• Terms of (Ab)Use: US and UK Consumers Dance to Different iTunes [Electronic Frontier Foundation] - Further illustration of the insanity of different national licensing agreements: "For example, as with many TOS agreements, the iTunes U.S. Terms purport to allow Apple to terminate any part of the service, including access to any music or other content available through iTunes, at any time without warning. The U.K. Terms step back from that extreme position. In particular, the U.K. Terms do not allow Apple to affect a user's access to content already purchased. Furthermore, before terminating a user's access to iTunes, the U.K. Terms require there at least be "strong grounds," rather than mere "suspicion," to believe the user has violated the agreement, and also obligates iTunes to provide notice of any planned modification, suspension, or termination to the extent possible. In other words, the U.K. Terms provide customers at least some guidance as to the grounds for termination, rather than leave them to worry their access to iTunes can be terminated at any moment for any reason."
• Australia Set to Introduce Internet Filter that Could Block Access to Thousands of Anime, Comics, Gaming (ACG) and Slash Fan Sites by Mark McLelland, University of Wollongong [Guest Post: Confessions of an Aca-Fan] - Guest post by Mark McLelland looking at the implications of the Australian government's forthcoming ISP-level internet filtering legislation on slash, anime, manga sites and thus fans in Australia. Outlook: poor.
• After Three Months, Only 35 Subscriptions for Newsday's Web Site [The New York Observer] - So, how's that paywall going? "In late October, Newsday, the Long Island daily that the Dolans bought for $650 million, put its web site, newsday.com, behind a pay wall. The paper was one of the first non-business newspapers to take the plunge by putting up a pay wall, so in media circles it has been followed with interest. Could its fate be a sign of what others, including The New York Times, might expect? So, three months later, how many people have signed up to pay $5 a week, or $260 a year, to get unfettered access to newsday.com? The answer: 35 people. As in fewer than three dozen. As in a decent-sized elementary-school class. That astoundingly low figure was revealed in a newsroom-wide meeting last week by publisher Terry Jimenez when a reporter asked how many people had signed up for the site. Mr. Jimenez didn't know the number off the top of his head, so he asked a deputy sitting near him. He replied 35."
• Google Doodle For Australia Day Missing Aboriginal Flag [SMH] - "An Australia Day artwork by student Jessie Du will be viewed by millions on Google's home page today but one feature of her original design is conspicuously absent - the Aboriginal flag. Jessie's Australia-themed version of the Google logo beat thousands of other entrants in the search giant's Doodle 4 Google competition [...] Jessie, 11, is a student at Rydalmere East Public School. Her entry fashioned the letters in Google's logo out of native Australian animals, such as the kangaroo, koala and emu. The central "o" in the original design was the Aboriginal flag but this has been edited out of the final version that adorns Google's home page today. The discrepancy caused much consternation on Twitter, but a Google spokeswoman explained that the editing of Jessie's design was due to a copyright dispute. The designer of the flag, Harold Thomas, who owns the copyright to the flag, refused to give Google permission to reproduce the design on its website..."
• Stop pining for life on Pandora and come back to planet Earth [Telegraph] - Conservative London Mayor Boris Johnson on Avatar: "It is a feature of powerful military empires that they like to romanticise their victims and luxuriate guiltily in the pathos of their suffering. Think of the Roman crowds pleading for the lives of captured barbarians in the amphitheatre.[...] And I can't believe that many of these gloomy post-Avatar Westerners, when they really think about it, would want to up sticks to Pandora and take part in Na'vi society, with its obstinate illiteracy, undemocratic adherence to a monarchy based on male primogeniture and complete absence of restaurants. The final irony, of course, is that this entrancing vision of prelapsarian innocence is the product of the most ruthless and sophisticated money-machine the world has ever seen. With a budget of $237 million and with takings already at £1 billion, this exquisite capitalist guilt trip represents one of the great triumphs of capitalism."

