Meet the quagmires jetsons
In the episode "Quagmire's Baby", he discovers that he has a daughter, Anna Lee , but puts her up for adoption; several episodes imply that Quagmire has fathered several other children. He was also obese as a child. Sadly, such is not the case, as he has an affair with Cleveland's wife Loretta in the season four episode, "The Cleveland-Loretta Quagmire. When in sexual situations , he often shouts variations of his catchphrase " giggity ", which has been used on " Family Guy " merchandise such as keyrings. Interestingly, Quagmire used to get along with Brian , but after The Cleveland Show started, Quagmire now dislike Brian, however he may see Brian as the reason Cleveland moved away as he appeared to have no ill will towards Brian prior to Cleveland moving. Family Guy uses a floating timeline, meaning the characters don't age, or age very little with some inconsistencies throughout.
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Storytelling is in an exciting period of change. New narrative forms are being created daily. Producers, due to a range of different platforms, are able to expand their canvas and share more of their vision with the most dedicated fans. They can achieve this by creating and designing multimedia narratives from the ground up in which movies, video games, websites, smart phone applications, comic books, and other media are equal chapters of a complete story.
This is transmedia storytelling. This emerging ecosystem of texts and para-texts , and their organisation, became a personal obsession. But while I consumed the literature available, attended seminars, and formulated a slew of ideas to apply this new concept to existing projects, I hit a snag. While I was ready to experiment and see the effect of transmedia on our audiences, my bosses, and financiers held me back, unwilling to invest against the high risk of the unknown.
It was then that I decided to shelve my career in Hollywood and return to Europe to test and play with the form. Media studies become essential during periods of disruption and transition, offering a sober analysis of the situation, while continuously suggesting various alternative paths. Therefore, the next logical step for me was to enrol for a Ph.
Transmedia is no longer a mere buzzword or some millennial sideshow distraction, but an important reality of the global entertainment industry. Audiences and their behaviours have changed drastically over the last five years. People want to be in control of their media, deciding when to watch what and on which device. Experts believe that the companies which will survive in this landscape are those with the ability to understand and speak to the needs of their audiences. Producers today need to know how to keep audiences satiated and engaged.
These particular skills will become essential to their success. Whether producers like it or not, they are increasingly dependent on networked communities to circulate, curate, and appraise the final product. In reality, they no longer have any control over their content from the moment it leaves their hands. The basic premise of transmedia storytelling is that instead of using different media channels to simply retell the same story, each channel is utilised to communicate different elements of the story.
Each segment should stand on its own, while also contributing to the narrative as a whole. Each segment should add new pieces of information which forces the audience to revise their understanding of the overall narrative.
Transmedia storytelling offers a real feast for postmodernist writers who, like James Joyce before them, love to challenge an audience by inviting them to construct their own text from the fragments provided. While each different segment needs to be unique in its own right, these extensions must also uphold the canon, style, and tonality of the primary text. Each extension needs to play a vital part in the telling of the entire narrative, creating a richer experience.
The real issue with transmedia is that it lacks its own proper grammar. Even the term transmedia is still open to misinterpretation and hegemonic discourse. Professionals are experimenting with the form, attempting to find a method which works, that can then be replicated and sold to investors. All of these reasons pushed me to focus my Ph. From my interviews with other professionals, it became clear that storytellers have been unable to fully exploit the possibilities at their disposal.
Many lack the necessary knowledge and skills to maximise the potential of their stories across various platforms. It is not easy to understand how the combination and coordination of so many different disciplines can offer an exciting experience. In many cases, transmedia has been reduced to a mere business plan. Marketing teams seeking to expand their text as far as possible, encourage audiences to consume the same IP Intellectual Property from different outlets, wrongly calling it transmedia.
A prime example is The Hunger Games , one of the most successful film franchises of After the release of the first film, a series of poor tie-ins were released, none of which did anything to enhance the story, the characters or the world.
Instead, the would-be transmedia components morphed into silly puzzles, games, blog competitions, toys, nail polish, and other merchandise. Such thoughtless entertainment can easily be equated with fast food. The transmedia label is often applied indiscriminately to anything that is even remotely interactive, participatory, pervasive, or multi-platform.
Confusion arises, in part, because the field is so young. The term transmedia is very often used to make a product sound more innovative than it actually is. This is expected, especially when considering the enormous capital investment at stake. The media industry is big business. As an international producer, I always felt the need to analyse and make sense of this particular moment in time. Transmedia storytelling remains a murky term, with new vocabulary sprouting on a regular basis.
The difficulty in finding the appropriate terms to use is an immense problem because it makes it extremely hard for creators to explain what they are selling. Consequently, attracting investment becomes practically impossible.
Not knowing what to do with cameras, producers solved their quagmire by filming radio shows. As time went by, a new language was created, more eloquent and sophisticated.
At the moment, many transmedia practitioners are still applying a single medium mindset to the form. Transmedia storytelling needs to become a recognisable and repeatable product. My contribution to this argument was to apply a known concept—the eight sequence structure of a screenplay first introduced by Frank Daniels —to the structure of the roll out.
