This site requires Javascript to be turned on. Please enable Javascript and reload the page.
Thanks for your patience during our recent outage at scalar.usc.edu. While Scalar content is loading normally now, saving is still slow, and Scalar's 'additional metadata' features have been disabled, which may interfere with features like timelines and maps that depend on metadata. This also means that saving a page or media item will remove its additional metadata. If this occurs, you can use the 'All versions' link at the bottom of the page to restore the earlier version. We are continuing to troubleshoot, and will provide further updates as needed. Note that this only affects Scalar projects at scalar.usc.edu, and not those hosted elsewhere.
Complex TV
Main Menu
Introduction
Videos for Introduction
Complexity in Context
Beginnings
Videos for Chapter 2
Authorship
Characters
Comprehension
Evaluation
Serial Melodrama
Orienting Paratexts
Transmedia Storytelling
Ends
Video Gallery
Table of Contents
Jason Mittell
06e96b1b57c0e09d70492af49d984ee2f68945de
New York University Press
CURB YOUR ENTHUSIASM episodes include interwoven multiple plotlines and invite the viewer to connect threads and running gags.
1
2015-03-15T11:32:07-07:00
Jason Mittell
06e96b1b57c0e09d70492af49d984ee2f68945de
1350
1
Like most episodes, "Vehicular Fellatio" relies on a viewer's conscious cognitive processes to enjoy the humorous interconnected plotting.
plain
2015-03-15T11:32:07-07:00
Jason Mittell
06e96b1b57c0e09d70492af49d984ee2f68945de
This page has paths:
1
2015-03-12T11:15:38-07:00
Jason Mittell
06e96b1b57c0e09d70492af49d984ee2f68945de
Video Gallery
Jason Mittell
15
structured_gallery
129350
2015-03-18T13:28:44-07:00
Jason Mittell
06e96b1b57c0e09d70492af49d984ee2f68945de
Contents of this path:
1
2015-03-12T07:44:44-07:00
REVENGE opens the series with a flash forward to set up narrative enigmas, a complex strategy that has become increasingly common in the past decade.
3
REVENGE, "Pilot" (ABC, 2011) is an example of how narratively complex TV has become so commonplace to be unremarkable, rather than just the domain of so-called prestige series.
plain
2015-03-13T12:50:38-07:00
1
2015-03-12T07:44:45-07:00
BATTLESTAR GALACTICA offers an exemplary narrative special effect.
3
A striking example of a narrative special effect, with a year's flash forward contained with what appears to be a single shot.
plain
2015-03-13T12:44:03-07:00
1
2015-03-12T11:32:27-07:00
THE WEST WING, "Noël", climaxes with a powerful example of a narrative special effect
6
The climactic scene in this episode uses interweaving atemporality and a false flashback to create a moment where the operational aesthetic and emotional engagement merge.
plain
2015-03-13T12:51:54-07:00
1
2015-03-13T09:41:55-07:00
TWIN PEAKS begins with a languid credit sequence, setting the mood for its celebrated tonal juxtapositions
1
The lengthy credit sequence focuses our attention before the narrative commences with an ambiguous tone.
plain
2015-03-13T09:41:55-07:00
1
2015-03-13T12:13:30-07:00
ALIAS begins with a flash forward at a moment of crisis, before winding back to a point of origin
1
One of the first examples of starting a series via a flash forward, ALIAS establishes its intrinsic norms of high style and narrative enigmas.
plain
2015-03-13T12:13:30-07:00
1
2015-03-13T13:56:54-07:00
PUSHING DAISIES spends its first minutes establishing both a whimsical tone and a complex narrative concept
1
Using voice-over, visual style, and temporal leaps, PUSHING DAISIES quickly sets itself up as a distinctive series.
plain
2015-03-13T13:56:54-07:00
1
2015-03-13T07:56:07-07:00
24 begins by establishing its norms of temporality and split-screen composition
1
The opening of 24's pilot quickly establishes its intrinsic norms.
plain
2015-03-13T07:56:07-07:00
1
2015-03-12T11:32:27-07:00
AWAKE's opening moments highlight how a series must establish its tone and narrative conventions immediately.
