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What is Deus Ex Machina? An explanation of this maligned plot device and how to avoid it.

What is Deus Ex Machina? ►►
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CHAPTERS:
00:00 - Intro
00:27 - What is a Deus Ex Machina (Definition)
00:59 - Deus Ex Machina Examples in Film
01:23 - History of the Deus Ex Machina
02:42 - Robert McKee on Deus Ex Machina
04:30 - Changing the Rules
05:30 - Unknown Information
06:40 - Cavalry to the Rescue
07:51 - Pure Coincidence
09:16 - Tip 1: Be self-aware
10:10 - Tip 2: Know your genre
11:06 - Tip 3: Keep the protagonist involved
11:37 - Takeaways

What is deus ex machina? It’s a phrase that is tossed around a lot and there seems to be a lot of debate on how we should define deus ex machina. Most people agree this is a plot device that writers should avoid at all costs but is the deus ex machina really that bad? In this video, we’ll explain the origins of this maligned plot device, how it has evolved over the centuries, and how writers today can avoid falling into its trap.

First, what does deus ex machina mean? It is a Latin phrase that translates to “god from the machine” and its origins go all the way back to Ancient Greek theater. In those plays, the “god from the machine” was an actor playing a deity who is lowered onto the stage with a pulley system. This god then intervenes and resolves the climactic conflict for the protagonist. This device was criticized as a contrivance and thus began its reputation as “bad” or “lazy” writing.

No matter how fantastical a story is, it must obey the rules of its own internal logic. For example, Neo learns that within the Matrix, rules like gravity can be bent or even broken. In the climax, Neo stops an onslaught of bullets in mid-air. Therefore, this resolution works. However, in the climax of The Matrix Reloaded, Neo uses his god-like powers to neutralize attacking sentinels in the real world. This changing of the rules can be confusing for the audience because it appears to break the film’s internal logic.

Another problem that leads to deus ex machina examples is when the resolution is made possible with previously unknown information. A classic example of this is The Wizard of Oz when Dorothy accidentally splashes the Wicked Witch with water, which causes her to disintegrate. Since Dorothy was unaware that water would have this effect, her victory is pure luck and nothing more. This isn’t automatically a problem but it does lessen the resolution and can leave the audience underwhelmed.

Finally, our last type of “god from the machine” is generated by pure coincidence. A deus ex machina example that seems to fall into this trap is from The Phantom Menace. During the climactic battle, young Anakin starts firing from his downed ship and he just happens to destroy the entire station, which disables the entire droid army. This is an echo of Luke’s destruction of the Death Star in Episode IV, which (for most people) was a much more satisfying resolution because the success is intentional and not accidental.

To avoid these traps in your own writing, there are a few tips to follow. Make sure the payoff in the end is properly set up, minimize the “coincidence” factor, maintain the story’s internal logic, and, above all, keep your protagonist actively involved in the resolution.

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VIDEO EDITOR: BRANDON SCULLION
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♬ SONGS USED:

"Theme from Jurassic Park" - John Williams
"A Glowing Light A Promise" - Makeup and Vanity Set
"The Blue Danube" - Johann Strauss
"No Regrets" - Makeup and Vanity Set
"Elena’s Sound World" - Sinoia Caves
"The Wanderer" - Makeup and Vanity Set
"Tannhäuser Gate" - Makeup and Vanity Set
"Clubbed to Death" (Kurayamino Mix) - Rob D
"Salome" - Makeup and Vanity Set
"Riots" - Slumdog Millionaire Soundtrack
"Choke" - Makeup and Vanity Set
"The Gonk" - Herbert Chappell
"Only Fire" (Instrumental) - Makeup and Vanity Set
"Royal Blue" - Makeup and Vanity Set
"Get Down Saturday Night" - Oliver Cheatham

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