In 2018, James Gunn and Chuck Wendig both lost lucrative jobs as storytellers for the Marvel Cinematic Universe (MCU) and Star Wars, respectively, as a result of their aggressively political social media communications. This paper argues that these events can be understood in part by Gunn and Wendig's social media profiles being blurred with their role as custodians for their respective franchises, and their interactions being out of sync with the aspirational themes associated with the MCU and Star Wars storyworlds. Compounding this issue is the significant structural evolution that modern, popular and commercial stories are undergoing, towards a collective journey model. Collective journey stories are an evolved version of traditional hero's journey tales, and showcase the importance of listening and negotiating to drive systemic, collective action. Such stories have increased capacity to improve the civic imagination and provide symbols that individuals can draw from to manifest meaningful change. The appearance of these stories in popular commercial entertainment is a reflection of our increasingly digital lives and heightened connectivity, as well as a by-product of our increasing tendency to transmedially tell stories. The professional troubles Gunn and Wendig encountered are a result of them contrasting this storytelling modality, and can be understood in the context of a semiotic cultural shift, as we collectively come to better understand the impact of the Internet and our participatory digital culture.
The COVID-19 pandemic accelerated the importance of streaming within the context of commercial transmedia strategies. While cinemas have remained closed, studios have used streaming to extend audience engagement, and experiment with transmedia strategies attached to large intellectual properties. This paper seeks to determine how the pandemic affected transmedia and a shift to streaming. Drawing from key scholarly transmedia theory, and industry insights into transmedia best practice, this paper analyses the release of Marvel’s WandaVision and Zack Snyder’s Justice League and maps them against the larger transmedia strategies being used by Disney and Warner Bros. to create the Marvel Cinematic Universe (MCU) and DC Extended Universe (DCEU), respectively. This research demonstrates that streaming has become the critical component of commercial transmedia. Marvel are using streaming to enhance the integrity of one consistent storyworld. DC are placing greater priority on character than storyworld and using streaming to create a multiverse experience with divergent authorial voices. These varied styles of transmedia storytelling can be attributed to the organisational structures of each parent company, as well as the comic book source material. The pandemic created an opportunity to observe the amplified audience reactions to each approach. As streaming platforms occupy a greater role in transmedia scholarship, these findings will assist in the development of longitudinal research that explores the transformative impact of streaming on commercial transmedia entertainment.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.