I made the Byzantium test and, damn, i’m only in the 2% (http://byzantiumtests.com/). I liked the page on fb, i follow hashtags after i see the episodes, i check-in on miso hoping to get a badge. I complete the clues on Sam’s wall (http://www.hunted-thewall.com/), i’m in love with Melissa George and i find the show very intriguing and well-done, much better than a series which comparison with is a must, Alias.
So the point in this aimless post is the same as the title: why i’m still not in love with Hunted?.
Assured that no-one can force his passion and maybe i must surrender, i wanted to analyze the probable reasons of this because of my interests in storytelling and in how the structures of creativity work.
Hunted is a tv-series produced by Kudos and written by the creator of X-Files: Frank Spotnitz. It’s broadcasted by BBC and Cinemax, which is owned by HBO. It’s mainly a spy-action drama, very well written and made. So i think my personal problem with the series is in the expectancy the promotion campaign created.
“The 1% that matters” is an immersive online experience curated by the well-knowned Campfire agency. It includes the Byzantium test already mentioned and a subversive poster campaign to excite curiosity and raise the brand awareness.
My personal note is exactly about the claim of the campaign. In the last two years, in fact, the world has known the “Occupy” Movement and one of their main claim was “We are getting nothing while the other 1 percent is getting everything. We are the 99 percent.” Although the dimension of extreme richness is very clear in the drama, at this point there’s no clear signs that this social and idealistic clash will affect the story. I know it’s just entartainment and it is obviously not a problem to mislead the audience expectations, but mines very really great about the opportunity for the drama to embody these social dynamics in the story and i feel like, in this particular situation this usage is a bit an abuse.
The claim is genial and well guessed, but in my opinion creates this criticism. As a student, it seems more that the campaign was not projected in real time with the drama, but only later, so i think it’s very important, for future productions, to think upstream about campaigns in order to improve both the products and their communication.
(note: i had a little twitter banter with steve coulson during the preparation of this post, so i invite him to respond in order to engender an healthy and positive debate)