Degrassi! Transmedia, Convergent, Social, Mobile! New TMC Resource Kit Case Study

Degrassi has now been a part of the Canadian entertainment landscape for 30+ years (2 years shy of Star Wars folks!) and it has a history of firsts in dealing with sensitive topics, language use, and consistent innovations in reaching out to a trans-generational passionate fan community.

The more I learned, the more impressed I’ve been with Epitome’s long term, consistent commitment to keeping this show relevant, ground-breaking and their success in developing new strategies with new platforms to support community engagement.

You can view more TMC Resource Kit Case Studies here

Deeply Insightful Wired Article: ‘Why Her Will Dominate UI Design Even More Than Minority Report.’

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Why Her Will Dominate UI Design Even More Than Minority Report | Wired Design | 01.13.14

Fantastic analysis here by Kyle Vanhemert. I love all of the ideas opened up in this Wired article:

First, this is THE key idea to successful interaction design:

“A few weeks into the making of Her, Spike Jonze’s new flick about romance in the age of artificial intelligence, the director had something of a breakthrough. After poring over the work of Ray Kurzweil and other futurists trying to figure out how, exactly, his artificially intelligent female lead should operate, Jonze arrived at a critical insight: Her, he realized, isn’t a movie about technology. It’s a movie about people. With that, the film took shape.”

Then, Jonze’s term: ‘slight future’  in contrast to near future or sci fi

Then as Vanhemert argues, that ‘her’ “shows us a future where technology is more people-centric. The world Her shows us is one where the technology has receded, or one where we’ve let it recede. It’s a world where the pendulum has swung back the other direction, where a new generation of designers and consumers have accepted that technology isn’t an end in itself–that it’s the real world we’re supposed to be connecting to. (Of course, that’s the ideal; as we see in the film, in reality, making meaningful connections is as difficult as ever.)”

the concept of ‘undesigning’…

Then, the seamless integration of voice control interface into everyday life, what Vanhemert describes as:

“The Holy Grail: A Discrete User Interface

The greatest act of undesigning in Her, technologically speaking, comes with the interface used throughout the film. Theo doesn’t touch his computer–in fact, while he has a desktop display at home and at work, neither have a keyboard. Instead, he talks to it. “We decided we didn’t want to have physical contact,” Barrett says. “We wanted it to be natural. Hence the elimination of software keyboards as we know them.””

This super smart analysis is why I subscribe to Wired.

I loved this film & it has the only ‘sex’ scene I’ve ever seen that’s brought me tears. Yup. Said it. Because that scene created a connection to the essence of an experience that bypassed all of the mechanics & visual over indulgence that characterizes movie sex today.

If the value of fiction, drama, film, is to open up worlds we have not experienced or that have not yet been realized, Spike Jonze’s ‘her’ did that. This vision of a ‘slight future’ is entirely believable and very very human. Last night at the Golden Globes, Jonze accepted the award for best screenplay, saying that he wasn’t very good at speaking English and that was his first language. Ironic, coming from the man whose films tap into and express emotional cores and relationships that speak more resonantly that most other living filmmakers today.


Seems that Casey Storm also did the wardrobe for The Beastie Boys for Sabotage way way back… For those loving Spike Lee’s latest film, ‘her,’ Sofia Cavallo’s interview with Casey offers a great insider pov on the making of:


‘her’ by OC: Costume Designer Casey Storm on Styling Spike Jonze’s Latest Film

Spike Jonze’s new film her, set in the near future, hits select theaters today, and here’s what won’t be making a cameo: Geordi La Forge VISORs, Dr. Evil collars, and RoboCop suits. Instead, the “future” looks a lot like today’s modern metropolis living, but with smaller collars, higher waistlines, and way throatier (and actually useful) Siris. As diligent readers of the OC Blog (ahem), you already know from OC founder Humberto Leon’s INTERVIEW WITH SPIKE that Humberto played a significant collaborative role in shaping the film’s futuristic aesthetic. So it only made sense for OC to show its love and support for the project by creating a COLLECTION inspired by costume designer Casey Storm’s looks for the Golden Globe-nominated movie. I caught up with Casey, whose incredible career spans from working with the Beastie Boys to Michael Jackson. Find out what he had to say about meeting Spike on an impromptu trip to Reno in 1993, having flirty banter with MJ, conceiving the her wardrobe, and more.

Sofia Cavallo: The film is set at an unspecified time in the future, but you and Spike avoided making the film look hyper-futuristic. Why? 
Casey Storm: It came out of a few things; one was exactly that, to have something that didn’t feel futuristic with anything too distracting. I think films get pushed in [the direction of clichés] because there’s this idea that technology’s natural progression is to become more sterile and cold. We were projecting forward what’s happening today, which is a push towards more organic, eco-friendly things––things that have more of a warmth to them. It’s the idea that in the future, you’re going to have so many options. That world you’re going to create is probably not going to be a distant, weird, isolated, sterile world. You’re going to create a really beautiful, unique, comfortable, warm, and personal place that you would want to be in….”

read the full interview on Opening Ceremony here: