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xtruss · 1 year

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Barbara Walters announces her retirement in 2014. (Lou Rocco/Getty Images)

Barbara Walters Dies at 93; News Anchor Broke the Boy’s Club of Network Television

— By Matea Gold | December 30, 2022 | Los Angeles Times

Barbara Walters, the first woman to break up the all-male club of network television anchors and one of the last remaining megastars in broadcast news who deftly coaxed world leaders and celebrities alike into revealing their secrets and deepest fears, has died.

“Barbara Walters passed away peacefully in her home surrounded by loved ones, She lived her life with no regrets. She was a trailblazer not only for female journalists but for all women,” Cindi Berger, Walters’ publicist, said in a statement to The Times.

Seemingly indefatigable though her long career, Walters died at 93.

(ABC Photo Archives/Disney General Entertainment Con)

Walt Disney Co. Chief Executive Bob Iger, Walters’ former boss, announced on Twitter that Walters died Friday evening at her home in New York.

“Barbara was a true legend, a pioneer not just for women in journalism but for journalism itself. She was a one-of-a-kind reporter who landed many of the most important interviews of our time, from heads of state and leaders of regimes to the biggest celebrities and sports icons,” Iger wrote. “I had the pleasure of calling Barbara a colleague for more than three decades, but more importantly, I was able to call her a dear friend.

“She will be missed by all of us at the Walt Disney Co., and we send our deepest condolences to her daughter, Jacqueline.”

Walters had undergone heart surgery in 2010.

A canny interviewer who prodded ranks of public figures into tearful confessions, Walters was an aggressive practitioner of “the get” who outmaneuvered competitors to land exclusives with figures as varied as Cuban leader Fidel Castro, actress Katharine Hepburn and White House intern Monica Lewinsky.

Walters with Fidel Castro in 1975. (Uncredited/Associated Press)

She made history when she was named the first female co-host of NBC’s “Today” show in 1974 and again two years later when ABC tapped her as the first female co-anchor of the network evening news. Walters faced open hostility from her male counterparts in both places, but never let it rattle her publicly, despite being shadowed by deep insecurities that she said lifted only late in her career.

“I was completely unwelcome,” she told The Times in 2008. “They didn’t want a woman, and they didn’t want me.”

Veteran network producer Av Westin, who worked with her at CBS and ABC, said Walters overcame what was a huge hurdle at the time: “To be able to plow through the resistance of a woman being accepted as more than a bit of pretty fluff — she really was the first who did that.”

Walters with Anwar Sadat and Menachem Begin. (ABC Photo Archives/Disney General Entertainment Con)

Walters’ ill-matched pairing with evening anchor Harry Reasoner at ABC lasted only two years, and she went on to become a power player at the network as co-host of the prime-time news magazine “20/20,” a post she held for a quarter-century. Her creation of “The View,” the daytime talk show she co-hosted until 2014, gave her another prominent perch.

But Walters was perhaps most familiar to viewers with her “Barbara Walters Specials,” in which she quizzed entertainers such as Elizabeth Taylor, George Clooney and Michael Jackson about their personal lives, drawing them out with a mix of chumminess and relentlessness. Times television critic Mary McNamara said Walters was part confessor, part therapist and succeeded brilliantly at making “emotion newsworthy.”

Her ability to reinvent herself with the times made her a singular figure in the media: an octogenarian deeply immersed in current celebrity culture.

She moved in the same bold-faced social set as the movie stars and political leaders she interviewed, leading some critics to suggest that she pulled her punches in interviews to avoid offending friends. Walters insisted that her personal relationships never got in the way of her job, but was unapologetic about the amiable tone she had with interview subjects in her prime-time specials.

Walters with Monica Lewinsky. (Virginia Sherwood/Disney General Entertainment Con)

“I don’t want them to go away discouraged,” she told the New York Times in 1992.

While proud of the popularity of shows such as “10 Most Fascinating People,” Walters worried at times that the public had forgotten the hard-hitting interviews she did with dozens of world leaders, including Saddam Hussein and Moammar Kadafi. When asked what she hoped to be remembered for, Walters responded: “As a good journalist,” adding: “Not as someone who made people cry.”