• What Does China Censor Online? [Information Is Beautiful] - Provocative infographic illustrating some of what China blocks online.
• The Director of Downfall Speaks Out on All Those Angry YouTube Hitlers [Vulture - New York Magazine] - "When the Conan-Leno debacle began, two things were certain: One, it would change the face of late night, and two, someone would apply it to the Downfall Hitler meme. When Oliver Hirschbiegel staged the famous bunker scene in his 2004 movie, with Bruno Ganz as Hitler, he wasn't expecting it to be appropriated for comedy; a dramatic recreation of Hitler's last stand is not exactly a laugh-out-loud subject. And yet the German filmmaker is pleased, nay, thrilled that YouTube enthusiasts have taken it upon themselves to reinterpret it to address anything from Hillary Clinton's loss to the Taylor Swift-Kanye West feud. "Someone sends me the links every time there's a new one," says the director ..."
• Phone texting 'helps pupils to spell' [BBC News] - "Children who regularly use the abbreviated language of text messages are actually improving their ability to spell correctly, research suggests. A study of eight- to 12-year-olds found that rather than damaging reading and writing, "text speak" is associated with strong literacy skills. Researchers say text language uses word play and requires an awareness of how sounds relate to written English. This link between texting and literacy has proved a surprise, say researchers. These latest findings of an ongoing study at the University of Coventry contradict any expectation that prolonged exposure to texting will erode a child's ability to spell."
• Serial Boxes [Just TV] - A draft of Jason Mittell's “Serial Boxes: The Cultural Values of Long-Form American Television” essay which gives a very clear account of the different ways viewers engage with television, especially long-form serial television, in light of the shifts from live viewing as the only (or primary) choice to a market where box-set DVDs and the like encourage quite different modes of reception. Mittell also looks at the 're-watch' projects and notes why they usually fail to sustain their initial enthusiasm and momentum.
• Facebook sites inciting anti-Indian sentiment continue to flourish [The SMH] - "Facebook sites inciting anti-Indian sentiment continue to flourish despite protests from Indians in Australia. Groups such as I think Indian People Should Wear Deodorant, Stop Whinging Indians, and Australia: Indians, You Have a Right to Leave, have not been removed. Gautam Gupta, secretary of the Federation of Indian Students, said: "These sites must be shut down but, on the other hand, we must keep track of these hate groups being formed. They can be online or offline. When they're offline we call them gangs. These are essentially online gangs." More than half a dozen Australian groups that are specifically anti-Indian are still active on Facebook. On top of that, there are many broadly racist groups, including F--- Off – We're Full and Speak English or Piss Off!!!, which has 54,000 members and is growing at a rate of about 2000 people a week. "I don't think it's just a Facebook problem – it's a social problem, a problem in the society," Mr Gupta said."

• Seven’s FlashForward “leaked” to US [TV Tonight] - "Monday night’s episode of FlashForward was the last for the year on Seven, and screened before the US which took a broadcast break for Thanksgiving. That resulted in the episode being uploaded as a torrent and now “leaked” to America. The Hollywood Reporter notes that “Australians don’t care about our guilt-tinged empire-expanding holiday traditions and didn’t take a break. Whether the US-Aussie FlashForward schedule being jolted out-of-sync will result in future episodes also being leaked isn’t known.” Presumably the episode will be downloaded across the US complete with a Channel 7 watermark. It’s all rather ironic given Disney / ABC went to great lengths to make sure Aussie media didn’t reveal information on the series in the lead-up to the premiere, insisting they attend a cinema screening and sign confidentiality clauses." (US viewers, welcome to the other side of the tyranny of digital distance!)
• The hits on iView [TV Tonight] - "Four Corners, United States of Tara, Good Game, Doctor Who, The Chaser’s War on Everything and Media Watch are the most popular titles on the ABC’s iView platform. The online catch-up service has been operating since July 2008. Since April this year there have been 6.2 million views of programs with an annual monthly average of 610,000 visits, up by 140% compared to last year. It averages 206,000 visitors per month, up by 60% compared to last year. In October 2009, ABC iView recorded its highest ever number of visitors and visits. 286,000 visitors and 1.054 million visits to ABC iView." (Finally, streaming timeshifted TV is making solid inroads in Australia.)
• Moviegoers 2010 available for download [Marketing Strategy for Entertainment and Brand Clients – Stradella Road] - "Why does movie studio tracking and research so often surprise and disappoint us? The answer experienced movie marketers gave us in private conversations was this: We still don’t know our customers/audience as well as we should.
  Where do moviegoers really spend their time? What are the social dynamics of the decision-making process? How do we synthesize the sea changes taking place with digital technologies in order to reach the right audience with the right message at the right time in the right place? We designed the Moviegoers 2010 research study to answer these questions [...]
  • Moviegoers spend more time each week online (19.8 hours) than they do watching TV (14.3 hours)
  • 52% of moviegoers have digital video recorders (61% of the 30-39 demo) and, of those consumers, 71% fast-forward to skip commercials.
  [Download the full report - PDF]
• Westfield Facebook application draws fire [mUmBRELLA] - Westfield has drawn criticism over a Facebook application that may be in breach of the social networking site’s terms and conditions, despite the two companies collaborating to develop it. The application updates a user’s status with a Westfield-branded message to promote its Gift Card. It requires the user to opt in so that their status is updated to “All I Want for Christmas is a Westfield Gift Card”, with extra copy stating that the user has now gone into the draw to win a $10,000 gift card. [...] But the promotion has also attracted a backlash from other users, complaining that the promotion is taking over the social networking site as friends’ status updates that feature the Westfield branding, clutter their screens. Facebook groups have also been created in opposition to it. One group, known as If All You Want For Christmas Is A Westfield Gift Card, I Don’t Want To Know, currently has over 3,300 fans." (Spam as a Facebook App ... great marketing!)

