Sam Dingman reveals how televised docuseries trick audiences into believing stories unfold without editorial bias.
As heard by us
A borrowed-car memory opens into a clear case for leaving room in the story.
Family Ghosts opens with a borrowed Volvo and a boxed-set soundtrack, then settles into a plain but sharp question: how much explanation can storytelling give before it starts flattening the people inside it?
Why you'd press play
You want a story-craft argument that starts in a Volvo and turns into a case for how people really talk.
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