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Meeting the Oracle in The Matrix 05:00 Meeting the Oracle in The Matrix
From The Matrix (1999).
In this scene Morpheus (Laurence Fishburne) leads Neo (Keanu Reeves) to meet the Oracle (Gloria Foster) and find out his fate. Contributed by Veronica Paredes
People and Places Beyond Reach: Invisible Stories as Immersive Devices in Contemporary Video Games People and Places Beyond Reach: Invisible Stories as Immersive Devices in Contemporary Video Games
From People and Places Beyond Reach: Invisible Stories as Immersive Devices in Contemporary Video Games (2017).
In Media Res “Videogame Stories” “People and Places Beyond Reach: Contributed by Ethan Tussey
Kathy Rain: A Detective is Born examples for In Media Res 01:35 Kathy Rain: A Detective is Born examples for In Media Res
From Kathy Rain (2017).
Two examples of how dialogue options function in the point-and-click adventure game Kathy Rain: A Detective is Born. Contributed by Ethan Tussey
Bathtub split screen scene from Pillow Talk 01:28 Bathtub split screen scene from Pillow Talk
From Pillow Talk (1959).
A quintessential example of code-era implied eroticism via the cinematic technology of splitscreen Contributed by Critical Commons Manager
ALIAS begins with a flash forward at a moment of crisis, before winding back to a point of origin 03:55 ALIAS begins with a flash forward at a moment of crisis, before winding back to a point of origin
From Alias season 1 (2001).
One of the first examples of starting a series via a flash forward, ALIAS establishes its intrinsic norms of high style and narrative enigmas. Contributed by Jason Mittell
REVENGE opens the series with a a flash forward to set up narrative enigmas, a complex strategy that has become increasingly common in the past decade. 08:04 REVENGE opens the series with a a flash forward to set up narrative enigmas, a complex strategy that has become increasingly common in the past decade.
From Revenge season 1 (2011).
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. Contributed by Jason Mittell
Trailer for Last Year at Marienbad 05:44 Trailer for Last Year at Marienbad
From Last Year at Marienbad (1961).
The theatrical trailer for Last Year at Marienbad provides a glimpse of the film's non-linear temporal and narrative structure Contributed by Critical Commons Manager
MAD MEN presents its characters' sexism as both offensive and charming 03:00 MAD MEN presents its characters' sexism as both offensive and charming
From Mad Men season 1 (2007).
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. Contributed by Jason Mittell
HOMELAND's first season finale starts with this jarring opening, raising political questions that depend on its serial contexts 02:44 HOMELAND's first season finale starts with this jarring opening, raising political questions that depend on its serial contexts
From Homeland season 1 (2011).
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. Contributed by Jason Mittell
THE GOOD WIFE interweaves legal and romantic plotlines through atemporally complex editing 02:00 THE GOOD WIFE interweaves legal and romantic plotlines through atemporally complex editing
From The Good Wife season 4 (2013).
This scene foregrounds melodrama and romance, even while working through a legal procedural plotline and employing complex temporality Contributed by Jason Mittell
THE SOPRANOS ended with a legendarily ambiguous scene 04:55 THE SOPRANOS ended with a legendarily ambiguous scene
From The Sopranos season 6 (2007).
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. Contributed by Jason Mittell
LOST revealed many answers to lingering mysteries via the transmedia ARG The Lost Experience 03:51 LOST revealed many answers to lingering mysteries via the transmedia ARG The Lost Experience
From The Lost Experience (2006).
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. Contributed by Jason Mittell
LOST presented many maps in the series, but the so-called blast door map was one of the most iconic for fans 01:02 LOST presented many maps in the series, but the so-called blast door map was one of the most iconic for fans
From Lost season 2 (2006).
The blast door map became an obsession for forensic fans, collectively decoding it to uncover mysteries and clues. Contributed by Jason Mittell
DOCTOR WHO narrates a convoluted timeline between the title character and River Song, while a BBC paratext reorders the story from her perspective 13:37 DOCTOR WHO narrates a convoluted timeline between the title character and River Song, while a BBC paratext reorders the story from her perspective
From Doctor Who BBC video (2011).
A paratext can resequence the discourse to orient viewers, as with the retold story of River Song. Contributed by Jason Mittell
THE WIRE treats the death of a beloved character less as a psychological moment than a product of a corrupt and dehumanizing system 02:25 THE WIRE treats the death of a beloved character less as a psychological moment than a product of a corrupt and dehumanizing system
From The Wire season 1 (2002).
