Category Archives: fan culture - Page 2

Digital Culture Links: September 9th 2009

Links for September 9th 2009:

  • Food marketing, blogging, and how not to respond to reviews [unwakeable] – Lisa Dempster explains how the over-the-top response of the owners of Melbourne restaurant Lord of the Fries to a fairly harmless review in her blog illustrates how business, restaurants and anyone else should spend a little more time understanding how their customers use and converse using social media. Short version: don’t Twitter angry and then delete critical comments on your own Facebook fan pages!
  • When’s the Best Time to Tweet? [Flickr - Photo Sharing!] – Nice infographic showing the average uses of Twitter (if there were only 100 Twitter users). Useful for lecture slides.
  • The Hierarchy Of Digital Distractions [Information Is Beautiful] – Visualisation of distraction in the digital age. All far too true!
  • Warcraft and Twilight Fans Make Wikia Profitable [RW Web] – “According to this year’s Comscore stats, consumer publishing platform Wikia has surpassed DIY social network competitor Ning for monthly unique visitors. Since July 2008 the company’s traffic has more than doubled from 2.8 million to 6.5 million unique US visitors per month. Despite abandoning Wikia search in early March, it seems Wikipedia co-founder Jimmy Wales has built another great company. As of this evening, Wikia’s CEO Gil Penchina is announcing the company’s profitability due to its custom sponsorships program. … Best known for its “enthusiast” wikis, Wikia hosts more than 50,000 fan sites including the Star Wars Wookieepedia, Harry Potter Wiki, Twilight Saga Wiki and World of Warcraft WoWWiki.”
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On the Importance of Dating Felicia Day’s Avatar in Australia!

If you’ve glanced at YouTube, or your iTunes store, or Twitter, or even Facebook in the last few days you may very well have noticed people talking about and linking to this video:

What you might not have realised if you’ve only just heard of The Guild or Felicia Day, is that this little video represents something of a leap forward in terms of indie-based web productions finding a way to make a healthy amount of money while still giving away their content predominantly for free.  For those of you who’ve not come across The Guild before, it’s a comedy web series created and written by Felicia Day (of Dr Horrible and Buffy fame), looking at the ‘real’ lives of six  MMO (videogame) players.  The ‘game’ is never explicitly named, but the characters and situations are largely based on play in and around World of Warcraft.

Anyway, one of the most important things is that after the first season of The Guild, Day very cleverly managed to strike a deal with Microsoft which would allow them to co-produce The Guild and thus season two was initially, exclusively available via the Xbox Live, MSN and Zune websites.  Significantly, Day retained all intellectual property regarding The Guild, meaning that the show remains under her ownership and control (about which Day is rightly proud).  Indeed, just striking that deal is a significant business move for an indie web media creator.  Of course, Day ensured that episodes also appeared on YouTube and other venues after a period of time, ensuring fans could access The Guild in whichever manner they preferred. The Guild has built a very healthy following (as has Day herself, with over a million Twitter followers) and after initially being available for free, Day released DVDs of season one and two via Amazon, which have sold reasonably well.

However, the music video which I’m focusing on today is The Guild’s ‘(Do You Wanna Date My) Avatar’ which was written by Felicia Day, features the cast of The Guild, and was directed by Jed Whedon (one of Joss’ brothers, who also co-wrote Dr Horrible).  Initially revealed at Comic-Con, the music video playfully engages with pretty much every stereotype that there is about gamers, electronically dancing a fine line between knowing parody and unadulterated fandom.  Following the deal with Microsoft, ‘Avatar’ was available exclusively on the Xbox and Zune websites for a week, before hitting the rest of the web both for free on YouTube and as paid download via iTunes stores, Amazon and elsewhere.  And that’s where the story gets impressive, as  the music video has hit number one on the US iTunes store and on Amazon as an mp3 download. More to the point, Day has learnt from the successes and problems that Dr Horrible hit last year.