The sequential release of various extensions which make up the project must create a clear and identifiable journey with each part of the story, regardless of the platform, feeding into the next in the same way the sequences of a film script build on each other to create rising tension. The idea has been well received among industry circles and I have already applied the concept to the projects I am producing.
The volatile state of storytelling provides a unique opportunity. Unfortunately, I feel that the University of Malta has been largely absent from this debate. While MIT and University of Southern California , to name just two, have recognised the importance of transmedia and its study, Malta is dragging its feet. This is not something new. Film has also suffered similarly, and has had to deal with the consequences of being sidelined for many years. Malta can never become Hollywood and should never aspire to be such.
However, as technology becomes cheaper, possibilities for creatives are on the rise. Digital creative work and critical media literacy play a defining role in our information society.
Studies show that all aspects of contemporary life are being affected, including the way many professional visual artists ranging from multimedia performers to film-makers and publishers pursue their practice. MCAST and the University of Malta urgently need to create and develop programs that explain the new economies emerging from these technological shifts.
At the moment this is not being done. Without a shadow of a doubt, I am certain that it will come back to haunt us. In the past few decades, animal rights issues have been an emerging topic, with debate growing louder, especially relating to the suffering that accompanies raising animals for human food production.
Your email address will not be published. December 12, am Arts. Storytelling 2. Share on facebook Facebook. Share on twitter Twitter. Share on linkedin LinkedIn. The rapid advancement of technology has transformed us into The Jetsons. But the use of these tools to enhance our storytelling makes us seem more like The Flintstones. Writers, creators, producers and academics are still busy developing ways to create richer, more engaging and more profitable transmedia experiences.
Dr Jean Pierre Magro speaks to Think on the fascinating and lucrative world of transmedia narratives. Illustrations by Sonya Hallett Storytelling is in an exciting period of change. Find out more: Dowd, T. Burnington, MA: Focal Press. Hutcheon, L. A theory of adaptation. New York: Routledge. Jenkins, H. Convergence culture. Rose, F. The art of immersion. New York: W. Scolari, C.
Transmedia archaeology. Wolf, M. Building Imaginary Worlds. Hoboken: Taylor and Francis. More to explorer. Innovative teaching methods can make even the most ancient works feel contemporary. No comment yet, add your voice below! Add a Comment Cancel reply Your email address will not be published.
Beth Littleford: Jane Jetson
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Developed in conjunction with Joomla extensions. Connect with us Twitter Facebook. Even a terrible product can sometimes do some good. It was a high-profile win for the increasingly-controversial technology, which has come to track nearly every vehicle in New York City. But his support went even further than that. There are no details on where the new cameras might go or how high the tab might run, but costs could easily go into the hundreds of millions of dollars. ALPRs are not just invasive, they may soon be unconstitutional. United States , where the high court ruled that it was unconstitutional to track an individual for a prolonged period without a warrant. In Carpenter, the technology was different, but the privacy implications were exactly the same. There, police used cellphone tower data instead of ALPRs to create the digital tracking device.
The war continues, Jetsons-style
Byron Magrane. If you were a kid like me, when you thought of your future job you pictured yourself ala George Jetson. Leaning back on a chair, pushing a button or two and letting a computer handle the rest of your work. It looked like a sweet setup—Mr.
25 Times TV Shows Predicted the Future with Perfect Accuracy
SirSigsegV : Looks absolutely fantastic but How are you supposed to actually cook? Biledriver : SirSigsegV: Looks absolutely fantastic but Probably has a pull-out which would fit in with the rest of the place's flair. Sasquach : [Fark user image x]. Katwang : Designed by the same person who designed early 60s interstate rest stops.
How old is Glenn Quagmire in the show?
Death grants Peter's wish to go back in time to when he was 18, but only for one night. He end up bailing on a date with Lois to hang out with a movie actress. When he returns to the TV Animation Comedy. TV series Top clips Search Play all clips below. Search and share clips with friends in any app.
It has been on the air since January 31 , , with almost episodes across 20 seasons, along with a direct-to-video movie and three Star Wars -themed specials. It was created by MacFarlane, a former staff writer for Hanna-Barbera. The idea of an animated sitcom proving to be successful in primetime began with the likes of Hanna-Barbera's The Flintstones and Fox's previous series The Simpsons.
The 21st century has been filled with some fantastic comedy series. But few have had the fame or the longevity of Family Guy. The Seth MacFarlane animated sitcom has managed to maintain an audience since its debut in Throughout that time, it's delivered countless controversial jokes, outrageous moments, and clever storylines. That's not to say every episode is a winner.
However, they sometimes also cut some jokes away in order to reach the appropiate length for a TV-episode. Therefore, not all the changes that were made are a result of censorship. Nevertheless there still are enough hilarious, outrageous jokes in the show - fans will be in for a good time, weven when watching the TV Version on FOX. I'm speaking from experience. That's really nice because you can also watch the new American Dad episode as well as the new episode of The Cleveland Show. So you've got a terrific triple feature. If you're watching FOX anyway, you can also watch the latest Simpsons episode.
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