Gifted with an innate appreciation of the power of the public confessional, Walters published her own juicy autobiography at age 78 in which she detailed her guilt-ridden relationship with her mentally disabled older sister, the attempted suicide of her father and an affair she had with a married U.S. senator in the 1970s.

“I wanted people to know that … I, who seemed to have this perfect life and this great career and the daughter and the men and so forth, have not had a perfect life by any means,” she told The Los Angeles Times.

Barbara Jill Walters was born in Boston on Sept. 25, 1929, the youngest daughter of Lou Walters, a vaudeville booker-turned-nightclub impresario who created the famed Latin Quarter club in Times Square, and Dena Seletsky, a clerk in a men’s neckwear store. Her older sister Jacqueline had a mild mental disability, which was a source of embarrassment and then guilt for Walters throughout her life.

Walters with Arnold Schwarzenegger. (Virginia Sherwood/Disney General Entertainment Con)

For a time, the family enjoyed a posh lifestyle. Walters spent part of her childhood in a vast penthouse in Manhattan and a pistachio green mansion in Miami, where her father opened a Florida version of the Latin Club. Joseph P. Kennedy Sr., among other power brokers, was a frequent guest. Walters grew accustomed to encountering celebrities backstage.

“I met so many stars: Frank Sinatra, Milton Berle, Sophie Tucker,” she recalled in an interview. “It was very glamorous on the surface, but I knew they had problems and difficulties. So I’ve never been in awe of celebrities. That comes from my childhood.”

Still, Walters said she was a “somewhat lonely child,” in part because her parents kept her and her sister isolated so as not to expose Jacqueline to ridicule. The family was also constantly in a precarious financial state because of Lou Walters’ gambling debts, a situation that riddled his youngest daughter with insecurity for much of her life.

“No matter how high my profile became, how many awards I received, or how much money I made, my fear was that it all could be taken away from me,” she wrote in “Audition,” her 2008 autobiography.

After studying theater at Sarah Lawrence College, Walters worked as a secretary at a New York advertising agency, then got her first television job as a publicist for the local NBC affiliate in New York. Several years later, she was hired as a writer for CBS’ morning show, which was then co-anchored by a young Walter Cronkite and Dick Van Dyke. She made her on-camera debut on that program, replacing a model who failed to show up for a bathing suit segment.

Walters with Patrick Swayze. (Ron Tom/Disney General Entertainment Con)

When Walters was 29, her father’s newest club went bankrupt and he tried to kill himself with sleeping pills. Her first marriage, to hat manufacturer Bob Katz, had recently ended in divorce after three years, and she was left as the sole supporter of her family.

After a stint at a public relations firm, she landed a job as a writer on “Today” in 1961. She occasionally got to do on-air pieces, even covering First Lady Jacqueline Kennedy’s trip to India and Pakistan in 1962.

Walters was made an official reporter in October 1964, taking over for actress Maureen O’Sullivan in the role that had been known as the “Today Girl.” Now that she was in the spotlight, Walters worked with a voice specialist to overcome her difficulty pronouncing Rs, a quirk she said was the remnant of a Boston accent. But after viewers complained she sounded stilted, she gave up trying. (Her distinctive speaking style would later inspire comedian Gilda Radner’s “Baba Wawa” impersonation on “Saturday Night Live.”)

Walters sought to tackle meaty news stories, despite the resentment she encountered from male colleagues. When “Today” host Frank McGee demanded that Walters be limited to “girlie” interviews, she protested. The network president came up with a compromise: McGee could ask the first three questions of newsmakers visiting the studio; Walters, the fourth.

Quietly fuming, Walters sought interviews outside the studio, where McGee had no say, pursuing subjects with handwritten letters. She got an exclusive with President Nixon’s chief of staff, H.R. Haldeman; interviewed the elusive Israeli defense minister Moshe Dayan; and covered Nixon’s historic trip to China as one of only three female reporters in the traveling press corps.

Walters with Hillary Clinton in 2012. (Martin H. Simon/Disney General Entertainment Con)

Despite the attention she brought the network with her reporting, NBC refused to name Walters co-host of “Today” until McGee died of bone cancer in 1974. The appointment of the first female network anchor made the cover of Newsweek.