While Dr Horrible was a huge hit in the US iTunes store, there were problems even viewing Dr Horrible outside of the US for the first few days, and it took months before Australians had a legal option to purchase Dr Horrible onlineaustralia_itunes_musicvids_19Aug2009.  In contrast, Day seems acutely aware that The Guild’s fans are spread all across the globe and that all ‘national’ versions of the iTunes store (all of which have separate licensing agreements) should be ready to spread The Guild’s musical talents.  [Update: To distribute the mp3 versions, Day used the Tunecore service which lets artists release their mp3s across a range of international stores simultaneously for a small fee.] The image visible on the left shows today’s Top Music Videos in the Australian iTunes store, with (Do You Wanna Date My) Avatar [feat. Felicia Day] sitting proudly at the top of the charts; it also topped the UK iTunes store (and elsewhere across the globe, too, I’m sure).  While there was a delay of a day or so getting some versions of the music video or mp3 into particular national online stores, Day has no doubt affirmed the loyalty of fans across the globe by ensuring they have access to ‘Avatar’ for free, or to buy, on exactly the same terms as fans in the US. While we may never know exactly how much ‘Avatar’ earns (or even what the music video cost to make) even the $2.59 a pop for the music video in Australia, or $1.69 for the mp3 single, will surely combine with sales across the globe to make a very respectable amount.  Indeed, I’d guess it could make more than a full season of The Guild webisodes!

Most importantly, though, Felicia Day has shown the sort of foresight that comes from being a clever media creator in the digital era: rather than bowing to the tyranny of digital distance, and letting the globe be arbitrarily cut into different regions in which different media companies can license and re-sell content, Day clearly views her loyal fans as a truly global, participative audience who all deserve equal access to the highly enjoyable media she creates! Felicia Day is someone who understands that digital media can, and should, also mean global media.

Now, after all that, if you’ve not done so already, stop listening to me, and check out ‘(Do You Wanna Date My) Avatar’!

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Dr Horrible, Brisbane & ANZCA 2009

anzca2009

Just to reassure you all that I’ve not turned into a automated link-posting robot, I thought I’d make an actual post since I’m about to head to Brisbane for The Australian and New Zealand Communication Association 2009 conference, held at QUT this week.  It should be a great conference, with a number of my Internet Studies colleagues presenting, lots of great sounding papers and the Oxford Internet Summer Doctoral Programme folks also around QUT at present, making for a pretty vibrant atmosphere, I’m sure!

For those of you interested (or looking at the 5 parallel streams of papers, trying to decide which one looks interesting) here is the abstract for my talk, ‘What Dr Horrible Can Teach Media Creators About Participatory Culture’:

During the 2007/2008 US Writer’s Guild of America strike writer-director Joss Whedon came up with the notion of a one-off online “show” made outside of the studio system, on a miniscule budget, and entirely publicised using the web and social networks. Thus, Dr Horrible’s Sing-Along Blog, a three-act online musical comedy centred on a flawed supervillian, was conceived. In promoting Dr Horrible, Whedon and his team used both official websites and presences on Facebook, MySpace, Twitter, Digg as well as engaging with Whedon’s existing legion of fans via fansites such as Whedonesque.com. Moreover, far from using these websites purely as one-way advertising delivery platforms, the producers, writers and some Dr Horrible actors engaged fans in meaningful dialogue via these platforms.

Fan discussion and remixing of the show emerged rapidly; within weeks of its release there were hundreds of fan sing-along videos on YouTube, joined by everything from fan-created artwork and wallpaper to unofficial sheet music. Far from shunning these unofficial creations, the Dr Horrible producers actively congratulated and promoted the best fan creations. Despite Dr Horrible initially being available for free in its first week, subsequent sales via the iTunes store, and later on DVD, at times rivaled all but the most successful Hollywood blockbusters. Thus, in an era where media companies and startups are increasingly becoming concerned about brand loyalty, not just Nielsen ratings, Dr Horrible may serve as a model for producers and fans interacting in mutually beneficial ways as part of participatory culture. This paper will attempt to examine the way Whedon and his team utilised participatory culture in promoting Dr Horrible, asking which elements built on the foundation of Whedon’s past successes, but even more importantly what lessons Dr Horrible has for both existing and emerging media creators.

And here are the slides I’ll be using:

I’ll probably be Twittering from the conference (Wed – Fri) and I think the default Twitter hashtag will be #anzca2009.

