Influencing influencers is also what gives Zeus viral magnetism. Moments from online shows quickly find their way to social media and group texts, dragging us in and becoming recyclable memes. Before I heard about Joseline’s Cabaret or Real Blac Chyna, another of his real-life soap operas, I came across excerpts from shows on Twitter, where humor, pathos and empathy go hand in hand. Zeus programming is also a product from social media and made for social media.
In April, a comment about a young woman’s abortion went viral and found her another life on TikTok. Such a remark is not just for a joke, and yet like most of Zeus ’programs, it is found an audience all the same. And because a series like Joseline’s Cabaret refuses to remain one static form, there is still room for tenderness and sisterhood in the midst of occasional ugliness. As the series progressed, cast members shared stories of abuse, homelessness, and sex trafficking in hopes of retaliating against women who had endured similar storms. Private pain became their lighter fluid.
The mechanics of modern reality television require a certain ease. For all assumed genres reality, remains a basic element of the conventionality of the scenario. Franchise – from Housewives i Married to medicine to Vanderpump rules—Real on a predictable formula: In fact, it really looks like a careful orchestration of the plot, betrayal and stabbing by producers who are trying to increase the tension and sour intimacy of the cast members. Still, there is something intoxicating about what is going on on the screen. Zeus bypasses all that. I feel like a real fantasy. He finds common ground among the unusual, and comfort among the uncomfortable. Well done on steroids. What you see is what you get – and then something.
This does not mean that the streamer is fault-free. Several shows favor comedy rather than care, sometimes to disastrous results. Included One chance, a dating series that puts the former I love New York contestant Chance in bachelor, trans identity is treated as a repetitive blow. Attaching high value to shock, humanity One chance it is rejected because of something cheap and easy. By episode 3, the audacity had become too hard to bear and I stopped watching it. This type of occasional distaste is part of the chalk network. On the whole, Zeus proposes a language that is separate from the politics of basic decency. He is not interested in a nice game or a release. He just wants to make more noise. To be as loud as possible.
The promise of the age of streaming is not a single network; no platform can be alpha and omega television, not even Netflix, try as much as you can. What is now appearing on specialized platforms like Zeus is what streaming was supposed to represent all along, and perhaps what it may still strive to represent: silo platforms that feed our highest niche.
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