Recent Comments

David Gurney

I agree that this fits very well with Adult Swim’s approach to parody: replicate aspects of a familiar televisual form, seize opportunities to reveal its potential fissures, and fill them with content that is absurd and/or inappropriate. However, part of what made this so successful in online circulation is that it took one particular era (80s/90s) of a formal convention (the intro sequence) and parodied it in a way that echoes the digital form of the “supercut.” Of course, it also introduces causal narrative threads into it (i.e., Bill the Killer, the malady “intronitis,” etc.) that offer some fragmentary rationale for this collection of components from different genres, but it nonetheless uses its autonomy as a project as a way to bring in a quality unlike most of what airs on Adult Swim. Others of the “infomercials” have taken the aesthetic(s) in different directions, but none quite as successful in their viral recirculation.

Wolfgang Boehm

Too Many Cooks does seem to be almost a summary of the Adult Swim ethos, not only in content but in distribution. I first saw it on a trending article on social media that said something along the lines of, “Adult Swim released this in the middle of the night, with no explanation. What’s it mean??” This seems to be a consistent trend with Adult Swim programming. Put something ridiculous on a late night time-slot, provide no advertisement nor ‘explanation,’ wait to see how the Internet responds. Not only does this model allow the network an avenue to experiment with programming in a relatively safe way, but I’d also argue that this is one of the key ways they generate their ‘cult’ appeal.

Felix Brinker

Thanks for this great post, which points out nicely how exactly Snyder’s film tries to stick close the comic book’s aesthetics. I personally liked the film a lot when I saw it in the theatre back in 2008, but I have also aborted several attempts to re-watch it in the years since—mostly because even the theatrical cut is far too long for my taste. But I also think that the cinematography at times makes it appear as if the film is moving along at a glacial pace. Therefore, I am not sure Snyder’s attempt to approximate Gibbons’s aesthetic is ultimately very successful. What I find more interesting, however, is that this attempt at a close adaptation of a comic book aesthetic happens at all. In 1989, Tim Burton could still claim that his Batman was “too big a budget movie to worry about what a fan of a comic would say”—a statement he made to justify some of the artistic liberties he took in making the film. 20 years later, however, Watchmen is sticking so close to the source material that it might feel annoying. How would you explain this shift? Or do you think that this is just a question of Snyder’s personal filmmaking style?

DC Rebirth
Felix Brinker

Thanks for the great post which, I think, usefully points us the significant fact that superhero comics not only tell their stories serially, but are (and typically always have been) the result of serial production—in the sense that they are commodities produced by a number of different people in a complex division of labor that might change over time, under market conditions that might also change.

Your post also points me to something that has always bothered me about Moore’s complaints about the comics industry. From his earlier work at DC to Watchmen and LXG, Moore has build his career to a significant extent on his ability to re-invent, modernize, and deconstruct figures and plots invented by other authors. For decades, he has done so within the heart of a comics industry that has a.) always tried to aggressively market its properties across various media platforms b.) periodically revived and rebooted older or ‘classic’ characters when it seemed opportune to do so. DC has been part of the Warner conglomerate since the 60s; Marvel has licensed all kinds of superhero properties for other media, not to mention merchandising, at least since the 70s as well. Along the same lines, the constant drive to reboot and reinvent superhero characters in comics, as well as attempts to make them profitable in other media are a thing that dates back to the Superman craze of the late 1930s and early 40s. And, arguably, much of Moore’s most celebrated work is a direct product of this serial logic of superhero comics, in which incoming authors present a new twist on decades-old materials that were originally invented by someone else. Because of this I can’t really take Moore’s complaints about the commercialization of the format (which has always been blatantly commercial, including Watchmen) seriously. The quote by Moore you selected also seems to champion an idea of authorship that isn’t really appropriate for a multi-authored, commercial and serial product like superhero comics. I would argue that DC’s attempts to tell new stories about the Watchmen characters aren’t categorically different from what Moore did when he still worked for DC—Moore might just be a better author who has more interesting stories to tell. As much as I like his work, he some times just seems like a cranky old man. What do you think?