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Annotated Digital Culture Links: March 30th 2009

Links for March 25th 2009 through March 30th 2009:

  • Vintage DHARMA ads.[Flickr] – An outstanding set of fan-made ads for the more banal side of Lost‘s Dharma Initiative! By Adam Campbell [Via io9]
  • Shooter video games ‘sharpen vision’ [News.com.au] – “Slaying hordes of bad guys in fast-paced video games improves vision, a study has shown for the first time. Far from being harmful to eyesight, as some had feared, action games provide excellent training for what eye doctors call contrast sensitivity, the study found. Contrast sensitivity is the ability to notice tiny changes in shades of grey against a uniform background, and is critical to everyday activities such as night driving and reading. It often degrades with age. The findings, published in Nature Neuroscience, reveal a previously unsuspected adaptability in the brain, and could open the way to new therapies, the researchers said.” (This week, video games are good! :)
  • When Stars Twitter, a Ghost May Be Lurking – NYTimes.com – “The rapper 50 Cent is among the legion of stars who have recently embraced Twitter to reach fans who crave near-continuous access to their lives and thoughts. On March 1, he shared this insight with the more than 200,000 people who follow him: “My ambition leads me through a tunnel that never ends.” Those were 50 Cent’s words, but it was not exactly him tweeting. Rather, it was Chris Romero, known as Broadway, the director of the rapper’s Web empire, who typed in those words after reading them in an interview. “He doesn’t actually use Twitter,” Mr. Romero said of 50 Cent, whose real name is Curtis Jackson III, “but the energy of it is all him.” … someone has to do all that writing, even if each entry is barely a sentence long. In many cases, celebrities and their handlers have turned to outside writers — ghost Twitterers, if you will — who keep fans updated on the latest twists and turns, often in the star’s own voice.” (If you need a ghostwriter for 140chars, you’re not trying!)
  • Conroy admits blacklist error, blames ‘Russian mob’ [SMH] – “The Communications Minister, Stephen Conroy, has admitted that Bill Henson images were added to the communications regulator’s list of prohibited websites in error, while blaming the addition of a dentist’s site to the blacklist on the “Russian mob”. Meanwhile, the website of the Federal Government’s censorship body, the Classification Board, was hacked last night and defaced with an anti-censorship screed. The admission by Senator Conroy on ABC television’s Q&A program last night casts significant doubt on the Government’s ability to filter the internet without inadvertently blocking legitimate websites. Q&A was inundated with 2000 questions from the public about the Government’s hugely unpopular policy, and the audience last night ridiculed Senator Conroy by laughing at a number of his responses.”
  • YouTube Being Blocked in China, Google Says [NYTimes.com] – “Google said Tuesday that its YouTube video-sharing Web site had been blocked in China. Google said it did not know why the site had been blocked, but a report by the official Xinhua news agency of China on Tuesday said that supporters of the Dalai Lama had fabricated a video that appeared to show Chinese police officers brutally beating Tibetans after riots last year in Lhasa, the Tibetan capital. Xinhua did not identify the video, but based on the description it appears to match a video available on YouTube that was recently released by the Tibetan government in exile. It purports to show police officers storming a monastery after riots in Lhasa last March, kicking and beating protesters. It includes other instances of brutality and graphic images of a protester’s wounds. According to the video, the protester later died.”
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Celebrity Twittering

I have been meaning to write a very long, complex and cerebral post about the seemingly exponential growth of Twitter in the last few months, but as my list of related bookmarks grows, the time to read them runs screaming, so I thought I’d try and capture a few thoughts in the next week or two in shortform (not 140 characters short, of course).  Today’s topic: celebrity twittering (and, yes, just to get it out of your system, go and watch the Felicia Day Twittering Gaff … okay, moving on …).  Now, if I were to write this properly, I’d have to start looking at Stephen Fry and his more than 250,000 followers … in 140 characters, the witty observer is king, but you can find plenty to read about Fry elsewhere.  I could talk about disintermediation and who needs gossip magazines – or who really does need an agent filtering everything – when Ashton Kutcher is willing to tweet photos like this.  But I just can’t bring myself to read anything else about the Moore clan.  Instead, I want to talk about telepathic ex-policemen.  Or, more specifically, Greg Grunberg, who plays Matt Parkman on Heroes.

