A web series is a scripted or unscripted collection of online videos published on the Internet in an episodic format. Web series are the new norm for creating content by the many upcoming artists who do not have the financial muscles to go the traditional way of video production. The web series Flipgirl episode one is unscripted, and the story content and the stylistic approach suit the web series format. The analysis of the Flipgirl web series content is to find how the content meets the design of the web series.
Web series have an online format that distinguishes them from traditional television series. The Flipgirl series content is delivered online and uses technology to reach its audience. For instance, Lucy, as seen in the video, is using the live video feature of Facebook to reach her audience. The online platform is appealing because it levels the playing field and provides emerging artists with ownership shares and high-profile visibility without being bound by studios or power struggles (Tofler, 2017, p. 821). It is feasible for amateurs and professionals to avoid the costly and laborious audition processes for film and television (Tofler, 2017, p. 821). For instance, Lucy, the flip girl, is a new creator, and at the start of episode one, viewers notice a regretful message that she could not get a presenter job after the auditions. After trending on the internet as a flip girl, she could brand herself without big telecommunication companies’ help.
Secondly, web series content is usually delivered online and partially text-based. Like the Spot online series, spectators were invited to engage in plots by chatting with their favorite characters via message boards and email (Monaghan, 2017, p. 83). The authors used audience comments to construct narratives, such that interactivity was built into the show’s basic idea (Monaghan, 2017, p. 83). When we consider the content nature of the Flipgirl series is delivered partially text-based. The creator uses text messages, feedback, and Facebook posts to form a storyline.
Thirdly, comments are essential in web series as they encourage online users’ engagement with the creator’s content. Comments give a utopian image of the digital, in which material is exalted as revolutionary because it is interactive, providing users with more access to community and an improved sense of involvement (Monaghan, 2017, p. 83). When Lucy flips her car, we notice that the flow of comments drastically increases and when she responds, the audience feels like they are interacting with her face-to-face conversation.
Lastly, Web series story content should have an emotional engagement to go viral. Online material that evokes high arousal, such as humor, astonishment, or fury, is more likely to be shared than information that produces low arousal, such as melancholy (Tofler, 2017, p. 821). The Flipgirl series episode one has the audience’s emotional engagement when the car flips. The incident is a shock to the audience; they are more concerned about the wellness of Lucy. The audience cannot believe the vehicle just flipped, and some term it as staged or fake.
In conclusion, it is clear that the Flipgirl series suits the web series format and approach through various ways like the use of online forms, text-based content, engagement through comments, and, content that has emotional engagement. Many creators are using online platforms to earn a living and gain popularity. It has created a platform for new creators and brought completion into the video and film industry. The new creators should use online platforms the right way to become famous without endangering their lives, like Lucy in the Flipgirl series episode one, who uses her phone to video call while driving.
References
Monaghan, W. (2017). Starting from… Now and the web series to television crossover: an online revolution? Media International Australia, 164(1), 82-91. Web.
Tofler, M. (2017). Australian made comedy online–Laughs, shock, surprise, and anger. Continuum, 31(6), 820-832. Web.