I can assure you, that I do take seriously my point of view (which you call a “provocation”), that with “Trapped”, Kelly follows in the footsteps of John Waters.

“Trapped”, like many of Waters’ films have, exists on the fringe of mainstream culture, but also on the forefront of the current (or next) cultural shift.

Yes, there are many traditional elements to his storytelling that allow us to define it as a ”soap”. But those elements are also universal to many great stories - no matter the era.

I believe that, in his latest ten chapters, Kelly uses pop music composition, musical theater techniques, independent film sensibilities, controversial (even outlandish) cultural iconography and of-the-moment currency, to weave a truly modern epic, with Barnum-esque scale.

New York Magazine’s website compared “Trapped” a modern Dickens novel - albeit with a bit of irony, I imagine - the way we are releasing it day by day, and how Kelly’s audience hangs on every chapter.

Regardless of how you feel, you have to admit, somehow, “Trapped” has become a minor cultural phenomenon. But, it’s more than that.

“Trapped” gives us a glimpse into the future of storytelling - good old fashion drama, married to current cultural movements, distributed at once to an on-demand community of fans and detractors, who make the conversation ABOUT the work, its own self-generating content.

As to your creative constructive criticism on Chapter 13… I think, if you remain tuned in to all the new chapters, you will NOT be disappointed. Kelly takes his characters, and his writing, to a whole new, crazy level of brilliance, outrage and alienation.

evan shapiro
general manager
ifc tv