Grunny Grunberg is now a Twitter regular, with some 27,000 followers, many of whom only know him for his Heroes role.  He is, however, cleverly using Twitter to promote his other projects and establish his own celebrity presence as ‘Grunny’.  However, what really caught my attention was Grunberg’s tweet about the end wrap-up of the current season of Heroes and how that tweet, out of context, fired off a rumour that the show had been cancelled.  As Zap 2 It reported:

On Sunday morning, Grunberg tweeted the following: "Winding down shooting season 3 #Heroes. Tough to say goodbye to crew not knowing if any or all of us will return next year. Hope all." Over the next couple of days that one message set off a flood of "OMG!! Is Heroes cancelled!?!" musings on the web. …  The posts all mention that Grunberg "later" or "eventually" clarified his first remark with another tweet, that reads, "Don’t get me wrong, #Heroes IS coming back next next year, but some crew take other jobs, so it’s tough… we have the Best. Crew. Ever." But they make it sound like he was responding to all the supposed controversy he created with his remarks. Here’s the thing: Grunberg’s second tweet came all of three minutes after the first one. That doesn’t sound so much like backtracking or butt-covering so much as a guy reading what he just wrote, deciding the thought wasn’t complete and then completing it. I know things move fast on the Internet, but three minutes on a Sunday morning isn’t enough time to create a controversy and then try to respond to it. The incident doesn’t seem to have soured Grunberg on Twitter, although he did comment on a "long day of rain on set and being misquoted" on Monday.

Now, as I was thinking about Grunberg’s tweets and the largely unfiltered access his followers get (albeit in tiny little parcels), I read this:

greggrunberg

Sure, he didn’t reveal ending of the season, but this throwaway comment about an episode of Heroes which had just finished screening in the US did tell a lot of people how it ended.  I’m guessing that some of his 27,000 followers didn’t watch the episode live … I wonder if anyone was annoyed by an actor giving away spoilers for a just-aired show?  Certainly for me, in Australia, this episode won’t be aired for weeks so I was a little annoyed.  (If the show was better scripted at the moment, I’d be even more annoyed.)  Perhaps Grunberg and actors who follow suit need to start a few more tweets with #spoilerwarning hashtag.  Either way, I suspect as more and more celebrities of various flavours tweet their fans directly, some new social norms will need to emerge about what is and isn’t revealed. And I wonder if this immediacy will drive more of Grunberg’s followers outside of the US to download Heroes rather than accept delays in being able to reply or (if they want to be unspoilt) read his twitter stream?

(Oh, and he’s not a celebrity, but as Boing Boing pointed out, the funniest person on Twitter is The Mime. Really.)

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The Death (and resurrection) of Scans_Daily

Until very recently Scans_Daily was a livejournal fan community dedicated to comic books.  Their main activity was to post scans from comics, ranging from a page though to a significant portion of a comic book – mainly recent releases but also back issues – and to summarise, critique and, at times, satirise these comic books.  Posting scans of a page or two is generally acknowledged to be covered under Fair Dealing (yes, we’re dealing with US law) but more than that gets into the ‘probably not legal’ territory, and a whole book is obviously in the not legal at all category.  Despite that Scans_Daily operated for years, until last week. As Comics Worth Reading explains:

The popular site Scans_Daily has been suspended by its host LiveJournal. Here’s what appears to be an official mod team statement that includes links to new locations for the material.

This isn’t surprising. The purpose of the community was to post comic pages and stories, which made it a good way to read a wide range of comic content online without the participation of the copyright holders, who tend not to like that kind of open sharing. The site originally started with a focus on slash (male/male fanfic-based pairings) but then widened its focus. While you could find pages from the latest DC and Marvel comics there, they also posted unusual manga and much older stories. It was a great way to check out what people were talking about, if there was a particular panel or scene that got attention.

Brian Cronin speculates that a report by Peter David to Marvel about X-Factor pages being posted may have had something to do with the shutdown. Based on David’s comment, he has the mistaken assumption that if he can remove free copies, all interested readers will buy the comic instead. Many companies assume similarly, that any free taste is a lost sale. That’s rarely true.