1
AWAKE (NBC, 2012), "Pilot," opens with trauma and cues us how to proceed.
plain
2015-03-12T11:32:27-07:00
1
2015-03-11T14:36:15-07:00
VERONICA MARS series opener starts with an explicit homage to film noir, framing genre expectations.
3
VERONICA MARS, "Pilot" (UPN, 2004) highlights the mixture of film noir and light-hearted teen drama
plain
2015-03-13T12:49:06-07:00
1
2015-03-12T11:32:25-07:00
BUFFY THE VAMPIRE SLAYER introduces Dawn in the 5th season premiere - even though she is a teenager who has seemingly lived her whole life in Buffy's family.
1
Buffy's sister Dawn makes her first appearance in the 5th season, creating a narrative enigma that will not be answered for over a month during the original broadcast.
plain
2015-03-12T11:32:25-07:00
1
2015-03-13T12:54:15-07:00
LOUIE encourages a blur between his character and authorial identity by fictionalizing a real life incident.
1
Louie CK and Dane Cook address a real conflict via a scripted scene, blurring the line between character and author.
plain
2015-03-13T12:54:16-07:00
1
2015-03-12T11:32:26-07:00
BREAKING BAD's third season concludes with unintentional ambiguity.
1
In this final moment of the season, a moment of unintentional ambiguity invites the authorial figure to step in and clarify.
plain
2015-03-12T11:32:26-07:00
1
2015-03-13T14:22:45-07:00
DEXTER reveals crucial character information to both the audience and the title character
1
Through a flashback to a repressed memory, Dexter's origins and psychology become more clear to both viewer and Dexter himself.
plain
2015-03-13T14:22:45-07:00
1
2015-03-12T11:32:26-07:00
BREAKING BAD's "Pilot" opens with a vivid flash forward to introduce us to Walter White
4
The opening moments of the series work to establish the character of Walter White through costuming, performance, and intertextual cues.
plain
2015-03-13T12:47:49-07:00
1
2015-03-12T11:34:47-07:00
BREAKING BAD, "Cornered" features an iconic confrontation highlighting character interiority
3
In one of the program's most memorable scenes, we see the distance between how Walt seems himself and how others see him, forcing us to wonder how we viewers judge his character.
plain
2015-03-13T12:46:23-07:00
1
2015-03-13T07:56:06-07:00
REVENGE, "Reckoning" features dialogue whose layers of meaning only emerge as we learn more about an unnamed character
1
The white-haired man is a mysterious figure, whose knowledge of Emily's parents only becomes clear in retrospect.
plain
2015-03-13T07:56:06-07:00
1
2015-03-13T13:39:07-07:00
DEXTER introduces Rudy as the mysterious killer, but his relationship to Dexter only makes sense in retrospect
1
Upon first viewing, the familial dynamics at play between Dexter and Rudy are not apparent, requiring rewatching to understand Rudy's true motives and emotions.
plain
2015-03-13T13:39:07-07:00
1
2015-03-13T13:39:08-07:00
ARRESTED DEVELOPMENT uses voiceover and cutaways to both manage memory and create humor
1
Few series rely on triggering memories more explicitly than ARRESTED DEVELOPMENT, which allows for both convoluted plotting and moments of humor.
plain
2015-03-13T13:39:08-07:00
1
2015-03-16T12:09:22-07:00
BATTLESTAR GALACTICA's final episode features an example of surprise memory, where previously seen scenes shock viewers via flashback
1
Being surprised by something you already know but may have forgotten is a distinct pleasure of serial storytelling.
plain
2015-03-16T12:09:22-07:00
1
2015-03-15T11:12:38-07:00
SOPRANOS in 7 Minutes compresses the first five and a half seasons of the series into a brief humorous recap
2
Before the final half season began, fans created a lighthearted summary of the series that both jogs memories and highlights a humorous tone.
plain
2015-03-15T11:18:49-07:00
1
2015-03-15T11:32:07-07:00
CURB YOUR ENTHUSIASM episodes include interwoven multiple plotlines and invite the viewer to connect threads and running gags.
