Online Television Reaches The Mainstream

Gemini Division (image courtesy of newteevee.com)

When I was growing up, long ago in the dark ages (read the 1970s) there was one thing that we could always rely on. When the mainstream media, usually Time or Newsweek magazines, had an article on a rising trend, it was always dead by about a year. The media was always a year or two behind, and by the time their editors figured out what was “hip” and could safely be reported on, it was time for the rest of us to move on.

I remember reading an article about “youth speak” which purportedly described the “lingo” that we “younger generation” actually talked in.  The article got passed around at school, usually at parties when we could bearly see straight and needed something to laugh at. No one, of course, had ever heard of most of the “hip lingo” and those terms that were vaguely familiar had been dumped years ago.

And this was before the Internet.

So, it is with a major grain of salt that I bring up an article in today’s New York Times by Mike Hale entitled “Television Keeps a Hand in the Online Game With Serialized Shows“. In it, Hale talks about several shows that the mainstream media is producing in an attempt to get viewership on the web. Shows such as “Gemini Division” the Rosario Dawson starring vehicle that seems to have learned none of the real lessons of lonelygirl15, and presents its form without its content.  A few weeks ago, Virginia Heffernan, in the Times’ Sunday Magazine attempted to compare the failure of many web serials to television and radio shows like “The Shadow” and “24”, somewhat missing the point. In one section of the article, entitled “Serial Killers” she says:

Time will tell, but right now Web serials — no matter how revealing, provocative or moving — seem to be a misstep in the evolution of online video. Introduced with fanfare again and again only to miss big viewerships, shows like “Satacracy 88” and “Cataclysmo” have emerged as the slow, conservative, overpriced cousins to the wildly Web-friendly “viral videos” that also arrived around 2005, when bandwidth-happy Web users began to circulate scrap video and comedy clips as if they were chain letters or strep. Top virals — “I Got a Crush . . . on Obama,” “Don’t Tase Me, Bro!” “Chocolate Rain” — never plod. They come off like brush fires, outbursts, accidents, flashes of sudden unmistakable truth.

Now, I’ve written about Internet memes several times already, so I like pontificating on the subject as much as Heffernan does, but she doesn’t seem to get the difference between web serials and memes. To compare a series like “Satacracy 88” to “Chocolate Rain” is about as misguided as comparing the Ed Sullivan Show to a Beatles concert (to keep the 60s/70s thing going).

Still, both Hale and Heffernan score a few points as they talk about how nobody seems to know what to do with web video. Talking about the web series “Steven King’s N.” (which comes from King’s publisher and is meant to attract interest in King’s new short story collection, coming this fall). Hale says:

What “N.” really demonstrates is that the Internet could use more Stephen King. The story, involving therapy, obsessive-compulsive disorder and an evil presence trapped in a New England field, is C-grade King. (It was adapted for the serial by Marc Guggenheim, a creator of “Eli Stone.”) But it still has enough narrative pull to drag you from snippet to snippet, even when there’s less than a minute of new material.

The emphasis on the word “narrative” is mine, and completely shows my point of view.  I create content and firmly believe that you cannot divorce story from the economic equation of what will work for audiences.

What is interesting about these shows is not the content themselves, but the advertising and business model behind them.  Frankly, I almost gave up on Gemini Division because it seemed so-much watered down network television.  It’s bad cinema — with too much narration and not enough visuals. There has been a lot of discussion in content creation circles about just what the new rules of content should be — are wider shots not viewable on mobile phones?  Is faster cutting too much for the compression and bandwidth? Are three minute episodes too long?  How long should the pre-rolls be? NBC is, obviously, still experimenting.

The results — if Gemini is to be believed — are to take properties destined for wider distribution, create cheap pilots for them (as opposed to the standard dictum, which is to spend loads more time and money on the pilot than they’ll ever be able to put into the actual pattern budgets of the shows) and flush them out on the web.  Looking at lonelygirl15 without understanding the mindset behind it, leads to static “talk to the webcam/phone” shows which might as well be radio. They’re copying form here, not content.

The King series is more interesting — it is a trailer for the book, in some ways.  An expansion of the market outwards, rather than a contraction simply as a pilot.

I’m far more interested in web series like “Drawn By Pain” and “Satacracy88” which focus on a single character in bite-sized bits, but present those bits in interesting, cinematic ways (even if the cinema is on a small screen). I can watch these series on my iPhone without losing anything, largely because they don’t talk down to me. There is a real arc of character in their episodes, other characters that don’t seem paper thin, and plenty of story places for the audience to explore. It’s not handed out in prescribed dosages. It also helps that they work in genres that lend themselves to introspection and, therefore, storytelling closeups.

So, what are the major companies doing in my opinion? When I worked over at Universal Music Group, I remember an exec there saying that since no one knew anything about the web, they would just keep throwing ideas against a wall to see what stuck. That’s not a terrible strategy, I suppose. It’s the sibling of the strategy of buying every company you can find/afford and seeing which ones survive. The basic problem is that the MET space needs a combination of technologists with ideas, entrepreneurs with commitment, and artists with energy and passion and stories that they need to tell.

Simply putting Rosario Dawson in front of a camera, plastering Microsoft and Cisco logos all over the place to spread the financial exposure around, isn’t a real content strategy.  It’s more of a safe business strategy, one in which no one is going to win in the long run. It also violates everything we know about storytelling, especially in bite-sized pieces.  We know that we need to grab them early with your concept, not slowly. We need to suck them in with something interesting, not voice-over dialogue that happens to be spoken on camera.

They’ll keep trying.  They’ve got the money for it and that will certainly help (the Steven King series benefited from money, along with an interesting idea, though I lost interest after a few episodes because of its stilted format).  But, right now, the more interesting work is still being done in the independent, unsupported market.  I can’t wait for the two sides to meet.

