Tag Archives: Stephen King

Transmedia Legitimation: Dark Score Stories and the A&E Brand

Transmedia Legitimation: Dark Score Stories and the A&E Brand

November 21st, 2011

When I was alerted to the existence of Dark Score Stories, the transmedia marketing initiative that serves as a prequel to A&E’s upcoming adaptation of Stephen King’s Bag of Bones, I was interested for two reasons.

The first is that Bag of Bones, a two-part miniseries starring Pierce Brosnan and Melissa George (among others) was actually filmed in my home province of Nova Scotia, which resulted in a large number of Brosnan sightings for friends and family and which meant that the photographs that comprise much of Dark Score Stories were in many ways a trip “home.”

The second, meanwhile, is that the campaign is being handled by the good folks at Campfire, who were kind enough to send along their work for their campaign for HBO’s Game of Thrones, and who have been equally kind in assisting me with further research in that area since that point. As a result, I was curious what their next major television project would entail, and how some of the transmedia lessons on display there have been transferred over to this initiative.

However, as effective as I think the campaign might be, I’m somewhat more interested in exploring the existence of the campaign than the campaign itself, although the two plainly go hand-in-hand. Looking through the book of photographs that A&E has sent out for the project, and the Dark Score Stories website, it is clear that Campfire has offered a vivid entry point into King’s fictional community, capturing the author’s trademark style while simultaneously introducing characters that will become more important in the film itself (which I have yet to see, but which I am interested to check out in December).

What intrigues me most, though, is the idea of how these kinds of transmedia experiences function in relation to channel brands, and in particular how those functions might differ with a television movie as opposed to an actual series. Obviously, there is an element of promotion to any initiative like this one, and the wide range of media coverage around the site was likely in many cases people’s first exposure to the film’s existence. However, while the momentum gained from Game of Thrones‘ campaign will carry into fans’ long-term engagement with the series over a number of years, Bag of Bones is an example of “event” programming, which to me creates a different set of expectations both for potential viewers and, perhaps more importantly, for the cable channel in question.

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Sons of Anarchy – “Caregiver”

“Caregiver”

September 21st, 2010

The Sons of Anarchy have positioned themselves as a morally complex guardian angel for the people of Charming, but that image can only last for so long – in the wake of an event like a shootout where an innocent child and an authority figure are gunned down outside a church, two questions emerge. First, how could SAMCRO let this happen; and, second, was this SAMCRO’s fault?

These are questions that, in the past, remained largely within the club: the series was, after all, about the internal conflict between Jax and Clay, specifically the former’s struggle to reconcile the current club with his father’s vision, so the external side of things wasn’t particularly important. However, with political forces swirling and legal troubles surfacing and resurfacing, SAMCRO is facing an uncertain future for reasons that go beyond their internal volatility.

“Caregiver” is another strong entry for the show’s third season, and one which nicely captures the difficult position of taking care of someone who runs off without notice, or turns coat with little to no notice.

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