Responses to the shutdown from users frequently include statements like “I started buying comics again because of what I was reading.” It’s a shame that IP owners fear the free sample so much, because in some cases, at least, it does work to convert customers. The carrot — “like it? consider buying the next issue” — works much better than the stick — “you’re all thieves who must be forced into spending money with us”.

Now, I’ll return to Peter David in a minute (noting, incidentally, that I think he’s an excellent writer) but I think that dichotomy – fan communities are pirates vs fan communities promote and thus encourage people to buy comics – is a really important one to tease out; Brigid at Digital Strips does a pretty good job of suggesting why the latter makes more sense:

Now, there are two schools of thought on this whole affair. The first, expressed to its fullest extent by Kevin Church, is that the scans_daily folks are pirates with an inflated sense of entitlement, who are stealing copyrighted content and costing the creators legitimate sales.

The other point of view, which seems to be much more widespread, is that scans_daily is a site where people find out about comics and end up buying them. Johanna Draper Carlson and Merlin Missy express it rather eloquently on their sites, without some of the entitlement drama that was displayed in the comments to Mr. David’s post. If nothing else, all these comments and accounts (as well as this comments thread) provide anecdotal backup to the notion that free samples do indeed sell comics.

I’d like to express solidarity with that second point of view. There is a section of comics culture that is all caught up with comics stores and Wednesdays and pull lists and stuff, and if you’re inside that culture you may not realize this, but the vast majority of people have absolutely no idea that this subculture even exists. And you can’t sell something that no one knows is there.

The internet, on the other hand, is everywhere, and from what goes on in my own home, I can tell you with certainty that young people troll LiveJournal looking for stuff to do all the time. And when they find a place like scans_daily, they don’t say “Oh great, now I can find the latest plot twists in the Horned Ant saga without going to the comics store and paying $4,” because they don’t know what a comics store is. Instead, they look at it, and it’s cool, and then they realize that you can buy these things in stores and they seek them out. This is sort of like marketing, except that marketing is done by big companies and scans_daily is pretty grass roots.

And in case you are wondering, this is indeed different from Marvel or DC putting previews on their sites, because no one goes to those sites except people who are already Marvel and DC readers.

My own experience lines up here.  I used to read a lot of comics, many years ago, but have neither the time nor the budget to read a lot today (and exactly how many X-Men related titles are there today??). I don’t claim to be an expert on the sharing of comics online, but I will admit I’ve downloaded a copy here and there, usually on the back of particular media hype – and anything I’ve really enjoyed, I’ve purchased. Similarly, I really don’t want to spend the time going to buy every new issue of Joss Whedon’s Buffy Season 8 but I have purchased every collected edition thus far, and will continue to do so, and thus I feel no guilt in downloading some of the individual issues as they are released.  Dark Horse will get my money, as long as Buffy continues to be a good comic book.  I’m not buying the same thing twice, but I think the number of trade paperbacks, and the speed at which they come out, tends to reflect the fact that these collected editions are preferred by many older readers (yes, I am now an ‘older reader’!).  More to the point, of those comics I have downloaded, I’ve noticed something which I’ve never come across before (which is not to say it doesn’t happen, I’m just not aware of it happening): at the end of each comic book I’ve downloaded, not only does the person or group who scanned the comic ‘sign’ it with their own image, they also leave a clear message: “Like It? Buy It!”.  An example:

Green Giant Scan

This “Like It? Buy It!” strikes me as fans explicitly stating that they’re wanting people to join the comic book reading and buying communities; I’ve never heard of a Battlestar Galactica or Lost episode, or the latest Hollywood  film that’s available online via Bittorrent ending with a ‘Please Buy the DVD’.  So, the way I see it, comic fans scanning, discussing and sharing their fandom and some of the product that they love is, for the most part, good for comic book sales.  Also, many people who legitimately own the physical comic book may actually read scanned versions; one of the annoying facts for comic collectors is that the very act of reading a comic book tends to decrease its value (and tiny fold or tear decreases a comic’s resale value) so I can imagine a lot of people buying, storing and treasuring their hardcopy and reading the digital version.  There is, of course, the downside that if a comic is rubbish, the ability to see commentary and previews would pretty much guarantee low sales.  But, as a rule, I would imagine that good comics = good word of mouth online + free copies online = more interest = more future sales. 