Phew, I didn’t mean to go on for that long. Remind me to tell you about what Cisco is doing on our campus here to develop their own content.

[TRUTH IN ADVERTISING DEPARTMENT: My upcoming book, THE LEAN FORWARD MOMENT, uses both “Drawn By Pain” and “Satacracy 88” as examples and I’ve contacted both filmmakers about that usage. So, I guess you can say that I “know” them, in a 21st Century, Webby kind of way. But I’m using both series here for the same reason I used them in the book — I think they’re great examples of the form.]

Marshall Herskovitz talks about “Quarterlife”

For those of you who’ve been watching Big Time Movies instead, let me explain what Quarterlife is/was. Producers Marshall Herskovitz and Ed Zwick created an Internet-only, self-referential series about a group of twenty-somethings who hang out and get crazy when one of them starts keeping a video blog on a website called “quarterlife.”

The series did well enough on YouTube that NBC phoned up the two producers. They knew their phone number because they had previously teamed on such mainstream television shows as “thirtysomething,” and “My So-Called Life.” So they weren’t exactly unknowns. Anyway, the show went on. They called it “Quarterlife” (no sense in screwing up a good thing, right?) and it lasted exactly one episode. And now Herskovitz talks about the process and what he’s learned in a long interview on Debra Kaufman’s new but increasingly valuable blog mobilized.tv. (As an aside, Debra is a journalist with years of experience in publications like The Hollywood Reporter, TV Week, Film & Video, Editor’s Guild
Magazine, Wired,
The Los Angeles Times, The New York Times and American Cinematographer.)

When the show tanked there were tons of think pieces about how Internet content couldn’t move into mainstream media. Which, to me, sorta missed the point. Nobody ever said that Internet entertainment was the equivalent of mainstream entertainment. The translation from one to another isn’t just as simple as adding 19 minutes of running time. There is no real equivalent to the Numa Numa guy on network television, and there’s no real equivalent to the complexity of “Lost” on the Internet. There are some mobisode series that are interesting and plot-detailed, but the very nature of watching for three to five minutes and then going away for a week or two or three makes the type of twisted plot and timelines very hard to do. Lost actually has a pretty interesting web presence but it comes from doing added and different types of content, rather than trying to replicate their winning television formula.

And that’s the real thing that Quarterlife teaches us. Translation isn’t what new media platforms are all about. Addition is what makes sense. There are a lot of different types of screens out there. We need to take advantage of each in their own ways.

David Duchovny Gives Editors Ultimate Power

In yesterday’s Hollywood Reporter, there was a roundtable of Emmy-winning and potentially Emmy-nominated actors (deadline for Emmy nomination ballots is in about a month, and the trades are both publishing many articles pertinent to the process as well as reaping beaucoup bucks from For Your Consideration ads).  The discussion, which was actually pretty interesting (and you can read at the Hollywood Reporter website), included Ted Danson (FX’s “Damages”), Alec Baldwin (NBC’s “30 Rock”), David Duchovny (Showtime’s “Californication”), Blair Underwood (HBO’s “In Treatment” and ABC’s “Dirty Sexy Money”), Mark Harmon (CBS’ “NCIS”), David Spade (CBS’ “Rules of Engagement”), Neil Patrick Harris (CBS’ “How I Met Your Mother”), Bryan Cranston (AMC’s “Breaking Bad”) and Rainn Wilson (NBC’s “The Office”).

The discussion, at one point, veered off into talking about whether the divide between television and feature acting is breaking down. Spade talked about going where the good scripts are, Baldwin talked about the immediacy of the acting process in television (“a movie really is about sitting around”), Wilson talked very intelligently about the audience’s investment in watching a film and how television doesn’t require so much of their attention on character arcs.

Duchovny finished that part of the discussion with the following:

Duchovny: Ultimately, I think film becomes an editor’s medium. You give them 15 takes and then release control over it. On TV, the actor really has more control over the whole process.

Wow. I’m rocked on so many levels by this.  First of all, it’s nice to see that someone who has produced, written and directed as well as acted, is aware of the importance and power of editing. It’s also interesting to see that he feels that the actor has more control over the process in television.  Surely, the secondary characters in THE X FILES and even every other actor in CALIFORNICATION (a great series in which Duchovny’s “control” may come more from his executive producer role) might disagree with him.

But the innate point that he is making is really quite fascinating — that from the point of view of the actor — television elevates the actor’s involvement above what they would normally have in a film.

Now, I’m not sure that I agree with him on this. The stories, for instance, of Edward Norton’s involvement in the upcoming HULK and on AMERICAN HISTORY X are legendary by now and any star of significant power is going to be involved in the editing process, if only through intense notes with the director, producer or studio.

But the interesting point that Duchovny raises is whether, from the actor’s point of view, having too many takes of a performance removes that actor’s ability to shape a performance.

I’m actually going to be discussing this point in more detail in my book, THE LEAN FORWARD MOMENT (Peachpit Press), so you’ll have to wait until the end of the year to see how I figure this all out. But I have to say that, on balance, I agree with him in the hands of a mediocre or bad director or producer/showrunner. The point is to put everyone on the same page, so that the actor’s performance works within the context of every other creative art on the film. Improvisation has a great part in filmmaking. Editing is all about shaping a story from a multitude of choices.

I’ve seen both students and professional directors be stymied by too many disparate choices. Sometimes that comes from basic indecisiveness as a personal trait. But more often than not, it stems from being unsure about the kind of film that they wanted to make.

More about this in November/December (you can keep track of the progress of my book by looking at the Lean Forward tab on this blog).