Tag Archives: MTV

Adapting Skam: Television or “Television?” [Part Two]

Adapting Skam 3

Television or “Television?”

Part Two

[This is the second post in a five-part series about the pending U.S. adaptation of Norwegian teen drama Skam. You can find the other parts of the series here, as well as my other posts about Skam here.]

In the era of “Peak TV,” there is no shortage of homes for television programming: while not all shows fit in all networks, channels, or streaming services, there are more options for more types of scripted series than ever before.

Skam is not a normal television show, however. Although it is ostensibly a once-weekly drama series as broadcast on NRK, it is primarily a transmedia webseries, distributed and consumed online through the NRK website. This is a crucial part of the format, allowing the show to build anticipation and suspense among its users, as well as reach a generation who is historically watching less and less linear television as their viewing moves to mobile devices.

Skam is built for an era where television content is inextricably linked to the internet, and for an audience that increasingly watches content online: accordingly, there are a wide range of options for its future as television channels become more deeply invested in online streaming, and as internet companies move increasingly into content production. However, all options present challenges compared to the free, open access model established by NRK, which—as noted in part one—is likely impossible in a commercial environment. Even before we consider the cultural challenges of adapting Skam, the industrial challenges are themselves something any adaptation would be forced to navigate.

Continue reading

Advertisements

3 Comments

Filed under Skam

Cultural Interview: Lauren Iungerich on Writing Her Awkward. Finale [Part Two]

IungerichInterview3

In the second part of a two-part interview with Awkward. creator Lauren Iungerich, we consider the choices she made once she realized she was writing her final episode of the series (which I reviewed at The A.V. Club here), as well as some of the plans she had should she have remained involved with the show in its fourth season. You can find part one of the interview, where Iungerich reflects on her decision to leave the series, here.

[Spoilers for “Who I Want To Be,” the third season finale of MTV’s Awkward., throughout this interview.]

Continue reading

2 Comments

Filed under Awkward.

Cultural Interview: Lauren Iungerich on the end of her Awkward. journey [Part One]

IungerichInterview2

Earlier this fall, I spoke with Awkward. creator Lauren Iungerich about the beginning of the second half of the third season, which was announced earlier this year as her final year with the series. Since then, Iungerich has been a regular presence in the comment section at The A.V. Club’s weekly reviews of the series, engaging with fans and reflecting on the end of her journey. As the season comes to an end with tonight’s hour-long season finale (10:30/9:30c, MTV), I spoke with Iungerich at length about her experience with the series and the end of her Awkward. journey. This is the first part of that conversation, in which she reflects on her departure and her engagement with her audience. Later tonight after the finale concludes, I will have an additional conversation where we focus on how she chose to bring an end to her time on the series. [NOTE: Part Two of the interview is now up.]

In the comments of last week’s A.V. Club review, you made a point to reflect on the contribution of Erin Ehrlich. As you depart the show, are you reflecting back on your collaborators throughout this journey?

Lauren Iungerich: It would not have been half of fun if I hadn’t had Erin by my side. I had an incredible team of people who helped me make the show. Steve Edwards, who was my supervising editor: editors never get credit the way they should. Editing is such an extension of the writing—sometimes you’re rewriting in the editing room, and he was kind of this magic…I don’t know how to explain it, but he really gets my tone, and the tone of the show, which can go from crazy heightened comedy to this emotional pathos. He really understood and connected with the material—I have to take him with me wherever I go. Also Jamie Dooner, my husband, has been a creative force since I was writing the pilot—his jokes and ideas are peppered in from the beginning (like the now iconic cast from the pilot, which was his idea). I don’t know where I would be without these people—as a creator, you’re the one who makes the final decisions, but I definitely had a lot of consultants along the way.

And yet as the showrunner, you definitely have a lot at stake in the show on a personal level.

LI: As I made the decision to leave my show, which was a very hard decision, it’s so interesting for me to reflect on what’s happened with the show and the ownership that has been taken. For myself and the people mentioned above, this show was personal—it was art. For me, personally—and I speak only for myself here—this was an extension of me and a labor of love, and five years of my life such that I can’t explain the amount of work that goes into it. There are different people who come in and work with us for a few months a year: we have the luxury of an awesome team who comes in every season—including those who are going back without me, which is a gift to be able to leave behind opportunity and jobs for amazing people—but even those who work on the show don’t understand what goes into it for those of us who are with it from day one. It’s not just one person who should get the credit, but I’ve definitely been the lone soldier who carries it from beginning to end, which is why this is so personal and why the choice to leave was so incredibly painful.

Now, though, I see it as a business: it’s not this personal thing anymore. And it is a business, and it’s been the best lesson I’ve learned: should you do anything that gets any kind of adulation, validation, good ratings, or an audience, it becomes this thing where everybody sort of wants a piece of it, and wants to take ownership of it. And the truth is the ownership lies with the people who loved it, and there are a lot of them, it was not just me. It’s still hard for me to see the show as a business, because it was so personal: I cry all the time. I cried last night; I cried writing that post about Erin.

Continue reading

3 Comments

Filed under Awkward.

Cultural Interview: Awkward. Creator Lauren Iungerich on “Surprise!” and S3

IungerichPhotoWhen Awkward. closed the first half of the third season earlier this year, it was with the promise of ten more episodes to debut this fall. Around the same time, however, we learned those ten episodes would be the final ones for creator Lauren Iungerich, who left the show to explore other opportunities.

I’ve been covering the show for The A.V. Club since mid-way through its first season, and Iungerich has been kind enough to drop into the comments and engage with viewers on occasion (and has already weighed in on some of the comments on my review of “Surprise!”, tonight’s premiere).

