What is the drive to survive for F1? Our writers say

The latest season of Drive to Survive is set to land on Friday (March 7) and teaser and trailers have promised the same with the super successful series.

But what has been the effect on Formula 1, its fandum and comprehensive media scenario? Our writers present their views.

Theatricality went back into a new audience, but caused bottlenecks with its origin-Jack Boxol-Level

I do not think it is possible to reduce the effect of the drive to drive on Formula 1. On Formula 1. For better, or worse – it is a subjective bit.

But when you are part of that world, even the tangent, watching the series really does nothing for you. You know that certain conditions are created, and that weather-defined events are often dramatically resumed for spectacles. Scalpel-wagling around radio messages to re-organize them for dramatic means has been a complaint between drivers for a long time, most of which welcome Netflix camera crew, but the chosen story strands would prefer strands to adequately reflect real events.

The argument is that F1 is quite dramatic. Each weekend is contretemps, skulduggery, and a smorgasbord of betrayal, but sometimes it seems that those moments often pass to Netflix editors, only because a story is already in mind. The ‘heroes’ and ‘villain’ appear pre-directed, which paint a picture of some moral good-bamn-bamin-aid parable in a 40-odd-minute docudrama, and a perspective is made to pay attention to it.

Or, alternatively, takes the histronics to the midfield team or driver with a dull and formula. Cameras follow them a little about them because they do worldly things at home, they go into a race, finish 12th, and then it is either observed as a face of victory or is bad as the death of the universe of the universe.

For those who do not appreciate the blasphemous view and take yourself to suggestion “If you don’t like it, don’t see it” – don’t worry, I haven’t seen since the first season. I know this is not for me. But as a person reveals in the esoteric and tries to tell unknown or forgotten stories from motoristsport, I like something like that. I do not care that a one-clap on Zak Brown is directed by Eputet Christian Horner, or who is the best Padale Player on the grid, or what are the top 10 ways of cooking of Estabon Ocon.

In fact, not – the latter point looks really quite fun …

The perfect view for a post-trunk epoche-stuart kodaling

Michael Winterbottum’s 2002 film 24 hours party peopleThe ‘Madchester’ music scene is largely visible through the eyes of Tony Wilson, a large -scale delay, a scene where Bazcox guitarist Howard Devot is depicted having sex with Wilson’s first wife in a nightclub toilet. Camera doll towards cleaner working in the background – caption as temporary freezframe “The Real Howard Davoto” – and he looks directly under the lens and says, “I definitely don’t remember it …”

This breakdown of the fourth wall is one of the several moments, where this freewheeling no-quiet-documentary admits that it is running a cosmic coach and horses through the perception of purposeful truth as it is painted on screen. This is done with intelligence, intelligence and pancake – and no one claims for historical authenticity.

I wish, we could have said the same as a drive to survive, but then we live in an era in which Napoleon has recently been depicted firing cannons in Egyptian great pyramids, and in fact Danzel Washington is enjoying his morning newspaper. Gladiator 2A few 1500 years before the invention of the printing press of the movable-type.

From the episode One, Drive to Survive is a warm mess of Survive Fakery, a fictional version of actual events brutally prepared an edit-suit with amped-up-up noise and med-up ‘commentary’. There are people who say that it “went too far” in the recent season, especially the shot scenes that had never happened in real life – I would say that it was published through that rubikan years ago through its rubikan.

In submitting the fact to entertainment, Drive to Survive is giving its audience what F1’s Bigwigs will sell to their grandmother: ‘Peak and Effect’ in every race. It provides a fictional parallel-world F1 with never a dull moment. As Danzel Washington could say, he has separated his still invented newspaper and dried a coffee drag, which will not be introduced in Italy until the 16th century: “Don’t you entertain?”

Or were those words spoken by someone else? Who cares? Drive to survive is perfect for a later era of a truth in which people spend half their lives arguing with other people whether something happened or not.

In fact, it would be a twist worthy of Pirandelo if the action cut at some point, and an actor playing an actor went to the scene to play and said: “I definitely don’t remember it …”

F1 a boom for popularity but a headache for journalists – Ben Hunt

Boost F1 has been obtained globally to survive from drives, widely reported, but for journalists, the series has also been a problem.

When filming began in the first series, a discount was talked about that we agreed to our faces and voices used in the construction of the show. Most people in Padock had no problem, as many TV crew are working during the weekend. What will be the difference?

Only, unlike other employees, the Netflix camera and the sound crew will soon realize that American journalists were about to make off-track storylines. Very soon, they were doing everything and recording. In every interview, a camera, even one-on-one, which was arranged privately, was now seen as a fair game.

But perhaps worse than the filming aspect of the above interviews, as it was quite clear, how they often leave a boom mic overhead to record our personal conversations.

As journalists, we often discuss the general line of the ideas and inquiry of the story, for which we will go aim. These are with questions about dinner plans or even what was going on in someone’s personal life, away from F1. Nevertheless, many times inadvertently, you will see to watch the dreaded microphone, recording every word. We signed our rights to include our face in the show, but it was now wandered into the invasion of privacy.

There are also many examples where the item in the show is included for the effect without any context. And for the journalists involved, without any head, due to which there are backlash on social media. After a clear discussion, I received many messages of misconduct Mercedes Boss Toto Wolf where our exchange was never referenced to the audience. It is worth indicative that, while teams already get to see footage and have the right to remove some materials, which do not apply to individuals in the media.

The second aspect is the story they present. As journalists, we are proud of the facts to be correct, but the integrity of the stories presented in the drive to avoid drive two is often questioned, however, there is not a figure that is made guilty.

Finally, as authors we know that it has opened a large -scale fanbase, which is younger and more diverse and we are grateful for it. But the flip side is the one that the audience does not get a witness and it affects our work environment.