ABC lured Walters away two years later, promising her a then-staggering $5 million over five years — worth $30.2 million in 2022 dollars — to co-anchor the evening news and do prime-time specials. The press was skeptical of her worth, dubbing her the “million-dollar baby.” She encountered an even icier reception from Reasoner, her co-anchor.

The tension between the two was so palpable on the air that actor John Wayne sent Walters a telegram reading, “Don’t let the bastards get you down.”

“It was very hard,” she recalled in 2008. “I would wipe my eyes before I went out there and put the smile on. But after a while, people realized. It was so uncomfortable watching us that I was beginning to get the sympathy vote, which I didn’t really want.”

Walters with Mike Tyson and Robin Givens. (Robert Maas/Disney General Entertainment Con)

News division President Roone Arledge finally ended the pairing after two years, and Walters survived by fashioning a new role for herself: that of the globe-trotting interviewer. She interviewed Fidel Castro in a patrol boat on the Bay of Pigs and scored a world scoop by landing the first joint interview with Israeli Prime Minister Menachem Begin and Egyptian President Anwar Sadat, infuriating competitors such as Cronkite.

“I’m very grateful that I have that period in my life,” she said. “I think the whole body of my work is enough so that people, I hope, realize that I don’t just do celebrities.”

At times, her career was filled with escapades out of a James Bond movie: A Panamanian dictator tried to romance her. She secretly passed on a message to President Reagan from an Iranian arms dealer involved in the Iran-Contra deal, an act that drew a public reprimand from ABC for violating news division standards.

In 1980, she was named co-host of “20/20,” the prime-time news magazine ABC had created to challenge “60 Minutes.” Walters used the show as a platform to expand her run of exclusive interviews, fiercely competing for scoops, sometimes even with ABC colleagues.

Walters with Katharine Hepburn in 1987. (ABC Photo Archives/Disney General Entertainment Con)

Westin, who served as her executive producer on that show for close to a decade, said the secret to Walters’ success was her over-preparation.

“She really had a lack of self-confidence, believe it or not,” he said. “If she was going to do an interview with a major figure, she would do more research than anyone. She would call around to all her contacts, asking, ‘What questions should I ask?’ She was always concerned her colleagues and critics would find her wanting, and she didn’t want to let that happen.”

Walters brought a lighter tone to her prime-time specials, perching on an elephant with James Stewart, riding behind Sylvester Stallone on a motorcycle and getting a lap dance from Hugh Jackman.

She was unapologetic about using every tool she had to score a big interview. She noted in her 2008 autobiography “Audition” that for all the discrimination she faced in journalism as a woman, it also had its advantages.

“A sought-after male subject chooses you to do the interview in the hope that somewhere along the line, the romantic side — or at least the flirtatious side — will surpass the professional,” she wrote.

In her later years, Walters remade herself as a successful producer of “The View.” The unpredictable back-and-forth of the hosts, particularly during Rosie O’Donnell’s tumultuous tenure on the show, made it water-cooler fodder. It also became a regular stomping ground for political figures seeking to reach female viewers.

Walters officially retired in 2014, but then quickly announced she was “coming out of retirement” to do a special “20/20” interview with the father of Elliot Rodger, the UC Santa Barbara student who killed six people and wounded 14. She continued to do occasional specials. Her last on-air interview was with then presidential candidate Donald Trump in 2015. She was rarely seen in public in recent years.

Walters is survived by her daughter Jacqueline, whom she adopted with her second husband, theatrical producer Lee Guber. They divorced in 1976. Walters’ third marriage, to television producer Merv Adelson, also ended in divorce.

Over the years, she was romantically involved with numerous powerful men, including future Federal Reserve Chairman Alan Greenspan and U.S. Sen. John Warner of Virginia. In her autobiography, Walters revealed that she carried on a two-year affair in the 1970s with Edward R. Brooke, a married U.S. senator and first Black person elected to that body since Reconstruction.

If she had any regret in her life, Walters told The Times, it was that she never kept a diary.

“I still think, ’Oh, the things I’ve heard and forgotten!’ ” she said.

— Matea Gold is a former Times staff writer. Times staff writer Steve Marble contributed to this report.