1
Like most episodes, "Vehicular Fellatio" relies on a viewer's conscious cognitive processes to enjoy the humorous interconnected plotting.
plain
2015-03-15T11:32:07-07:00
1
2015-03-15T20:32:24-07:00
BREAKING BAD focuses on the psychological and moral complexity of Walt deciding to let Jane die
1
In its emphasis on character and psychology, we focus on Walt's choice to let Jane die to create a layered sense of interiority.
plain
2015-03-15T20:32:25-07:00
1
2015-03-18T06:58:21-07:00
THE WIRE treats the death of a beloved character less as a psychological moment than a product of a corrupt and dehumanizing system
1
Wallace's death highlights how the series foregrounds social circumstances over psychology.
plain
2015-03-18T06:58:21-07:00
1
2015-03-18T07:13:00-07:00
MAD MEN presents its characters' sexism as both offensive and charming
1
In scenes like this heartfelt exchange between Roger and Joan, casually sexist insensitivity is treated as uncomfortably earnest at the same time that it is held up for critique.
plain
2015-03-18T07:13:00-07:00
1
2015-03-18T07:31:12-07:00
MARY HARTMAN, MARY HARTMAN fused soap opera aesthetics with an ironic dry wit to create an unexpected sensation in the mid-1970s
1
One of the most distinctive examples of soap opera's influence outside of daytime, MARY HARTMAN's distinctive tone suggests both parody of soap operas and the useful incorporation of the genre's popular appeal.
plain
2015-03-18T07:31:12-07:00
1
2015-03-16T12:51:56-07:00
LOST uses the storytelling devices of science fiction time travel in service of romantic melodrama
1
In the acclaimed episode "The Constant," character melodrama trumps other genre tropes.
plain
2015-03-16T12:51:56-07:00
1
2015-03-16T12:36:12-07:00
THE GOOD WIFE interweaves legal and romantic plotlines through atemporally complex editing
1
This scene foregrounds melodrama and romance, even while working through a legal procedural plotline and employing complex temporality
plain
2015-03-16T12:36:12-07:00
1
2015-03-16T06:48:46-07:00
DOCTOR WHO narrates a convoluted timeline between the title character and River Song, while a BBC paratext reorders the story from her perspective
1
A paratext can resequence the discourse to orient viewers, as with the retold story of River Song.
plain
2015-03-16T06:48:46-07:00
1
2015-03-16T07:07:26-07:00
BREAKING BAD misdirected viewers about Brock's poisoning, but one fan posted a video theory that proved to be true in the next episode
1
A remix video demonstrates forensic fandom as a form of plot orientation.
plain
2015-03-16T07:07:26-07:00
1
2015-03-16T07:26:48-07:00
LOST presented many maps in the series, but the so-called blast door map was one of the most iconic for fans
1
The blast door map became an obsession for forensic fans, collectively decoding it to uncover mysteries and clues.
plain
2015-03-16T07:26:49-07:00
1
2015-03-16T07:42:27-07:00
BATTLESTAR GALACTICA created an unintentional YouTube sensation through an ironic juxtaposition with an inappropriate commercial
2
An example of a spreadable video emerging accidentally from complex television, this clip fits with the more sensational aspects of online culture
plain
2015-03-16T07:44:35-07:00
1
2015-03-16T08:18:29-07:00
LOST revealed many answers to lingering mysteries via the transmedia ARG The Lost Experience
1
The so-called Sri Lanka video was published as part of The Lost Experience, revealing many of the program's enigmas for a fraction of its fanbase.
