Right this minute I’m enamored of The Lizzie Bennett Diaries, a web series adaptation of Pride and Prejudice that plays out on social media, too. The thing I love about it is it’s as deep as you want it to be. If you just want to watch the web series, great! If you want to see what’s happening on Twitter, that’s aggregated for you through Storify. If you want to follow them yourself on Twitter, Tumblr, Facebook, and talk to the characters… You can! And each of these progressively more involved ways of consuming the story are rewarded. It’s great design. And on top of that, the writing is hilarious, the actors are all fantastic, and it’s fun to see how this familiar story plays out despite a shift to a modern-day setting. So far I’ve been really impressed with it.
I’m also impressed with Dirty Work, an interactive web series out of Fourth Wall Studios in LA. I think they’re not yet exploiting the value of their tools to their fullest potential, and even what they have now is smart, funny, intensely creative, and absolutely nothing you’d see on network television. It’s practically custom-made for Terrible Minds readers to love it to little tiny pieces, in fact. But there’s really so much great work out there right now, even work that might not call itself transmedia but has definite family resemblances. That’s the most exciting thing to me in all of this — this blossoming of experimentation. Sky’s the limit, and every one of us has a rocket to get there!
Like its inspiration, The Man Who Saw Tomorrow has proven strangely venerable. I first saw it as an impressionable kid watching HBO at a friend’s house, and its cheap-but-scary images of nuclear destruction struck a chord for someone growing up in the midst of late-Cold War chilliness.
I talk a good game about Citizen Kane, but my life-long interest in Orson Welles began here.
One Sister Behind
Remember to Like and Reblog
MIT Makes TV More Immersive With Blurry Side Screens For Your Peripheral Vision
What I can say is that on a personal level I’m willing to allow access in some cases, but only if I get something really great out of it. This would be something worth me giving up a bit of control over, but would require permission, trust, and an agreement not to abuse that access. If those terms are met, then I’m game, and I expect others would be the same.
Here’s the problem – trust and an agreement not to abuse will always come second to profit motive.
If you watched yesterday’s Sorkin Supercut this is even funnier.
So I guess Aaron Sorkin is now the anti-Ryan Gosling?
A rare sighting of TWO Dysons in one shot.
The inability of “Abraham Lincoln: Vampire Hunter” to attract anything resembling a mainstream audience this weekend can be parsed in all sorts of ways. But it’s hard to avoid the most self-evident reason for its failure: The vampire trend is dead, and was, in at least some crucial respects, not really all that alive to begin with.
Or how about it’s a ridiculously bad idea, executed in a pandering, deafening symphony of awful.
By all means, let’s hand this guy the reins to Moby-Dick.