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theframelines · 6 years

Photo

Matea by MichaelSchnabl

#Portrait #Headshot #Black and white #Michael schnabl #Matea Petrovic dailyinspiration #photography #p

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pupyzu · 3 years

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Hey I’m not sure if you saw my request, but could you help me find masculine Jewish names that start with the letter m?

under the cut! apologies if these aren’t very good / are inaccurate / etc, i’m not jewish myself and i basically had to trust google on this one /gen /nm

Maadai / Maad / Maadian / Maadya

Maagan

Maali

Maanin

Maar / Maaravi

Maaseiya

Maath

Maats

Maayan

Maaye

Maaz / Maazia / Maaziah / Maazya

Maazyahu

Maccabee

Maceo

Machau

Machbanai / Machbenah

Machir

Machli

Machlon

Machnadebai

Machol

Machpelah

Machum

Maciej

Madian

Madon

Mads

Maeryn

Maessaï

Magdiel

Magen

Maguide

Mahail

Mahaleleel

Mahaz

Mahir/ Mahira

Mahli

Mahlon / Mahlone

Mahol

Maialen

Maichail

Makaio

Makas

Makis

Mal

Malach / Malachai / Malachi / Malachie /Malachy

Malak / Malakai / Malakhi / Malaki

Malbin

Malcah

Malcham

Malchiah

Malchiel

Malchijah

Malchom

Malkah

Malkam

Malki / Malkiah / Malkiel / Malkiya

Mallaidh

Mallothi

Malluch

Malochai

Mammon

Man

Manaen

Manahethites

Manases / Manasses

Manasse / Manasseh

Mangena

Mannis

Manny

Mano

Manoah

Manoel

Manolo

Manos

Manuel

Maon

Maor

Mara

Mareshah

Marian

Marion

Marisha

Marlin

Marni / Marnin

Marus

Masada

Masai

Mash / Mashe

Mashen

Mashiah

Maskil

Mat

Matai

Matan

Matana / Matane

Matar

Matat

Mate

Matea

Matei

Matej

Mateus / Mateusz

Mathe

Mathea

Matheus

Mathew

Mathia

Mathieu

Mathis

Mati

Matias

Matisse

Matitya

Matityah / Matityahou

Matjasz

Matok

Matous

Matri

Mats

Matson

Matt

Mattan

Mattana / Mattaniah

Mattanyahu

Mattatha / Mattathia / Mattatia / Mattea

Mattenai

Matteo

Matthaios

Matthal

Matthea

Matthew

Matthia

Matthias

Matthieu

Matti

Mattias

Mattithiah

Mattithyahu / Mattitiahou / Mattityahu

Matty

Matvei / Matvey

Matxalen

Matyas

Matz

Mayan

Mayir

Mazi

Mazzy

Maïmone

Meadi

Mearah

Mecherath

Mechoulam

Medad

Medan

Medane

Meged

Mehida

Mehitahelle

Mehoudar

Mehuman

Meier

Meilseoir

Meir

Meira

Meitar

Melatiah

Melchi

Melchi-shua

Melchiah

Melchior

Melchizedek

Melchoir

Melech

Melek

Melekh

Melzar

Memucan

Menache

Menachem / Menachemah

Menaheim

Menan

Menashe

Menashsheh

Menassah

Mendel

Meni

Meoudane

Mephaath

Mephibosheth

Merab

Meraioth

Merari

Meraya

Mercurius

Mered

Meres

Meribbaal

Merkaba

Merodach-baladan

Meron

Meronothite

Meshach

Meshar

Meshulam

Meshullam

Mesobaite

Messiah

Methetabel

Methusael

Methuselah

Mettabel

Meunim

Meyer

Meyshawn

Mezahab

Meïr

Miamin

Mibhar

Mibzar

Micah

Micaiah

Mical

Micha

Michael

Michaelyn

Michal

Micheal

Micheam

Michel

Michelangelo

Michema

Michmach

Michon

Michtam

Mickey

Micole

Midian

Mieze

Migdal

Migdol

Miguel

Mihails

Mihaly

Mijamin

Mika

Mikael

Mikala

Mike

Mikel / Mikele

Mikelis

Mikha

Mikhael

Mikhah

Mikhail

Mikhalis

Mikhayahou

Mikhos

Miki

Mikkel

Mikko

Milaana

Milcah

Mili

Mindel

Minya

Minyamine

Mirit

Mirke

Miron

Misael

Mischa

Misha

Mishael

Misham

Mishraites

Misi

Miska

Mitch

Mitchell

Mithnite

Mitzi

Mivsam

Mivtsar

Mizar

Mizraim

Mleel

Mnason

Moab

Moche

Moeshe

Moises

Moishe

Moishi

Moladah

Molid

Moll

Moloch

Moran

Morane

Mordecai / Mordechai / Mordekhaï / Mordokhay

Mori

Moriah

Moriel

Moselle

Moses

Mosha

Moshe

Mosheh

Mosiah

Mosie

Motel

Motya

Mouchi

Mousa

Mozah

Moze

Mycah

Mychal

Mykhaila

Mykhailo

Myron

#name help #nico’s rambles

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esoteric-codes · 4 years

