May 31st, 2013 | researchmaterial
I’m working on the non-fiction book this week, in between a dozen other things. On Twitter, James Bridle reminded me that Timo Arnall of BERG has a Flickr account, and, there, I found this photo of Dan Hill of Fabrica giving a talk. Which I’m clearly going to have to find and gank, partly because it strikes a few sparks off one element of the book, partly because I want to see where he takes that. My abiding memory of Cognitive Cities was stories of people looking at the city like code, encoding the city (‘s processes), and then turning that data over and paying no attention to where that information went once it was out of their hands.
Also, I cannot right now come up with a better way to describe London. Look at London’s maps, and London’s streets. Plans and improv and eras just banging up against each other, road by road, sometimes door by door.
Look, I told you it was going to be free-association here this week.
May 21st, 2013 | researchmaterial
Fraction kicked this interview with Mitch Hurwitz over to me last night, in which he discusses the series of ARRESTED DEVELOPMENT he’s done at Netflix. As with Netflix’ previous two original offerings, all fifteen episodes of the series will be released for streaming simultaneously. Also, he knew he was getting all fifteen episodes up front.
And he gets into some interesting stuff about how that environment allowed him to structure the show in ways that were new for him:
Anyway, I started sketching it out, and I had this funny idea for Maeby. It doesn’t quite fit into the master family story, but it’s funny for Maeby, and I do have this funny bit for Tobias where he writes pop songs. He’s written a song called "I Kissed a Boy." I just had all these crazy notions, and suddenly I was overwhelmed by the task of squeezing all these unrelated stories into a movie that has a central plot.
Then I had this idea. "Well, what if there’s an anthology show?" I’ve been in TV for a long time, and one of the ideas that gets pitched a lot is the idea of an anthology show. Those really worked in the Fifties and Sixties with shows like The Twilight Zone, Route 66 and Alfred Hitchcock. It’s a different thing every week.
So I thought, "I might have an opportunity now because of what may or may not be an abiding interest in these characters. I could do an anthology series, like Maeby, episode 3 or George Michael, episode 5." I just loved this idea.
I was working on simultaneous storytelling – "This is what happens from 2006 to 2013." The characters are going to bump into each other. You gotta know that George Senior is going to run into Michael. You can’t just have George Senior doing his thing.
We ended up with an eight-hour movie of Arrested Development where the pieces do kind of come together. Not only was the show told out of sequence, it was shot out of sequence.
And, whether it’s occurred to him or not, he’s talking about big interleaved novelistic structure. Which, it seems to me, is entirely perfect for a release system where one can (if one’s blowing off work for the day) watch the whole damn thing in a single sitting.
From a recent story about Google Fiber entitled "Good news for Google Fiber: Broadcast TV audiences are cratering faster than ever":
Google Fiber and its ilk may be the final straw that will break the back of broadcast television. Once high-speed video downloading becomes widely available, instant access to VOD services will make them even more appealing…
…What makes this possible is the complete paralysis of the broadcast dinos. All the majors are frozen in terror, repeating old behavioral patterns that turned self-destructive years ago. NBC spent the annual defense budget of Mauritius to promote “Ready for Love,” a tired Bachelor clone. ABC is going to build its autumn slate on “Scandal”, “Revenge” and “Betrayal,” as well as a hasty spin-off of its fading “Once Upon a Time” franchise. ABC also handed Robin Williams a comeback vehicle. Sensing desperation, audiences are tuning out in disgust.
Not untrue, so far as it goes. And, without figures to hand so yeah pinch of salt, but I think the US network tv “hits” of last season, like REVOLUTION, would have been woeful cancellation fodder even four years ago. I don’t know that the hit on Robin Williams is especially called for: the man’s a giant, but I haven’t seen the pilot of the show in question and I haven’t completely forgiven him for PATCH ADAMS.
I’m kind of curious as to how it apparently took Google Fiber, in this writer’s estimation, to make Netflix irresistible. In the office here at home, I’ve got about 20 mbps down and Netflix fairly rips along. Perhaps we’re talking about a higher resolution stream or something.
I think it’s worth admitting, now, that “television” has become one of those legacy words, like “phone,” that we use to point at a thing, without really fully describing it. What do you mean, now, when you say “television”? HOUSE OF CARDS and HEMLOCK GROVE? HAUNTING MELISSA on the iPad? Serialised (periodical) narrative? Shot for a small screen? Maybe. It certainly doesn’t mean what it used to.
(And, obviously, I’m only talking about scripted tv there. You could make an argument that “pure” television is presentational, or “reality,” or documentary.)
The term is becoming protean. The scheduling of television has quickly become meaningless, and it’s hard to describe to kids of a certain culture how there was once a time when you had to watch tv shows when they were broadcast, in realtime, because you might never see them again. Time was, the BBC wiped their own tapes. Now a significant number of people watch most of their selected BBC output in a timeshifted manner through the iPlayer.
When Amazon start commissioning drama series to follow their comedy and kid’s slates, television is going to take a new turn. Not only are Amazon in a position to take chances, but they have possibly the best analysis in the world of what people watch and will pay money for. Just crunch down that DVD-box-set data by year and genre. Amazon could actually own genre drama television within eighteen months if they chose to, either by Nate-Silvering those numbers or simply by creating five times as many productive relationships with important creators than anyone else can.
Cable, both basic and premium, have gotten their whacks in, but the full-on “disruption” of American tv by deep-pocketed internet business is going to be really interesting, not least for what disrupts them.
Developing/not fully baked.
May 16th, 2013 | researchmaterial
I remain peculiarly fascinated by certain kinds of marketers. And, as a writer who still lives and dies by social awareness, I’m always watching the changing seasons of social media. (Even though I can feel the required energy for it ebbing away daily.) This post by Guy Kawasaki caught my eye. It’s a supercharged, super-expanded version of some of what I do/did, but he has nothing to sell but ads. It is, presumably, just a way to keep a bucket of social capital topped up. Which, one way or another, seems to turn into money.