Now, let’s return to the curious point that Peter David is accused of ‘killing’ Scans_Daily. To give a little context (under fair use / fair dealing), here’s a notice that appears on the inside cover of X-Factor 39:

Peter_David_Message

In the internet era, someone explicitly asking fans to avoid discussing details of their chosen media goes against the grain a fair bit, but it seems most reviewers did try and respect Peter David’s wishes.  That said, I did manage to find the entire plot for this issues, and the next, online very easily – I’ll say it’s a very gritty and harsh story dealing with some of those downsides of mutant powers – although the last of this 3-issue arc would need to be very impressive to live into the hype.  However, it seems Peter David was actively patrolling the web, and after following a link back to Scans_Daily who ignored his request, Peter David asked Marvel to look into the copyright violation he saw.  The rest of the story is a bit fuzzy as LiveJournal didn’t say who complained or why they suspended Scans_Daily.  However, Peter David did write about the situation on his website (his position is, yes, he complained, but it wasn’t that complaint which got scans_daily taken down) and, as you might imagine, the comments have turned into something of a flame war with a few useful points made about copyright and fan activities as promotion (or otherwise). I don’t seek to judge who complained to whom, but I do think Peter David went a step further than necessary in complaining to Marvel – I suspect a link from his website asking for that post to be removed would have worked far better – but comic book fans are a fairly small community and I doubt this exchange will have helped the sales of X-Factor – more people might read it now to see if Peter David’s plea was justified, but I suspect a lot more of them will be reading online versions via Bittorrent or the like, just to prove their point. I still like Peter David’s writing, but I do wonder how this exchange has impacted his reputation amongst fans.

And at the end of the day, Scans_Daily is back, just with a new host who seem less likely to be as responsive to the requests of copyright holders to suspect their account.

Update: I was reading the comments on Peter David’s website and I thought this one summed up the fan position perfectly:

Hi. I’m another s_d member, and I’d like to add my voice to the rest of the people who say that if it wasn’t for that community, they wouldn’t have spent money on comics. s_d started me off into buying comics, issue by issue, because from s_d I could see what was good and what I liked and what I’d pay money for.

I don’t doubt that it’s easy to argue that s_d violated the letter of copyright law, no matter how mods tried to keep down the number of pages posted; I would however argue that it tried its damndest not to violate the spirit. The heart of this kerfuffle is not law but perspective: Mr David clearly feels that s_d intended piracy and damaged his livelihood; s_d members feel that its purpose rather was to build a community of like-minded people who could discuss a shared love and help each other decide what best to spend their money on–e.g. YJ. (I for one have chased down back issues from a decade ago because I saw’em on s_d and thought they were worth it.) Yes, Mr David was well within his legal rights to call foul play, and I accept that he was not directly responsible for nuking the site, but he clearly agrees that it could and should’ve been done, and that hurt a lot of fans. Many fans, paying fans, feel that it wasn’t necessary, or even warranted, because harm was never intended. We intended it in good faith, which has not been reciprocated. You can of course say that fans’ feelings have jackshit to do with it, and legally speaking, you’d be right. But it would be so much better for all parties involved if there was a friendly relationship between fans and creator that involved a free exchange of ideas instead of this antagonistic bullshit. This is not a zero-sum game. You could turn it into one–you could even turn it negative-sum–but why would you want to?

tl;dr fans are not always out to sucker the creator and get a free ride, and said fans would be happier (and presumably more inclined to buy things) if creators didn’t kick them inna teeth, even if creators have a perfect legal right to do so. If at all possible–I would humbly beg Mr David to please have some faith in his fans: we’re not out to rob you.