Wallace's death highlights how the series foregrounds social circumstances over psychology. Contributed by Jason Mittell
CURB YOUR ENTHUSIASM episodes include interwoven multiple plotlines and invite the viewer to connect threads and running gags. 03:26 CURB YOUR ENTHUSIASM episodes include interwoven multiple plotlines and invite the viewer to connect threads and running gags.
From Curb Your Enthusiasm season 7 (2009).
Like most episodes, "Vehicular Fellatio" relies on a viewer's conscious cognitive processes to enjoy the humorous interconnected plotting. Contributed by Jason Mittell
DEXTER reveals crucial character information to both the audience and the title character 01:34 DEXTER reveals crucial character information to both the audience and the title character
From Dexter season 1 (2006).
Through a flashback to a repressed memory, Dexter's origins and psychology become more clear to both viewer and Dexter himself. Contributed by Jason Mittell
DEXTER introduces Rudy as the mysterious killer, but his relationship to Dexter only makes sense in retrospect 02:18 DEXTER introduces Rudy as the mysterious killer, but his relationship to Dexter only makes sense in retrospect
From Dexter season 1 (2006).
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. Contributed by Jason Mittell
LOUIE encourages a blur between his character and authorial identity by fictionalizing a real life incident. 06:54 LOUIE encourages a blur between his character and authorial identity by fictionalizing a real life incident.
From Louie season 2 (2011).
Louie CK and Dane Cook address a real conflict via a scripted scene, blurring the line between character and author. Contributed by Jason Mittell
24 begins by establishing its norms of temporality and split-screen composition 03:20 24 begins by establishing its norms of temporality and split-screen composition
From 24 season 1 (2001).
The opening of 24's pilot quickly establishes its intrinsic norms. Contributed by Jason Mittell
Narrative Imperative in video games 05:44 Narrative Imperative in video games
From Narrative Imperative in video games (2017).
Open-world video games often use a main quest to drive the player through the story, but this narrative imperative is upset every time the player does anything except do what they are supposed to be doing. Should these narrative imperatives in games Contributed by Ethan Tussey
The Emergence of Narrative from Game Mechanics 00:20 The Emergence of Narrative from Game Mechanics
From The Emergence of Narrative from Game Mechanics (2017).
In Media Res Video: While the ludology versus narratology debate has long been abandoned by most game scholars, this debate was flawed from the outset in its conceptualization of narrative as linear in nature, in particular as seen through “authoria Contributed by Ethan Tussey
BATTLESTAR GALACTICA's final episode features an example of surprise memory, where previously seen scenes shock viewers via flashback 02:41 BATTLESTAR GALACTICA's final episode features an example of surprise memory, where previously seen scenes shock viewers via flashback
From Battlestar Galactica season 4 (2009).
Being surprised by something you already know but may have forgotten is a distinct pleasure of serial storytelling. Contributed by Jason Mittell
BATTLESTAR GALACTICA, "Lay Down Your Burdens" part 2, offers an exemplary narrative special effect. 04:09 BATTLESTAR GALACTICA, "Lay Down Your Burdens" part 2, offers an exemplary narrative special effect.
From Battlestar Galactica, "Lay Down Your Burdens" part 2 (2006).
A striking example of a narrative special effect, with a year's flash forward contained with what appears to be a single shot. Contributed by Jason Mittell
BREAKING BAD, "Pilot" opens with a vivid flash forward to introduce us to Walter White 04:07 BREAKING BAD, "Pilot" opens with a vivid flash forward to introduce us to Walter White
From Breaking Bad, "Pilot" (2008).
The opening moments of the series work to establish the character of Walter White through costuming, performance, and intertextual cues. Contributed by Jason Mittell
Pleasures of hyperlinearity in The Way Things Go 03:12 Pleasures of hyperlinearity in The Way Things Go
From The Way Things Go (Der Lauf der Dinge) (1987).
Inanimate objects and cause-effect reactions trigger narrative associations Contributed by Critical Commons Manager
MARY HARTMAN, MARY HARTMAN fused soap opera aesthetics with an ironic dry wit to create an unexpected sensation in the mid-1970s 07:02 MARY HARTMAN, MARY HARTMAN fused soap opera aesthetics with an ironic dry wit to create an unexpected sensation in the mid-1970s
From Mary Hartman, Mary Hartman (1976).
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. Contributed by Jason Mittell
LOST's final moments emphasize emotional closure and meta-storytelling, the hallmark of many series finales 11:34 LOST's final moments emphasize emotional closure and meta-storytelling, the hallmark of many series finales
From Lost season 6 (2010).