Having spoken to Lauren about the show ahead of its second season here at Cultural Learnings, I got in touch with her this week to get some perspective on “Surprise!” and the final ten episodes as we march toward her “series finale.” Schedules permitting, my goal is to have a few of these conversations throughout the season to get further perspective, likely with a more retrospective interview to follow later in the year.

In the meantime, some Q&A on “Surprise!”, Jenna as—a sort of—anti-hero, and Season 3’s arc as a whole:

Continue reading

5 Comments

Filed under Awkward.

Cultural Interview: Awkward. Creator/Showrunner Lauren Iungerich [Part Two]

Awkward. has been successful with MTV’s key market, drawing significant fan response for its relatable teen characters among young female demographics. It’s a show that fits comfortably into expectations for a show in the age of social media, eminently hashtaggable, and it’s become a key cornerstone in the channel’s original programming efforts.

However, it would be wrong to reduce Awkward. to its hashtags. In a diverse first season, creator/showrunner Lauren Iungerich explored a wide range of storylines, balanced characters from different age groups, and successfully managed to keep a love triangle from becoming either a foregone conclusion or a waste of time.

In this second part of my conversation with Iungerich—you can find Part One here—we explore what worked in Awkward.’s first season, how that’s changing in the second season, and a slight digression into the show’s southern California setting.

Is there a story in Awkward.’s first season that you felt best captured the show you were trying to make? The moment where it all clicked for you?

LI: The moment in “Queen Bee-atches” with Sadie, where we really sort of humanize her, where we understand her powerlessness to her weight, was something I was really proud of. The moment in “Fateful” where Lacey gives her daughter that dress, that sort of recognition of acceptance of her kid, and realizing she had made a lot of mistakes. The journey of Lacey in the first season was about going through the five stages of grief, and that was her coming to that phase of acceptance, of realizing how much she loved her daughter, and how precious she was. In “My Super Bittersweet Sixteen” when Matty shows up at the back door on her birthday, on this terrible birthday, and wants to be more than her friend. That is such a romantic tenet. And Dead Stacy [in “Over My Dead Body”], being able to take something and not make a particular TV trope, to do something that hadn’t been done before. That’s a real tenet of our show: we try not to do anything that’s super tropey.

Continue reading

4 Comments

Filed under Awkward.

Cultural Checkup: MTV’s Awkward.

Cultural Checkup: MTV’s Awkward.

August 17th, 2011

In my head, MTV’s Awkward. has become this season’s equivalent of ABC Family’s Huge (which I covered last summer), although the two shows aren’t really that similar.

I mean, both are shows on teen-oriented networks that transcend their base demographics through strong execution and great casting, and both are shows that take potentially rote situations (summer camp and high school) and delve beneath the surface to show a different side of life as a teenager, and both find ways to involve an older generation without it seeming forced, but…well, when I put it that way, they sound pretty similar after all. Huh.

I think my resistance to my brain’s correlation between the two series is that while Huge subverted teen television stereotypes by embracing narrative complexity and featuring the kind of people (not characters) that you don’t normally see in these types of shows, Awkward. is more or less that type of show at the end of the day. While Huge was, at least in my mind, transcendent of its genre, Awkward. isn’t trying to be so bold: instead, it’s focusing on telling the kind of stories you expect to see, featuring characters you’ve likely seen before, just in a way that feels fresher than one might expect.

It’s a stealthier enterprise: while I felt pretty confident that people who gave Huge a chance would immediately see that it was going to defy their expectations (and encourage anyone reading this who hasn’t seen it to go buy the DVD – only 5 left in stock at Amazon, so they better be gone by the end of the day – and thank me later), I’m less convinced that Awkward. will be able to win over the skeptics. As much as I like the show, and as much as I appreciate what Lauren Iungerich is aiming for, and as happy as I am that the show is getting a second season, at the end of the day it’s a pretty basic sitcom about a teenage girl with teenage girl problems.

It’s also a helluva lot of fun, and probably the most enjoyable new show of the summer.

Continue reading

2 Comments

Filed under Awkward.

Season (Series?) Finale: Skins – “Eura/Everyone”

“Eura/Everyone”

March 21st, 2011

“Is that why I’m here? To tell stories?”

In reviewing last week’s penultimate episode of MTV’s Skins, “Tara,” at The A.V. Club, I sort of offered my general take on the show thus far: while it has not lived up to the British original, it has made enough variations to define itself as largely independent from that series’ successes and failures. While it remained uneven throughout its run, things started to gel towards the end: actors improved, plots became more interesting, and the branching out into Tara’s perspective was a welcome departure from the British model.

Of course, just because the show is now being considered largely based on its own standards does not mean it won’t fail to live up to those standards in “Eura/Everyone.” In some ways, the finale is the ultimate test: as stories reach what more or less resemble conclusions, the strength of the series’ storytelling is challenged. Skins is a show that tells stories by limiting its perspective, as individual episodes are framed by one narrative while intersecting with others. As a result, an episode like “Eura/Everyone” where the frame character is notable in her absence asks the series’ collective cast to fill in the gaps, never quite allowing any one of them to fully take over (as evidenced by the “Everyone” side of the title).

Ideally, the characters will have taken on such a complexity that the ensemble feel should feel like a culmination of a season’s worth of development. More realistically, however, “Eura/Everyone” will reinforce the hierarchy between characters, their “resolutions” revealing which of them became three-dimensional teenagers and which were left to feel like characters in a story.

That hierarchy is strikingly evident in this finale, although I’d argue that “Eura/Everyone” is more successful than not when it counts the most.

Continue reading

1 Comment

Filed under Skins