Todorov’s theory of narratology identifies three key stages
in a narrative: equilibrium (a stable state of normality), disequilibrium (a
disruption that unsettles this stability), and a resolution leading to a new
equilibrium. He argues that these stages reflect underlying social values and
ideologies, making his theory a useful tool for analysing long-form TV drama.
A strength of Todorov’s theory is that it allows us to
examine how narratives reinforce or challenge dominant ideologies. In Stranger
Things episode one, the equilibrium presents Hawkins as an ordinary small
town, with the Wheeler family embodying an idealized suburban existence. The
family dinner scene, with its warm lighting and orderly setting, establishes
this stability. However, the disequilibrium is introduced when Will Byers
vanishes, revealing cracks in the town’s façade and disrupting the social
order. The new equilibrium begins to emerge when Joyce, defying social
expectations, takes matters into her own hands rather than relying on male
authority figures. This suggests that Stranger Things subverts
traditional gender roles, as the narrative shifts from the nuclear family’s
stability to a more unconventional model of resilience and maternal strength.
Todorov’s theory effectively highlights how the disruption in the narrative
serves to question social norms.
However, a limitation of Todorov’s model is that it assumes
a clear-cut resolution, which is not always the case in serialized television. Deutschland
83 exemplifies this issue, as its first episode does not restore
equilibrium but instead deepens narrative tensions. The show’s initial
equilibrium presents East Germany as rigid and ideologically driven, while West
Germany appears freer and more consumerist. The disequilibrium occurs when
Martin is forced into espionage, disrupting his life and identity. Unlike
classic single-episode narratives, the new equilibrium remains uncertain, as
Martin is trapped between conflicting ideologies. This ambiguity weakens
Todorov’s applicability to long-form TV drama, as his model struggles to
account for open-ended storytelling designed to sustain audience engagement
over multiple episodes.
Nonetheless, Todorov’s framework remains valuable for
identifying how ideological values are constructed through narrative structure.
In Stranger Things, the government’s role in Hawkins Lab represents
institutional secrecy, with the disequilibrium exposing corruption and danger
lurking beneath the town’s surface. Similarly, in Deutschland 83,
Martin’s journey challenges binary Cold War narratives, suggesting that
ideological divisions are not as clear-cut as propaganda suggests. While
Todorov’s theory does not always align with ongoing narratives, it still
provides insight into how stories reflect and critique societal values.
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A further challenge for Todorov’s theory is its limited
engagement with genre-specific narrative structures. While the model applies
well to traditional storytelling, long-form TV drama often incorporates
multi-stranded narratives that resist clear resolution. In Stranger Things,
episode one establishes multiple disruptions—the disappearance of Will, the
introduction of Eleven, and the threat of the Demogorgon. These narrative
threads remain unresolved for much of the series, challenging Todorov’s
assumption that a new equilibrium must be reached within a single story arc.
The show’s engagement with the horror genre also complicates this model, as
horror narratives often thrive on prolonged disequilibrium rather than clear
resolutions.
Similarly, Deutschland 83 employs espionage thriller
conventions that disrupt Todorov’s straightforward narrative trajectory. The
training montage that transforms Martin into a spy suggests an equilibrium
shift, but rather than resolving the disruption, it intensifies his internal
conflict. The ideological ambiguity of his role—protecting his country while
betraying it—creates an ongoing disequilibrium that extends beyond a simple
resolution. This suggests that Todorov’s model, while useful in identifying
disruptions and ideological subtexts, is less effective for analysing
narratives that deliberately resist closure.
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Ultimately, Todorov’s theory provides a strong foundation
for understanding how narratives construct meaning, but its limitations make it
less suited to analysing long-form TV drama. While it helps to highlight
ideological structures embedded in storytelling, it struggles to account for
open-ended or genre-driven narratives. More flexible models, such as Barthes’
semiotics, may be more effective when examining serialised storytelling.
Nonetheless, Todorov’s model remains a valuable tool when applied with an
awareness of its constraints.
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