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. Contributed by Jason Mittell
LOST uses the storytelling devices of science fiction time travel in service of romantic melodrama 06:21 LOST uses the storytelling devices of science fiction time travel in service of romantic melodrama
From Lost season 4 (2008).
In the acclaimed episode "The Constant," character melodrama trumps other genre tropes. Contributed by Jason Mittell
THE WIRE's last season focuses on its own storytelling dynamics via the fictionalized version of The Baltimore Sun 01:50 THE WIRE's last season focuses on its own storytelling dynamics via the fictionalized version of The Baltimore Sun
From The Wire season 5 (2008).
The journalists give voice to both critiques and defenses of THE WIRE's own storytelling strategies. Contributed by Jason Mittell
BREAKING BAD's online video "Team S.C.I.E.N.C.E." offers a "what if?" approach to transmedia 04:04 BREAKING BAD's online video "Team S.C.I.E.N.C.E." offers a "what if?" approach to transmedia
From Breaking Bad online video (2010).
Rather than extending canonical story material, this online video playfully posits hypothetical possibilities for Jesse's own creative imagination. Contributed by Jason Mittell
BATTLESTAR GALACTICA created an unintentional YouTube sensation through an ironic juxtaposition with an inappropriate commercial 02:27 BATTLESTAR GALACTICA created an unintentional YouTube sensation through an ironic juxtaposition with an inappropriate commercial
From Battlestar Galactica season 4 (2009).
An example of a spreadable video emerging accidentally from complex television, this clip fits with the more sensational aspects of online culture Contributed by Jason Mittell
BREAKING BAD misdirected viewers about Brock's poisoning, but one fan posted a video theory that proved to be true in the next episode 06:00 BREAKING BAD misdirected viewers about Brock's poisoning, but one fan posted a video theory that proved to be true in the next episode
From Breaking Bad Finale Theory (2011).
A remix video demonstrates forensic fandom as a form of plot orientation. Contributed by Jason Mittell
BREAKING BAD focuses on the psychological and moral complexity of Walt deciding to let Jane die 03:32 BREAKING BAD focuses on the psychological and moral complexity of Walt deciding to let Jane die
From Breaking Bad season 2 (2009).
In its emphasis on character and psychology, we focus on Walt's choice to let Jane die to create a layered sense of interiority. Contributed by Jason Mittell
BREAKING BAD comes to its emotional peak in its third to last episode, with Walt berating Skyler with multilayered meanings 04:39 BREAKING BAD comes to its emotional peak in its third to last episode, with Walt berating Skyler with multilayered meanings
From Breaking Bad season 5 (2013).
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. Contributed by Jason Mittell
SOPRANOS in 7 Minutes compresses the first five and a half seasons of the series into a brief humorous recap 07:35 SOPRANOS in 7 Minutes compresses the first five and a half seasons of the series into a brief humorous recap
From Sopranos in 7 Minutes (2007).
Before the final half season began, fans created a lighthearted summary of the series that both jogs memories and highlights a humorous tone. Contributed by Jason Mittell
PUSHING DAISIES spends its first minutes establishing both a whimsical tone and a complex narrative concept 05:58 PUSHING DAISIES spends its first minutes establishing both a whimsical tone and a complex narrative concept
From Pushing Daisies season 1 (2007).
Using voice-over, visual style, and temporal leaps, PUSHING DAISIES quickly sets itself up as a distinctive series. Contributed by Jason Mittell
ARRESTED DEVELOPMENT uses voiceover and cutaways to both manage memory and create humor 00:35 ARRESTED DEVELOPMENT uses voiceover and cutaways to both manage memory and create humor
From Arrested Development season 2 (2004).
Few series rely on triggering memories more explicitly than ARRESTED DEVELOPMENT, which allows for both convoluted plotting and moments of humor. Contributed by Jason Mittell
TWIN PEAKS begins with a languid credit sequence, setting the mood for its celebrated tonal juxtapositions 05:40 TWIN PEAKS begins with a languid credit sequence, setting the mood for its celebrated tonal juxtapositions
From Twin Peaks pilot (1990).
The lengthy credit sequence focuses our attention before the narrative commences with an ambiguous tone. Contributed by Jason Mittell
REVENGE, "Reckoning" features dialogue whose layers of meaning only emerge as we learn more about an unnamed character 02:07 REVENGE, "Reckoning" features dialogue whose layers of meaning only emerge as we learn more about an unnamed character
From Revenge season 1 (2012).
The white-haired man is a mysterious figure, whose knowledge of Emily's parents only becomes clear in retrospect. Contributed by Jason Mittell
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