Co-written by Australian playwright Vanessa Bates, All Our Eggs didn’t set out to be a social media show. But its community of viewers makes it stronger.
In recent years, social- and mobile-first content has become a production holy grail, endlessly referenced as the future of TV and film. But more often than not new technology feels more like a novelty than a genuine storytelling tool.
The ABC broke new ground last year for its series Content, which was not only designed to be watched on your phone but appeared to exist within it. On the flipside there’s Quibi: the $1.75bn shortform mobile streaming appnow limping to find a dedicated audience. So far, the most common utilisation of the much-discussed “second screen” has come from teen dramas including Pretty Little Liars and Glee, and reality shows like Keeping Up With the Kardashians, which call on cast members to live tweet and engage with fans during episodes.
In 2017 the Norwegian teen drama Skam was broadcast alongside an impressive tapestry of real-time social media posts delivered from the show’s characters, who engaged with each other and fans and developed sub-narratives that existed alongside the main story. Skam attracted a huge following and a US remake, and even won the praise of teens, who accepted it as a realistic portrait of their lives on and offline.
Into this world steps All Our Eggs, a new Australian micro-series being delivered across Instagram, TikTok and YouTube. Co-written by Vanessa Bates, whose play Every Second and memoir Legs Up and Laughing were both about her struggles with fertility, the series manages to take depictions of IVF to legitimately new spaces.