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Chef and the Aesthetics of Multicoding

To bake a Hello World Souffle requires exactly 114 g sugar, 111 ml beaten eggs, 54 ml double cream, and 32 g cocoa powder. Most recipes measure by the number of eggs, rather than their volume in milliliters, and do not opt for a level of specificity appropriate more for a chemistry lab than a kitchen. However, this recipe is not only for cooking, but also serves as a computer program in the Chef language.

Chef is one of the best-known esolangs to embrace multicoding: where content has different meanings when considered in different contexts. The term (as "multiple coding") was coined by Michael Mateas and Nick Montfort in their "A Box, Darkly" (2005), the paper that first introduced many academics to esoteric and obfuscated coding practices. It uses the example of "Jean put dire comment on tap," a phrase that holds very different meanings in French and English. Programs can be multicoded on a few different levels. Malicious programs are sometimes written with a gap between its reading by a human and its actual execution by the machine. In our previous post, we looked at the case of Primify, which multicodes numbers and images. Programs known as polyglots have a single text that holds multiple meanings even to the machine itself, functioning differently when interpreted in more than one programming language.

When Chef appeared in 2003, it joined a slowly growing list of esolangs that are explicitly multicoding, although this term was not one used by their creators (they are usually simply described as "designed to make programs appear to be something else"). Its author, David Morgan-Mar (interviewed here), created the cult esolang Piet the previous year. Where Chef's programs multicode as cooking recipes, programs in Piet (pronounced "Pete") are images, with commands defined by the change in hue or lightness between adjacent pixelly blobs of color, called codels. Shakespeare (created 2001) has as its programs, long, rambling stage scripts. Whitespace (2003) uses only tab, space, and return. In Whitespace, commands are multicoded as what is normally read as their absence. These characters are treated interchangeably by C and C-derived languages, meaning Whitespace programs can be embedded between words in these programs, creating polyglot programs that function in both languages.

There were few precursors for these languages in the early '00s. Previous esolangs like brainfuck and Malbolge had unusual lexicons, but emphasized their puzzle-like logic. Multicoding languages don't generally have unusual logical systems, most are straightforward, procedural languages behind their odd vocabularies. More recent multicoding languages, like AshPaper and bodyfuck, have benefited from these forerunners, learning the lessons of how Shakespeare commands are constructed as dialogue. But at the time Shakespeare was written, it was intended primarily as both joke and provocation. Its creators likely had little expectation that esoprogrammers would continue to work with these languages and learn from them decades later. Otherwise, there would be alternatives to Shakespeare's repetitive "SPEAK YOUR MIND!" command. So it might seem unfair to overly critique their design decisions, but considering Chef's design more deeply can give us insight into how multicoding schemes function and help consider possibilities in multicoding strategies for future works.

#esolang #chef #piet #shakespeare #whitespace #multicoding #critical code studies #code aesthetics

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wikitopx · 4 years

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Here are the top 500 German Names!