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BSG, the last webisodes, and being gay in the rag-tag fleet

As a dedicated Battlestar Galactica fan I can’t wait for the final episodes to start in January and I’m already enjoying the countdown webisode series, ‘The Face of the Enemy’ which features Felix Gaeta, two Cylon Eights (Sharon’s model) and a few very desperate, very lost, BSG crew.  The first webisode went live today and sets up an pretty engaging storyline. It also featured one other bit of story that’s sure to get a reaction:

bsg-f-h

On his way off the Galactica, to catch a raptor to another ship of a bit of leave, Felix Gaeta says goodbye to Hoshi and they lock lips which is the first visible and openly gay male relationship in the series.  (There are other mentions of gay couples, although the most notable lesbian relationship was between Admiral Cain and the poor Six who eventually turns up horribly tortured on the Pegasus; this left more than a few questionable readings possible about the consequences of non-heterosexual relationships!) I’m very much in two minds about the outing of Gaeta; I’m delighted that his sexuality is basically treated as completely normal – the big issue is Hoshi smuggling some painkillers to Gaeta, while their relationship seems normalised (or as normal as anything gets on the rag tag fleet).  That said, I wonder if Ron Moore and the producers are playing it too safe leaving this sort of material for the webisodes?  Their nature as online add-ons might just mean that the writers are allowed to push boundaries they can’t during the actual episodes (and kudos to Jane Espenson and Seamus Kevin Fahey for writing this webisode series), but for this to be a powerful and clear statement about the normalisation of same sex relationships in the world of Galactica, I’d really like to see this thread continue into the final episodes and actually screened on television, not just pushed to one side on the web.

For international viewers, we’re once again victims of the tyranny of digital distance as the webisode are geo-locked and only visible to those with US IP addresses; there will be lots of workarounds, no doubt, but for a short time until it’s pulled, the first webisode is available on YouTube.

Update: Apparently in the run of webisodes we find out Gaeta is bisexual, not gay; I’m not sure if this depletes the overall message or not … probably not.

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Annotated Digital Culture Links: December 1st 2008

Links for November 28th 2008 through December 1st 2008:

  • Survey: We luv Australian telly [TV Tonight] – The Australian Broadcasting Corporation (ABC) has released the results of a Newspoll survey in its campaign for increased funding from the federal government. The survey conducted nationally for the Media, Entertainment & Arts Alliance, found:
    - 64% of Australians think the government should regulate the minimum amount of Australian programmes shown on Free to Air.
    - 69% believe the government should regulate a minimum amount of Australian programming on the ABC.
    - 64% believe it is important Australian programs can be accessed through new media platforms.
    - 65% want increased funding for Australian children’s shows on the ABC.
    - 64% favour increased funding for more Australian drama programs on ABC.
    - 79% wanted more funds for Australian documentaries on ABC.
  • Children’s welfare groups slam net filters [The Age] – “Support for the Government’s plan to censor the internet has hit rock bottom, with even some children’s welfare groups now saying that that the mandatory filters, aimed squarely at protecting kids, are ineffective and a waste of money. Live trials of the filters, which will block “illegal” content for all Australian internet users and “inappropriate” adult content on an opt-in basis, are slated to begin by Christmas, despite harsh opposition from the Greens, Opposition, the internet industry, consumers and online rights groups. Holly Doel-Mackaway, adviser with Save the Children, the largest independent children’s rights agency in the world, said educating kids and parents was the way to empower young people to be safe internet users. She said the filter scheme was “fundamentally flawed” because it failed to tackle the problem at the source and would inadvertently block legitimate resources.” (So, is anyone, apart from the government, actually in favour, then??)
  • Seven forces Rafters fansite to shut [TV Tonight] – “The Seven Network has muscled in on a fan website packedtotherafters.com.au run by an 18 year old fan, after it deemed his site would cause confusion with the show’s official website. Seven’s own website is at the clunky address http://au.tv.yahoo.com/b/packed-to-the-rafters/ But now the network wants the webmaster, Michael, who started the site based on his love of the new Seven drama, to close down the site and hand over the domain. Michael says he was shocked when he read the email from Seven lawyers. “I couldn’t believe they required me to hand over the domain which mean shutting down the entire site,” he told TV Tonight. … But a disappointed Michael is complying with the request, saying he can’t afford to take Seven on legally.” (Ah, Channel 7, prosecuting your most ardent fans … how NOT to build a fan base for your shows.)
  • Google’s Gatekeepers [NYTimes.com] – A fascinating look inside Google’s legal operations, and how they strike the balance between respecting freedom of speech while responding to different political and legal systems around the world. (And how sometimes “don’t be evil” means you don’t exist – at least, that’s why there’s no YouTube in Turkey.)
  • Tweeting the terror: How social media reacted to Mumbai [CNN.com] – “The minute news broke of the terrorist attacks on Mumbai, India, social media sites like Twitter were inundated with a huge volume of messages. With more than 6 million members worldwide, an estimated 80 messages, or “tweets,” were being sent to Twitter.com via SMS every five seconds, providing eyewitness accounts and updates. Many Twitter users also sent pleas for blood donors to make their way to specific hospitals in Mumbai where doctors were faced with low stocks and rising casualties. Others sent information about helplines and contact numbers for those who had friends and relatives caught up in the attacks. Tweeters were also mobilized to help with transcribing a list of the dead and injured from hospitals, which were quickly posted online. As Twitter user “naomieve” wrote: “Mumbai is not a city under attack as much as it is a social media experiment in action.”"
  • Macy’s Thanksgiving Day Parade Gets Rickrolled [NewTeeVee] – Is this the [US] first nation-wide Rickroll? Never let it be said again that the Macy’s Thanksgiving Day Parade is out of touch — this morning the Foster’s Home for Imaginary Friends float surprised, well, the entire nation with Never Gonna Give You Up and the ACTUAL Rick Astley, for the first time (as far as I know) complicit in a live Rickroll.
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Annotated Links of Interest: October 31st 2008

