tag:blogger.com,1999:blog-13294573.post1167006872946375338..comments2024-03-29T04:56:23.027-04:00Comments on Cockeyed Caravan: Storytellers Rulebook: Save Your Flashforwards For Stories With (Initially) Passive HeroesMatt Birdhttp://www.blogger.com/profile/07319984238456281734noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-13294573.post-3240430180726883692019-09-08T04:32:32.724-04:002019-09-08T04:32:32.724-04:00Using flash forwards when necessary, as you descr...Using flash forwards when necessary, as you describe, seems great. In all honesty I want to say this is another one of those posts in which you've struck observational storytelling gold....<br /><br />But...what about all those other Breaking Bad episodes that also have flashforwards? Surely not all of them start off with a passive character. Which leaves me wondering, even though episodes of a TV show can work without flashforwards, is it simply better to use them if you have an odd enough image and it sets an apt mood? I'm thinking of S02E02 of BB, where we see Pinkman's bouncing lowrider and the broken glass/plastic around it. The image sets a tense/mysterious mood (to put tersely), and looks unique enough to perhaps 'dazzle' the audience. What follows (Hank's investigation talk) isn't passive and sets a clear goal.<br /><br />Was this flashforward overall beneficial to the episode since it has sheer oddness on its side (like many of BB's flash forwards, it didn't just show a generic confrontation or death; it reached for something a bit more unique), or was it all sizzle and no steak? Most likely, somewhere in the middle. Sept 8 2019Joel W.noreply@blogger.com