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 online.  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’!

• Cambridge study: DRM turns users into pirates [ Boing Boing] - "A long and deep study of user behaviour in the UK by a Cambridge prof confirms that when an honest person tries to do something legal that is blocked by Digital Rights Management technology, it encourages the person to start downloading infringing copies for free from the net, since these copies are all DRM-free." [Via] [Full Study] [(Readable) Study Summary]
• Illegal downloads soar as hard times bite [SMH] - Asher Moses suggests: "Hundreds of thousands more Australians have turned to illegal download sites in the past year to save money on movies, music, software and TV shows during the economic downturn, new figures show. Total visits by Australians to BitTorrent websites including Mininova, The Pirate Bay, isoHunt, TorrentReactor and Torrentz grew from 785,000 in April last year to 1,049,000 in April this year, Nielsen says. This is a year-on-year increase of 33.6 per cent. The figures, which do not include peer-to-peer software such as Limewire, are in line with a Newspoll survey of 700 Australians in April, which found almost two-thirds of respondents said they were more tempted to buy or obtain pirated products in tough financial times." (I wonder if more immediate legal options to purchase tv would actually fare rather well in these tough times - more folks willing to pay a little to watch something at home rather than a cinema ticket?)

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:

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.)

• Digital guru Clay Shirky's media forecast and predictions for 2009 [Media | The Guardian] - "The question is who figures out the business model that says it's better to have 6 million passionate fans than 7 million bored ones? That is going to be the transformation because what you see with these user groups, whether it's for reality TV or science fiction, is that people love the conversation around the shows. The renaissance of quality television is an indicator of what an increased number of distribution channels can do. It is no accident that this started with cable. And the BBC iPlayer? That's a debacle. The digital rights management thing ...let's just pretend that it was a dream like on Dallas and start from scratch. The iPlayer is a back-to-the-future business model. It's a total subversion of Reithian values in favour of trying to create what had been an accidental monopoly as a kind of robust business model. The idea that the old geographical segmenting of terrestrial broadcasts is recreatable is a fantasy and a waste of time."
• NIN’s CC-Licensed Best-Selling MP3 Album [Creative Commons] - " ... Ghosts I-IV is ranked the best selling MP3 album of 2008 on Amazon’s MP3 store.Take a moment and think about that.

  NIN fans could have gone to any file sharing network to download the entire CC-BY-NC-SA album legally. Many did, and thousands will continue to do so. So why would fans bother buying files that were identical to the ones on the file sharing networks? One explanation is the convenience and ease of use of NIN and Amazon’s MP3 stores. But another is that fans understood that purchasing MP3s would directly support the music and career of a musician they liked. The next time someone tries to convince you that releasing music under CC will cannibalize digital sales, remember that Ghosts I-IV broke that rule, and point them here."