[toc]

1. Top 500 German Names

Girls Boys

Emma

Emilia

Hannah / Hanna

Mia

Sofia / Sophia

Lina

Mila

Marie

Ella

Lea

Anna

Clara / Klara

Leni

Lena

Frieda / Frida

Luisa / Louisa

Leonie

Emily / Emilie

Mathilda / Matilda

Charlotte

Ida

Johanna

Amelie

Lia / Liah / Lya

Sophie / Sofie

Lilly / Lilli

Lara

Maja / Maya

Nele / Neele

Greta

Laura

Lotta

Sarah / Sara

Juna / Yuna

Nora

Melina

Paula

Elisa

Pia

Marlene

Victoria / Viktoria

Alina

Julia

Elena

Lisa

Mara / Marah

Mira

Helena

Pauline

Tilda

Luna

Isabella

Maria

Antonia

Finja / Finnja

Anni

Eva

Thea

Elina

Romy

Luise / Louise

Isabell / Isabel / Isabelle

Zoe / Zoé

Fiona

Merle

Josephine / Josefine

Hailey

Elli / Elly

Carla / Karla

Paulina

Martha / Marta

Malia

Lucy / Lucie

Mina

Rosalie

Jana

Emely / Emelie

Milena

Valentina

Carlotta / Karlotta

Maila / Mayla

Theresa / Teresa

Katharina

Magdalena

Annika

Nina

Amalia

Elisabeth

Olivia

Jule

Luana

Liya

Lotte

Emmi / Emmy

Amy

Linda

Ronja

Amelia

Melissa

Leila / Leyla

Stella

Jasmin / Yasmin

Annabell / Annabelle

Alma

Miriam

Chiara / Kiara

Aaliyah / Aliya

Freya

Malina

Liana

Anastasia

Lene

Franziska

Liv

Milla

Ylvi / Ylvie

Alicia

Ava

Rosa

Zoey

Marleen / Marlen

Alessia

Elif

Amira

Aurelia

Lucia

Ela

Kira / Kyra

Aria / Arya

Diana

Selina

Elise

Evelyn / Evelin / Eveline

Ariana

Jette

Marla

Alea

Enna

Lynn / Linn

Helene

Livia

Mariella

Alexandra

Carolina / Karolina

Edda

Tessa

Linnea

Sina / Sinah

Vanessa

Aurora

Vivien / Vivienne

Milana

Cataleya

Talia / Thalia

Eliana

Leana

Malea

Mona

Aylin / Eileen / Aileen / Ayleen

Laila / Layla

Liliana

Alice

Jara / Yara

Jonna

Mathea / Matea

Lorena

Alisa

Carolin / Caroline / Karoline

Nela

Kaja / Kaya / Caja

Julie

Melia

Samira

Alissa / Alyssa

Daria

Giulia

Smilla

Amina

Elsa

Heidi

Lana

Valerie

Ayla

Medina

Zeynep

Henriette

Amilia

Leticia / Letizia

Malou

Annelie

Hilda

Noemi

Selma

Aleyna

Elin

Liara

Lenja / Lenya

Bella

Hedi / Hedy

Levke

Nika

Celine

Svea

Veronika

Celina

Ruby

Fenja

Hermine

Ina

Larissa

Tabea

Felicitas

Jolina / Joelina

Marina

Valeria

Azra

Michelle

Rebecca

Nisa

Annalena

Alva

Elea

Melody

Palina

Flora

Maira / Meyra

Mariam / Maryam

Natalie / Nathalie

Nala / Nahla

Alena

Cleo

Eleni

Malin

Alya

Felina

Florentine

Helen

Lou

Naila / Nayla

Nelly / Nelli

Christina

Käthe

Leona

Alia

Marlena

Tamara

Tara

Angelina

Carina / Karina

Dalia

Hedda

Leia / Leya

Meryem

Anne

Holly

Madita

Fabienne

Jella

Mailin / Maylin

Mathilde

Enya

Kate

Lilia

Sena

Joleen

Clea

Liesbeth / Lisbeth

Fine / Fiene

Lenia

Sonja

Xenia

Eleonora

Melisa

Enni / Enny

Hira

Adriana

Dana

Defne

Lola

Miray

Tamina

Nicole

Asya

Esther

Josie / Josy

Naomi

Cecilia

Claire

Dilara

Selin

Enie

Fritzi

Leonora

Melek

Miley

Wilma

Esila

Esma

Feline

Rieke

Ada

Amara

Cara

Estelle

Gerda

Lilian / Lillian

Viola

Adelina

Janne

Philine

Tiana

Ivy

Juliana

Kimberly / Kimberley

Lieselotte

Malena

Delia

Enisa

Joana / Joanna

Kim

Ellen

Evelina

Felicia

Liyana

Lilith

Liz

Amanda

Anouk

Eleanor

Samantha

Talea

Arina

Dua

Emilija

Eslem

Irma

Maike / Meike

Nike

Rita

Adele

Alisha

Iva

Josefin / Josephin

Margarete

Romina

Ylva

Elaine

Helin

Joline / Joeline

Josephina / Josefina

Madeleine

Nila

Ophelia

Philippa

Abigail

Anja

Melinda

Scarlett