Geoffrey Henry

Thank you for your post, Leslie. I really enjoyed it. I also agree with your comments concerning true crime stories in general and The People vs. O.J. Simpson in particular.

When watching movies or TV programs based on real-life crimes, I have noticed the same things about these texts as you. First, I have noticed these texts take some liberties with the facts of those cases. I have also felt these texts have greater leeway to take these liberties because of their status as dramatizations. Ironically, this issue came up during a discussion in one of my classes about The People vs. O.J. Simpson. Many people in the class argued that because the series was a dramatization, it did not have the expectations of truth as did the documentaries on the subject. Thus, your response reminds me of other thoughts I and others have had on the subject.

I also agree with your thoughts about the portrayal of Marcia Clark in the limited series. I avidly watched The People vs. O.J. Simpson during its run on F/X. I also remember the original media coverage of the trial and of its principles, including Marcia Clark. I too noticed that the limited series represented more facets to her than was apparent during the original coverage.

On a final note, I am glad someone wrote about The People vs. O.J. Simpson. I wrote one of my final term papers on this program, so I enjoy seeing another person’s thoughts on the text.

Making a Murderer meme
Staci Stutsman

Thanks for your post, George! It’s interesting to me that narratives such as Making a Murder and Serial are so popular at this historical moment, as I think it points to an anxiety keenly felt in today’s society. At a moment in which the public is poised to be especially distrustful of legal systems and the police in particular, narratives that put the justice system under scrutiny seem to carry an extra amount of weight.

Staci Stutsman

Interesting post, Leslie. I especially like that you gesture toward the complicated relationship between public and private in true crime. In many ways, true crime feels like it wants to push past the public facades and facts to get to a certain private truth about who people really are and what really happened. Often that truth is unattainable. Fictionalized accounts of true crime, then, attempt to fill that gap, as you put forth. I think, though, that whether or not what is offered is “true” is up for debate. As true crime teaches us: can we ever -really- know who someone is?

Staci Stutsman

Yes, I definitely agree that the conversation needs to shift. I was not intending to re-entrench it or assert that they were “less than.” Rather, I was just pointing to that discourse. I, too, will continue to look forward to more of the “inverted” true crime programs that you call for. I’ll be very interested in seeing how Kathie Durst’s story gets told. It’ll be telling to see how these stories are told and by whom.

Amanda Keeler

Thanks for this discussion everyone. Staci, I wasn’t aware of the upcoming Lifetime movie about Kathie Durst. I will definitely watch it when it airs. I think the thoughts about “quality” tv are important, and very telling in terms of which stories get told, where they appear, and whether they are deemed “art” or “trash.” I would love to see the conversation shift a little though. Perhaps we should approach Lifetime and other cable channels, like Investigation Discovery, acknowledging their contributions to true crime storytelling without necessarily marking them as “less than.” As Leslie mentioned, I think questions of privacy are always an important part of these discussions. The Goldman family clearly wants to share Ronald’s story with audiences, but for other families, revisiting a family tragedy is likely not worth the pain. George brings up another aspect of framing, crime stories that focus on the mind of the perpetrator, which this OJ documentary certainly does. My original post stemmed from the fact that I am most interested in how true crime tells victims’ stories, rather than the other way around. In the case of OJ, Nicole Brown Simpson, and Ronald Goldman, the added element of “celebrity” complicates this.

George S. Larke-Walsh

These comments make me think of the documentary, ‘The Imposter’ that also focuses on the perpetrator. Your post is very thought-provoking Amanda and I agree with you all that the victims stories are not treated in the same way, in that they don’t achieve the same level of prestige. It may be linked to the current fascination with the ‘criminal mind’. The continued popularity of serial killer narratives that have emerged since Hannibal Lecter points to this. I also agree with Leslie - that it is perhaps more acceptable to intrude on the private world of those who commit heinous crime.