• Twitter accounts of Obama, Britney Spears hacked [ABC News (Australian Broadcasting Corporation)] - "The Twitter accounts of US president-elect Barack Obama, singer Britney Spears and other prominent figures were hacked on Monday (US time) and fake messages sent out in their names on the micro-blogging service. Twitter founder Biz Stone, in a post on the official company blog, said a total of 33 Twitter accounts had been hacked including those of president-elect Obama and Rick Sanchez, a CNN television anchor with tens of thousands of followers. "We immediately locked down the accounts and investigated the issue," Mr Stone said. ... Twitter, which allows users to post real-time updates of 140 characters or less, has an estimated 4-5 million users according to a recent study. Launched in August 2006, it has been embraced by a number of celebrities including president-elect Obama, who has more than 150,000 followers, and four-time NBA champion Shaquille O'Neal of the Phoenix Suns."
• How Windschuttle swallowed a hoax to publish a fake story in Quadrant (Margaret Simmons, 6 Jan 09) [Crikey] - "Keith Windschuttle, the editor of the conservative magazine Quadrant, has been taken in by a hoax intended to show that he will print outrageous propositions. This month’s edition of Quadrant contains a hoax article purporting to be by “Sharon Gould”, a Brisbane based New York biotechnologist. But in the tradition of Ern Malley – the famous literary hoax perpetrated by Quadrant’s first editor, James McAuley – the Sharon Gould persona is entirely fictitious and the article is studded with false science, logical leaps, outrageous claims and a mixture of genuine and bogus footnotes." [Margaret Simmons' Further Blogged Thoughts] [Windschuttle's Response]
• Facebook under fire for racist rants [The Age] - "Facebook has come under fire from Australian users for ignoring racial vilification on the site and failing to remove blatantly racist groups even though they have been flagged as offensive. Sydney-based Facebook user Alex Gollan, who has campaigned against the racist groups, has been threatened with violence and fears the site could be used to rally people if another incident such as the Cronulla riots flares up. The site permanently banned one offender this week but only after the issue of racism on Facebook came under the spotlight following revelations that Scots College and Kambala students had created anti-Semitic groups on the site."

“The Face of the Enemy,” on the other hand, could serve as a model of the Webisode genre. It’s not something you need to watch if you’re not already a “Battlestar Galactica” fan, but those who are will appreciate the serious treatment this minidrama has received, the same kind of care taken with the cult-favorite series itself. The lead writer of “Enemy” was Jane Espenson, a “Galactica” co-executive producer and television veteran with “Gilmore Girls” and “Buffy the Vampire Slayer” on her résumé, and its performers include series regulars like Grace Park, Alessandro Juliani and Michael Hogan.

The Webisodes, which will conclude on Jan. 12, just before the television series returns, are a self-contained murder mystery set aboard a small spacecraft that has been separated from the fleet. But they also expand on the “Galactica” mythology, through flashbacks, and flesh out major characters. Fans who had wondered whether Lieutenant Gaeta (Mr. Juliani) was gay found out in Episode 1 of “Enemy.” Or they thought they did, until his close encounter with a Cylon 8 (Ms. Park) a few episodes later clouded matters.

Along with the regular Webisodes the Sci Fi Channel is providing “enhanced” versions featuring commentary by Ms. Espenson. They’re a revelation in their own right. While commentary tracks on movies or even television episodes tend to get boring or crazy-making long before the show is over, commentary tracks on four- or five-minute Webisodes can actually be entertaining.

Ms. Espenson describes the chaotic, and poignant, circumstances in which the Web serial was filmed: with the television series’s final season already completed, the “Enemy” scenes were often the last things filmed on the “Galactica” sets. After a scene was completed, its set would be torn down for good.

Other tidbits — Ms. Park plays two parts in “Enemy” because the “Galactica” star Tricia Helfer turned out not to be available after the story had already been developed — might seem like too much information to have while the serial is still unfolding. But it’s really just a sign that NBC Universal is getting at least one thing right. In a world where the possibilities for elaborating your shows online are endless, the true fan wants to see and hear everything.

As per usual, the webisodes aren’t accessible for those living on the wrong end of the tyranny of digital distance (outside the US), but other avenues are readily available for those willing to look, and the webisodes certainly aren’t shying away from interesting and timely issues.  Until it gets pulled, here’s the first webisode on YouTube:

(You can catch the same webisode with Jane Espenson’s audio commentary, too.)

