DARK SHADOWS, EPISODE 462 (1968)
1 day ago
In essays on the subject of centricity, I've most often used the image of a geometrical circle, which, as I explained here, owes someth...
the long arc also takes place within a larger continuity, but like the short arc doesn't entirely stand on its own. The American "soap opera" did not originate the long arc, but it's the genre best known for particular plot-lines that could be extended for weeks, if not longer.
A method of defining a sequence of objects, such as an expression, function, or set, where some number of initial objects are given and each successive object is defined in terms of the preceding objects.
In a future essay I'll develop further the notion that leadership sometimes engenders the privilege of combative status-- but also, sometimes not.
Not until 2013, with the premiere of the BATES MOTEL teleseries, did some raconteur develop the Norma character. Yet although Norma overrides Norman's character in the story proper, extrinsically Norman is still more important than Norma, even in BATES MOTEL.
"Surely, O goddess, that [story of Pluto abducting Persephone] is but a myth..."-- Wonder Woman speaking to her own goddess, Aphrodite.
So, the notion of representation onscreen, in front of and behind the camera, somebody asked me once, so is Black Panther a one-off? I said, no, it’s not a one-off. This is the future. This is the way the world is, and the way, certainly, our studio’s going to be run going forward, because it brings about better stories. The more diverse the group of people making the movie is, the better the stories.And I wrote:
OK, so all you need to do to make better stories is to make the characters more diverse? It has nothing to do with thinking out the characters in greater detail, right? Like why Black Panther is so torn up by learning of his uncle's death, when the people watching the movie have no reason to believe there was any particular tie between T'Challa and the uncle?Yeah, that's not the way good storytelling works.
He killed his own brother and left a child behind with nothing. What kind of king-- what kind of man does this?
[My father] didn't even give [my uncle] a proper burial. My uncle N'Jobu betrayed us, but my father, he may have created something even worse.
...the problems of what I'll call "non-centric serials" are nothing next to that of anthologies in the medium of cinema. In other media-- I'm thinking primarily, though not exclusively, of prose, comics, and television-- every story within a serial anthology stands on its own. However, a film-anthology represents a concatenation of stories that cannot stand apart from one another, unless they are surgically separated. In some anthologies, the stories are not associated in any way, except by dint of appearing in the same collection. Some are tied by virtue of being adaptations of the work of a single author, as is the case with 1963's TWICE TOLD TALES, and some are associated through a common framing-device, as in 1945's DEAD OF NIGHT, where all of the stories may been dreamed by a single interlocutor, leaving it unclear as to whether the stories "really" happened or not within the film's diegetic reality.
Englehart also worked the continuity of the “Djinn” story into Coyote’s mythos reasonably well, but over time the writer created too many wild subplots, so that the series came off as belonging to the “everything plus the kitchen sink” school.
In one of [Wonder Woman's] early appearances as part of the Justice Society, writer Gardner Fox doesn't quite know what to do with her, so he decides to make her the secretary of the team. All the other male heroes go out to save the day, and she stays behind to keep the notes.