from the consumer. Upon receipt, the second communication function is started. This is where the receiver begins decoding the message using their own field of reference (Dahlen et al., 2010). The consumer uses their life experiences, perceptions, attitudes, values and knowledge to understand the message they have received (Belch & Belch, 2008). It is paramount to the effectiveness of the communication that the message is encoded with information that the receiver has the ability to decode. If the encoding process of the sender does not align with the decoding process of the receiver, the message will not be understood and is therefore likely to be ignored (Hoyer, MacInnis, & Pieter, 2012). Once the consumer has decoded the marketer’s message, the sub process of consumer response begins. Belch & Belch (2008) maintained that in response to the message, depending on levels of communication dysfunction such as noise and distortion, the consumer will first process the message cognitively by paying attention to it. If levels of noise and distortion are too high, the consumer will ignore the message (Hoyer et al., 2012). Belch & Belch (2008) advise that given that the consumer does pay attention to the message, the response process will move into the affective stage. This is where the message captures the consumer’s interest, from here the consumer may develop a desire for the subject of the message; namely the offering being advertised for acquisition and consumption (Belch & Belch, 2008). Following desire is the behavioural stage of response. This is the stage in which the consumer acts on the emotions birthed in the previous stage. Developed by E. K. Strong Jr. in 1925 (as cited in Belch & Belch, 2008), this sub process of the linear communication model is known as the AIDA Response model. Once the consumer’s response process is complete the linear communication model moves into its final process, feedback. This message is sent back to the sender from the receiver and comes in various forms that include but are not limited to word of mouth, warranty claims, comments on social media and telephone calls (Belch & Belch). This concludes the linear communications model. Upon acknowledging the place desire holds in the context of marketing, factors that influence desire can now be considered to broaden understanding of the concept. The way in which a consumer communicates with their peers is called personal communication ( n.d.); from the perspective of the consumer, in regards to acquiring, consuming and disposing behaviour, this is the most credible source of information (Dahlen et al., 2010). For this reason, mind shapers, social influence in particular, hold a strong association with what a consumer is interested in and thusly, what a consumer desires. Social influence is pivotal to the offerings a consumer desires because as human beings, consumers are social creatures and have social needs (Hoyer et al., 2012). This idea is espoused in Maslow’s Hierarchy of Needs (as cited in Hoyer et al., 2012) in the psychological social level of needs; here it is asserted by Maslow (cited in Hoyer et al., 2012) that all humans have a psychological social need for relationships, acceptance and love. Consumers seek to satiate this need by acquiring offerings that are in line with what their peers consider socially acceptable (Hoyer et al., 2012). Ergo, it is in line with this need to fit in that marketers seek to catch consumers’ attention, interest and desire through marketing messages that offer one liners such as “join the club!” and “don’t miss out” (Marcom Projects, 2007). Although social needs are not the only human need satisfied by acquiring and consuming market offerings, from here it is conceivable that consumers desire offerings, advertised in marketing messages as a means to satisfy their social need for love and acceptance. It can also be gleaned that this need to fit in can also be considered as a fear: Put forward in Effie Worldwide (2015), a fear of missing out on what others do or own is also known in the marketing industry as FOMO (Fear Of Missing Out). This concept is also a social influence that shapes consumers’ minds and rationalises desire. Reference Ang, L. (2014). Principles of Integrated Marketing Communications. New York City, NY: Cambridge University Press. Bailey, P. (2015). Marketing to the senses: A multisensory strategy to align the brand touchpoints. Retrieved December 8, 2015, from WARC: Belch, G. E., & Belch, M. A. (2012). Advertising and promotion: An integrated marketing communications perspective (9th ed.). New York, NY: McGraw-Hill Irwin. (n.d.). Corporate identity. Retrieved March 18, 2016, from (n.d.). Personal communication. Retrieved March 17, 2016, from Dahlen, M., Lange, F., & Smith, T. (2010). Marketing communications: A brand narrative approach. West Sussex, UK: John Wiley & Sons. (n.d.). Disire. Retrieved March 17, 2016, from Effie Worldwide. (2015). LifeBeat: Know your status stage. Retrieved December 8, 2015, from WARC: Hoyer, W.D., MacInnis, D.J., & Pieters, R. (2012). Consumer behavior (6th ed.). Mason, OH: Cenage Learning. Laudon, K.C., & Laudon, J.P. (2013). Essentials of management information systems (10th ed.). Harlow, Essex: Pearson Education Limited. Laurie, S., & Mortimer, K. (2011). ‘IMC is dead. Long live IMC’: Academics' versus practitioners' views. Journal of Marketing Management, 27(13-14), 1464–1478. Marcom Projects (2007). Persuasion in everyday life. Retrieved from Kanopy: Marketing Minds. (2015). Apple brand architecture. Retrieved March 18, 2016, from

Desire - References - Netflix