So what the hell is Transmedia? It is not watching a TV show on an iPad. That’s “watching TV.”
It is not telling many stories in the same universe on one TV screen. That’s “franchising,” like the Marvel Universe movies.
Ideally, transmedia is the telling of a story on multiple platforms. By this definition, the earliest example of transmedia storytelling is with the Bible: a book, plays, music, paintings, stained-glass, sculpture, and meetups (designed to trigger every one of our five senses) all helping tell the story.
There’s two paths forward with a TV series based on Source Code.
One is to do a police procedural where everything that happened to Colter Stevens (Gyllenhaal) in the movie has no bearing on the show. Simply introduce some nearly dead federal agents who work for Project Source Code who are transported into the bodies of civilians killed in devastating events. The agents do quick police work and stop the perpetrators from committing future atrocities. It’s like Quantum Leap or, more closely, the time-traveling procedural Seven Days – which also saw government operatives traveling back in time to prevent disasters.
Clay Shirky wrote a great article that contained another example of how we must adapt or die:
Fifteen years ago, a research group called The Fraunhofer Institute announced a new digital format for compressing movie files. This wasn’t a terribly momentous invention, but it did have one interesting side effect: Fraunhofer also had to figure out how to compress the soundtrack. The result was the Motion Picture Experts Group Format 1, Audio Layer III, a format you know and love, though only by its acronym, MP3.
The recording industry concluded this new audio format would be no threat, because quality mattered most. Who would listen to an MP3 when they could buy a better-sounding CD at the record store? Then Napster launched, and quickly became the fastest-growing piece of software in history. The industry sued Napster and won.
If Napster had only been about free access, control of legal distribution of music would then have returned the record labels. That’s not what happened. Instead, Pandora happened. Last.fm happened. Spotify happened. ITunes happened. Amazon began selling songs in the hated MP3 format…
The people in the music industry weren’t stupid, of course. They had access to the same internet the rest of us did. They just couldn’t imagine—and I mean this in the most ordinarily descriptive way possible—could not imagine that the old way of doing things might fail. Yet things did fail, in large part because, after Napster, the industry’s insistence that digital distribution be as expensive and inconvenient as a trip to the record store suddenly struck millions of people as a completely terrible idea.
Parks & Recreation is great. And it’s also doing a lot of transmedia storytelling right.
I watch TV with a device on my lap, and when Amy Poehler’s character ran for City Council, I went looking for her campaign website because that’s literally my background: I used to do transmedia storytelling strategy in politics. I was happy to find that NBC, the production company, and/or the writers had a funny site up and running. Bravo.
The site’s full of great callbacks to jokes from previous episodes. There’s funny writing in character voices. And like any real campaign website, you can sign up for election updates, newsletters, you can take actions for the campaign, you can even buy real merch, and they invite you to follow the characters on social media. The characters have twitter accounts.
I pulled this out of the memory hole:
THANKS BUT NO THANKS
Free Publicity In ‘Crazy People’ Costs Advertisers Some Pride
April 19, 1990 | By Yardena Arar, Los Angeles Daily News.
The new Paramount comedy, “Crazy People,” starring Dudley Moore as an adman fixated on truth in advertising, is filled with fake ads for real-life goods and services-none of which paid a penny for the exposure.
Of course, the exposure isn’t exactly a real-life advertiser’s dream.
“Would the Hindenburg have paid for placement in the newsreel?” AT&T spokesman Burke Stinson asked rhetorically during a conversation about the AT&T ad in the film.
As in Rush Limbaugh.
Script not done – well see what it’s looks like – could be good hollywoodreporter.com/news/john-cusa…
— John Cusack (@johncusack) November 4, 2012
I can only hope this focus on Private Parts in leaks to press is a head fake designed to keep dittoheads interested. The model of Private Parts is problematic because that was a fully authorized underdog hagiography. And if Rush doesn’t endorse the project (which I doubt he’d do unless he’s EP and/or gets huge gross points) then no dittoheads will pay Cusack to see it. Neither do I see reality-based Americans going to see it unless to gloat in the schadenfreude were it a tragedy, or to boo at his villainy.