Toni / Tony

Erna

Gloria

Grace

Jade

Jolie

Madlen / Madleen

Marit

Melanie

Tuana

Annemarie

Debora / Deborah

Jenna

Kiana

Liva

Minna

Shirin

Zofia

Chloe

Fatima

Felia

Friederike

Isa

Jasmina

Jolien

Leandra

Nia

Salome

Giuliana

Inga

Josefa / Josepha

Judith

Megan

Mika

Nea

Neyla

Runa

Ruth

Sunny

Tala

Abby

Alba

Amaya

Anisa

Bianca / Bianka

Eliza

Gabriela

Janna

Jessika / Jessica

Maileen / Mayleen

Natalia

Soraya

Verena

Asel

Cassandra / Kassandra

Eda

Elenor

Julina

Kayla

Lilou

Lydia

Maggy

Meva

Naemi

Penelope

Rahel

Violetta

Alara

Caitlin / Caitlyn

Elis

Ilayda

Judy

Juliane

Sila

Vera

Anita

Charlotta

Evi

Henrieke / Henrike

Jamila

Janina

Ria

Sarina

Stina

Zara

Zuzanna

Zümra

Beyza

Cosima

Ema

Florentina

Ines

Jona / Jonah

Kalea

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hufmagazine · 7 years

Photo

Static Space, photography by Sebastian Kapfhammer for HUF Magazinehttp://hufmagazine.com/static-space-photography-by-sebastian-kapfhammer-for-huf-magazine/

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scifigeneration · 5 years

Text

Beyond 'Bandersnatch,' the future of interactive TV is bright

by David I. Schwartz

Make a choice to see the next phase of the story. Netflix

Make a choice: Do you want to engage with your media passively or actively?

The December 2018 premiere of Netflix’s “Black Mirror: Bandersnatch” offered consumers a new way to influence the entertainment they’re watching. Netflix has a growing list of choose-your-own-adventure movies. What viewers might see as a simple choice, such as which breakfast cereal a character begins the day with, could affect the whole show’s storyline. There are other choices to make as well – some of which change the plot, and some of which may not.

Viewers aren’t watching these interactive films just once. Rather, they are watching them over and over again to find each ending and post maps of the diverging plot lines. I think I sat on my couch for nearly three hours straight trying to exhaust all of “Bandersnatch’s” choices as it followed a programmer and designer through the process of game development.

I’ve been teaching and researching game design and development since 2001. I see this type of experience not as just the future of entertainment, but as the expansion of a standard method of storytelling that game designers have been using for decades. Netflix is introducing new technology and new audiences to this type of entertainment, but fiction writers have been exploring similar themes for far longer, creating stories of time travel and alternative realities that let people fantasize about redoing decisions in life.

Controlling your own destiny

There is a kind of game made popular by “Dungeons & Dragons” that provides a way to understand and expand what “Bandersnatch” explores. Role-playing games let players pick characters with multiple traits, such as strength, health and special skills, and work together to achieve story-driven goals.

Fans of “The Lord of the Rings” books and movies will recognize the idea of a team of characters with different backgrounds, abilities and motivations, all trying to work together toward a goal. The adventure is not just in whether they achieve the task, but the encounters, mishaps and even battles that happen along the way. The ultimate outcome depends on the choices players make along the way.

