Douglas’s Monodramas, ten 30- to 60-second videos conceived as interventions into commercial television, interrupted the usual flow of advertising and entertainment when broadcast nightly in British Columbia for three weeks in 1992. These micronarratives mimic television’s editing techniques, but as kernels of a story they refuse to cohere. They are tales of dysfunction and dislocation, misanthropy and misunderstanding: a car and a school bus nearly collide at an intersection, only to drive away; a pedestrian greets an Afro-Canadian man he encounters on the street but is told in response, “I’m not Gary.” When the videos were aired unannounced during commercial breaks, viewers called the station to inquire about what was being sold, their responses evincing how the media can refocus attention from content to consumption.