plain
2015-03-16T08:18:29-07:00
1
2015-03-16T08:33:01-07:00
BREAKING BAD's online video "Team S.C.I.E.N.C.E." offers a "what if?" approach to transmedia
1
Rather than extending canonical story material, this online video playfully posits hypothetical possibilities for Jesse's own creative imagination.
plain
2015-03-16T08:33:01-07:00
1
2015-03-17T14:30:20-07:00
LOST's final moments emphasize emotional closure and meta-storytelling, the hallmark of many series finales
1
Rather than focusing on providing conclusive answers, LOST's ending highlights character arcs and connections, much to the chagrin of some fans but to the delight of others.
plain
2015-03-17T14:30:20-07:00
1
2015-03-16T09:47:50-07:00
THE WIRE's last season focuses on its own storytelling dynamics via the fictionalized version of The Baltimore Sun
1
The journalists give voice to both critiques and defenses of THE WIRE's own storytelling strategies.
plain
2015-03-16T09:47:50-07:00
1
2015-03-16T09:31:24-07:00
THE SOPRANOS ended with a legendarily ambiguous scene
1
Few scenes have been as analyzed and debated as the final sequence of THE SOPRANOS, centered around both Tony's fate and David Chase's intentions.
plain
2015-03-16T09:31:24-07:00
1
2015-03-17T13:43:27-07:00
HOMELAND's first season finale starts with this jarring opening, raising political questions that depend on its serial contexts
1
How viewers interpret the politics of this sequence shifts depending on how much of the series they have previously scene, and how future replays in the second season reframe its meaning.
plain
2015-03-17T13:43:28-07:00
1
2015-03-17T13:53:08-07:00
BREAKING BAD comes to its emotional peak in its third to last episode, with Walt berating Skyler with multilayered meanings
1
Few scenes are as harrowing as this phone call from "Ozymandias," as Walt's words both work to save Skyler and express the misogynist rhetoric that some fans latched onto.
plain
2015-03-17T13:53:08-07:00
This page is referenced by:
1
2015-03-15T11:32:50-07:00
p. 202-203: CURB YOUR ENTHUSIASM
2
plain
2015-03-15T11:33:16-07:00
Larry drives Loretta to Dr. Trundle’s lecture, and they see Mr. Trundle in the car ahead of them, mentioning him by name, relationship, and previous encounter, all of which seem to be setting him up for playing a major role in the anticipated narrative collision course that Curb episodes frequently feature; and thus his presence triggers an operational anticipatory question: why do we keep seeing him? We soon get our answer, with the first crossover between plotlines: as both cars are driving, we see Dr. Trundle’s head rise up from her husband’s lap, wiping her mouth after some implied vehicular fellatio. Loretta is so offended that she discredits the doctor, insisting that Larry turn the car around, thus foiling his plan to inspire Loretta to leave him. At the operational level, it feels like the title has now fully been paid off, crossing between plots and serving as a major narrative stimulus to undercut Larry’s grand scheme. Yet it returns in the next scene, as Larry goes to Dr. Trundle’s office to leave payment for Dean’s glasses, but Dr. Trundle expresses her disappointment that Larry and Loretta missed the lecture and accuses Larry of interfering because she was going to urge Loretta to leave him. Larry “rejects the hypothesis,” and when she presses him to tell the truth, he describes what they witnessed in the car. The doctor denies it, becoming so incensed with Larry’s implications that she beats him with her book. We are left uncertain whether she was lying about her explanation that she was searching for her cell phone, but clearly we can support her accusation that Larry has a “tiny little, insecure, infantile mind of about a twelve-year-old” (to which he replies, “I think you blew him”)— and yet we are fully aligned and allied with Larry throughout his pettiness and misanthropy. Like the antiheroes discussed in chapter 4, we see Larry as an undesirable person but enjoy him as a character, saying things that are socially unacceptable and living without shame or fear of consequences from his petty griping.