Choices matter in Quantic Dream's big, silly, and thrilling melodrama.

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Taking Thorburn's interpretation of melodramatic structure one step further, Raymond Williams, in Television: Technology and Cultural Form argues that more than dramatic power is involved here. Williams refers to this melodramatic structuration as commodified "planned flow. The production imperatives of television-series melodrama reinforce Williams's concept of the commodification of flow. The network commits itself to a new television series in mid-April. The series premieres in early September, leaving four-and-one-half months lead time for producers to hire staff, including writers and directors, prepare scripts, and begin shooting and editing.

It takes four weeks, under the best conditions, to complete an episode of a melodrama; with luck, four shows will be "in the can" by the season's premiere, with others in varying stages of development at any time during the process, many series episodes will be in development simultaneously, one being edited, another shot, and another scripted. By October, the initial four episodes will have been aired, and the fifth will be nearly ready.

If the show is renewed at midseason, the producer will need as many as 22 episodes for the entire season. By December, there will be but a matter of days between the final edit and the airing of an episode, as inevitable delays shorten the turnaround time. In addition to normal time problems, there are problems with staff. Levinson and Link cite the frequent problem of having a good free-lance writer in demand who agrees to write for one producer's shows as well as those of other producers.

The writer with a track record will be juggling an outline for one show, a first draft for another, and a "notion" for a third. In the frenzied world of the daytime soap opera, actors get their scripts the night before the taping, begin run-through rehearsals at 7: This hectic ritual is repeated five days a week.


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The prime-time-melodrama production process is driven by short-cuts, scattered attention, and occasional network interference in content, created by the fear of viewer response to potentially controversial material that may range from questionable street language, however dramatically appropriate, to sexual taboos proscriptions change over time as standards of appropriateness change in the wider culture. Simplicity, predictability, and safety become the norms that frame the creation and production of television melodrama.

Planned flow, the melodrama's highly symbolic heroic ideal, its formal conventions, and its reinforcement of the society's dominant values at any given cultural moment render the genre highly significant as a centrist cultural mechanism stressing order and stasis. British Film Institute, Yale University Press, Princeton University Press, Television Myth and the American Mind.

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Praeger, , 2nd edition, Heroes, Villains, and Fools: The Changing American Character. Englewood Cliffs, New Jersey: A Reader on Film and Television Melodrama.


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Wayne State University Press, Levinson, Richard, and William Link. Evil and malice are lurking in this world.

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My own favorites in all the volumes of his stories are those tinged by darkness. Their visitor, a Vietnam Era vet, is full of a dangerous rage, more and more evident. After the story ends in fire, the narrator, a friend telling us the tale of this couple, is truly glad for his own tidier, safer, life, as well he might be. I see the story as a precursor of some of the most striking later work. We readers all love Mrs.

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The devil-like characters in this one are an American couple in , wealthy Midwesterners, who insist on taking a right-minded American priest with them on a visit to Germany. They are Nazi sympathizers, and the visit is eye-opening in all ways to the priest. Baxter is renowned for writing well-formed stories—they have beginnings, middles, and ends—but the question the plot seems to ask is not always the question answered in the end. This is a wonderful and sometimes dizzying effect.


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