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Sense8 and the rejection of traditional story expectations in television

A deep dive into Sense8’s polarizing critical response and its impact on both television industry and its vocal audience. The value of its idealistic themes and visual idiosyncracies generate dissenting opinons about the hiearchy of importances when it comes to serialized visual storytelling. Many consider its plot slow and weak at best, at worst utterly confusing and contrived. But audiences have fallen in love with its diversified representation of characters, cinematography, and a focus on character moments rather than A-to-B plot-driven sequences. In a high conceptci-fi show, that’s almost blasphemy. But if anyone is gonna try it, it’d be the Wachowskis.

  • I watched this show recently, and I'd have to agree that while the plot left many questions unanswered in the end, I did find the characters easy to sympathize with and I especially love how "human" they all were. However, I would be curious to know if you think the character-centered storytelling was a good thing or not? As well, do you think that they will be able to revisit the story for a second season, or will they leave things as they are? – SStevens 9 years ago
  • What baffles me about Sense8 is that the main characters are never physically together! I was expecting them to move countries to be together and fight the good fight. Of course, I'm not finished with the first season. I left off with episode 10, which told half its story with not text! Finally, we have story tellers who are being brave, clear and honest. This sort of thing is not original however. Dance and theatre use this style of story telling frequently. Fantasia was one of the earliest in its medium to do this. This article can draw attention to non-text based films the precede Sense8 and perhaps discussing other mediums of story telling, and how they translate to film, ultimately discussing what makes Sense8 successful. – yase 9 years ago

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Latest Comments


Great article! Loved the analysis of animal behaviour in the context of the film’s raptors. They’re so cuddly. I want one. I’m sad. šŸ™

Jurassic World: Human Psychology and Animal Behavior

Digital advertising is a pervasive thing to define these days. Most ad agencies double as professional production studios with in-house teams for creating commercial content, or double-dip into the tech industry providing business-to-business services to other companies.

Vlogging has grown into this gray space of content that’s easily misunderstood by those who’ve grown up with 30-second airtime slots and highway billboards. YouTube’s business model, nowadays, almost depends exclusively on the top 10% of their earners (majority of them being vloggers) and that involves a lot of brand integration with advertisers and their clients.

I disagree with the notion that these vloggers who incorporate branded content into their videos act as “vessels to embody an advertisersā€™ marketing scheme” – I believe there’s a more naunced relationship going on here between content creator, advertiser, and audience.

Looking at it empiracally, you could, say, inventory all of Zoella’s produced videos and try to categorize how many ar overt product promotion, how many are personal vlogs, how many are make-up tutorials – and determine if she is indeed “selling out” when comparing the ratio of product advertising to more “geninune” style content.

I use scare quotes there not to delegitimize the argument that vlogging is now a space for advertisers to target consumers with an intended product – the fact of the matter is that there is no cleaner, cheaper, more direct way to get a consumer’s eyes on a product that have someone they like, and more importantly, TRUST, tell them it’s good to their face.

But I don’t think it’s selling out if they incorporate a brand, into their video, within the context of what they do; share it, talk about it, and are open about it, because it lets them sustain their professional career as a YouTuber (which nowadays, is a dime a dozen).

I come to the defense of this kind of advertising, because I ALWAYS think its a better alternative to having advertisers load pre-roll ads before a vlogger’s video where they rake in money-per-click, and the vlogger struggles to find the money to do what they love because their fans will think they’re a sell-out the moment they gain enough success to have advertisers willing to pay them to promote their product, on YouTube, to their fanbase, in whatever way the vlogger sees fit.

Just my two (very long) cents.

YouTube Capitalism: Vlogging Celebrities and Advertisers

Interesting article. I lean more towards the overall emotional play experience of a majority of FO3 (in regards to open world gameplay) representative of solitude than loneliness. That’s just my personal take on it.

My first playthrough (been a while) I remember aimlessly roaming the wastes while listening to old-timey radio crooning and VATS-ing bloatflies with not a care in the world. Deliberately avoiding the story mission and taking in the scenery – something you reference in your article as a key factor in illicting the feelings of loneliness.

I always felt like it was more of solitude that it illicited. A peaceful serenity to having nothing and no one around you to bother you from what you’re engaging with. No big bad Deathclaws coming at you (for now); no Megaton to bomb; no father to scower the wastes for. Just the wasteland (and the character it brings to your screen), and the Vault Dweller. For me, it was the virtual equivalent to campfire nights on the beach or stargazing on a car hood. Peace and quiet through immersion in activity.

Enjoyed the read. Brought back some well needed nostalgia. Would love your thoughts on solitude vs. loneliness in the context of FO3 gameplay.

Loneliness in Fallout