Many role-playing games get people together around a computer to explore a collective adventure. AP Photo/Ted S. Warren

Role-playing games started with players gathered around a table, keeping notes on paper and rolling dice to incorporate the role of chance and probability into the adventure. A human game master coordinated everything, keeping track of what was happening and working with players to advance their stories and the overall plot of the adventure.

Early computer games, such as the 1980s-era Infocom text adventures, turned the role of game master over to a game designer, who controlled the choices and their consequences. In the decades since, more powerful computers have let modern digital games offer a great many choices. Teachers have begun to use elements of role-playing games to help students learn.

Illusion of choice

With “Bandersnatch,” Netflix used software to process viewers’ choices and deliver the appropriate video. When watching and “playing,” I wondered if there were too few choices. The show offered only two choices of breakfast cereal, and the viewer couldn’t choose to skip breakfast, make eggs or open the freezer to grab some ice cream. But, there’s a very good reason for these constraints.

Every story decision requires more writing and more development. Tony Hirst/Flickr, CC BY

I often tell my students that when they’re creating role-playing games, the problem isn’t giving players choices: It’s deciding what happens next. Giving players lots of options is great, and fun – but with every choice the job gets harder. If there are three kinds of ice cream in the freezer, that’s three different sets of video to show vanilla, chocolate and strawberry – and possibly three different scripts, if the choice actually has consequences.

In game design, we call this a “branching narrative,” where every choice spawns as many new branches as there are options, and the tree gets bigger and bigger all the time. A movie with an enormous number of options would require multiple sets, extra time for actors, huge amounts of special effects work, extended production times and increasing budgets.

Such a complex film would also take viewers huge amounts of time to experience. Digital game players can handle this sort of effort by saving their progress and taking a break, returning to resume play hours later, or even days.

With an interactive movie, would a viewer want several days’ worth of watching? I don’t know if anyone has an idea of how long a typical interactive movie experience should last. My three hours on the couch watching “Bandersnatch” seemed about right – and ran through most of the options.

The Netflix producers borrowed from game designers, and the classic “Choose Your Own Adventure” book series, to give viewers the illusion of choices when really the alternatives were limited. My own research recommended the same technique: Allow the players some choices, but bring them back to the main narrative thread at key points.

Future of interactive media

There will be more interactive movies. Netflix has built its own software for “Bandersnatch,” which it can use for other stories too. There are already several addictive interactive kids’ shows, including “Puss in Book: Trapped in an Epic Tale,” “Buddy Thunderstruck: The Maybe Pile” and “Stretch Armstrong: The Breakout.”

Gamers are already familiar with this convergence of film, interactivity and branching narrative. Cinematic video games, like “Indigo Prophecy” and “Heavy Rain,” let players make choices in dialog and other cinematic aspects, all of which alter the endings. An academically published game, “Façade,” is considered important not just for showing that scholarly games can be fun to play, but also demonstrating that academic concepts of branching narrative and story can create meaningful play: The player visits a couple’s apartment, and depending on where the player moves and what the player says, the couple reacts in different ways.

Engaging with a couple on the rocks. 'Façade,' by Michael Mateas and Andrew Stern., CC BY-ND

I anticipate different genres of shows will explore interactive formats. Imagine playing through historical fiction where you can choose to execute Marie Antoinette or not. I also expect viewers will be able to make their choices in different ways than just pressing buttons on their remotes – perhaps by using voice recognition on their phones.

If artificial intelligence and machine learning systems get better at telling stories, viewers might even be able to suggest new possible choices, with the resulting content generated on the fly while people watch. Of course, there’s a strong overlap with virtual reality, offering immersive escapism, which is, in my experience, a key goal of interactivity.

In the meantime, “Bandersnatch” fans who want to continue exploring choosing their own adventures to direct a story can look for local gaming groups and game stores. “Dungeons & Dragons” and “HackMaster” are regaining popularity lately. So is live-action role-playing, in which people physically act out their fictional encounters. In these environments, players can ask “what if” without running into the limitations of software development and movie production teams. Human players can engage in the full extent of their imagination without any illusion of choice.

About The Author:

David I. Schwartz is Associate Professor of Interactive Games and Media at the Rochester Institute of Technology

This article is republished from our content partners at The Conversation under a Creative Commons license.

#science fiction #the future of media #Netflix #Black Mirror #video game #interactive media

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