Links of interest for October 31st 2008:

  • War and Social Upheaval Cause Spikes in Zombie Movie Production [io9 - Chart Porn] – “There’s been a huge spike in the production of zombie movies lately, and many of them seem to be inspired by war. Everything from 28 Days Later to Zombie Strippers make explicit reference to wartime, as did seminal 1968 zombie flick Night of the Living Dead. Is there really a connection between zombie movies and social unrest? We decided to do some research and find out. The result? We’ve got a line graph showing the number of zombie movies coming out in the West each year since 1910 — and there are definite spikes during certain years, which always seem to happen eerily close to historical events involving war or social upheaval.”
  • Beatles make digital debut in new game [The Age] – “The Beatles are coming to a game console near you. For the first time, the legendary group’s music will be featured in the lucrative video game market in a deal with MTV Games and Harmonix, creators of the Rock Band series. The game is scheduled to make its debut in time for next year’s holiday season. “The project is a fun idea which broadens the appeal of The Beatles and their music. I like people having the opportunity to get to know the music from the inside out,” Paul McCartney said in a statement. The game will not be titled Rock Band, but will work with the existing instruments – a guitar, drums and microphone. Game developers were cagey about whether new instruments, such as a keyboard, would be incorporated.” (One final frontier for Paul McCartney to get royalties … and, yes, I suspect when this comes out he’ll get a few of my hard-earned dollars!)
  • Hulu, Dr. Horrible Make Time’s 50 Best Inventions of the Year [NewTeeVee] – Dr Horrible is a horribly good idea, it seems!
  • Election ’08 Fanfiction – US election fan fiction and even slash fiction … Obama/Clinton is one thing, but Obama/McCain … hmmm. [Via Waxy]
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Dr Horrible Finally Available through iTunes Australian Store

drh

A mere 54 days after it was released in the US (and after a few teething problems, free across the globe for just over a week), the three-episodes of Dr Horrible’s Sing-Along Blog are finally available in the Australian iTunes store (and the UK one, too).  The delay, I’m sure, is less about the desire of the Whedon boys to get Dr Horrible out there, and more about the challenges involved in pushing material into the various national versions of the iTunes store.  This rather long delay serves as a fairly poignant footnote to the talk I gave a little while ago on entitled What Dr Horrible Can Teach TV About Participatory Culture.  It seems there’s still some challenges even the bad doctor can’t immediately overcome.  That said, it’s out now, so here’s a link to the Australian iTunes store; it’s $5.99 for the series, or $2.99 per episode.

In the meantime, the Evil League of Evil has been looking for a few more evil recruits, but you need to apply before Oct 11th!

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