• Top 10 Most Pirated TV-Shows of 2008 [TorrentFreak] - " Lost is without a doubt the most downloaded TV-show, with over 5 million downloads for one single episode. TV-shows are getting increasingly more popular on BitTorrent. Most TV-broadcasters won’t be happy to hear this, but one could argue that BitTorrent has actually helped TV-shows to build a stronger, broader, and more involved fanbase. Perhaps even more importantly, the rise of unauthorized downloading of TV-shows is a signal that customers want something that is not available through other channels. Availability seems to be the key issue why people turn to BitTorrent." (In order: Lost, Heroes, Prison Break, Terminator The Sarah Connor Chronicles, Desperate Housewives, Stargate Atlantis, Dexter, House, Grey’s Anatomy, & Smallville.)
• Making the Intangible Tangible, the Economic Contribution of Australia’s Copyright Industries IP Down Under [PricewaterhouseCoopers report] - "PricewaterhouseCoopers, for the Australian Copyright Council, has released its report Making the Intangible Tangible, the Economic Contribution of Australia’s Copyright Industries, which has found that Australia’s copyright industries in 2007:
  • employed more than 837,000 people (8 percent of the nation’s workforce) – up 21 percent since 1996;
  • generated $97.7 billion in economic activity (10.3 percent of GDP) – up 66 percent since 1996; and
  • accounted for $6.8 billion in exports (4.1 percent of all exports) – up 6.3 percent since 1996." [Via Terry Flew]
• Aussie ‘Doctor Who’ Fans Set to Time Travel With BitTorrent [TorrentFreak] - "Australia has been the focus of much tech news recently, as the country struggles with its Internet piracy ‘problem’. Thanks to the infinite wisdom of ABC, Aussie Doctor Who fans are left with a tough decision - wait until mid-January to watch the show’s pivotal ‘Christmas Special’ - or pirate it with BitTorrent."
• WoW! How The Guild beat the system [Media | The Guardian] - "The Guild was written as an hour-long TV pilot but was rejected by a number of studios. "We were fighting against the stereotype of online gamers as pickly-faced teenagers living in their basements," she recalls. In the end, Day and her co-producer, Kim Evie, funded the first episodes themselves and spent eight hours a day emailing bloggers about the show and marketing it through the Buffy and WoW communities. The next seven episodes were funded through donations collected via a PayPal button on their website and donors were credited at the end of each show. ... The Guild has been a masterclass in direct marketing of content to a niche peer group. "The web is an amazing opportunity for people who want to tell stories but aren't permitted because they aren't the mainstream," says Day." (Profile of The Guild as a rags to riches webisode series now it has been picked up by Microsoft.)
• Net music theory ends up a tall tale [Australian IT] - "The internet was supposed to bring vast choice for customers, access to obscure and forgotten products and a fortune for sellers who focused on niche markets. But a study of digital music sales has posed the first big challenge to this "long tail" theory: more than 10 million of the 13 million tracks available on the internet failed to find a single buyer last year. The idea that niche markets were the key to the future for internet sellers was described as one of the most important economic models of the 21st century when it was spelt out by Chris Anderson in his book The Long Tail in 2006. But a study by Will Page, chief economist of the MCPS-PRS Alliance, a not-for-profit royalty collection society, suggests that the niche market is not an untapped goldmine and that online sales success still relies on big hits. It found that for the online singles market, 80 per cent of all revenue came from about 52,000 tracks. For albums ... 1.23million available, only 173,000 were ever bought"

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.

• (SPOILER) What happened when the lights went out. [Whedonesque] - Joss Whedon talks straight to the fans about Dollhouse: "Sadly, this is not a naughty post. It's just Joss nattering on again. I thought it was time to check in with you once again, gentle viewers. Or readers. Or pictures-looker-ats (that might be viewers). Also listeners, sniffers, haberdashers, Olympic hopefuls, the elderly, the youngerdly, and the mighty state of Oregon (go Oregon-based sports franchise!) Welcome all. Welcome... to me. What's me up to? I'm glad me asked. Me've (I'm not doing that any more) been working on a little show called Dollhouse. Yes, perhaps you've read about how it's blazing an untrammeled path to surefire success, with nary a hitch or a hiccup, just pure blazing blazery, comet-like and meteoresque. What's that, you say? You've read other things? Dark, Yog-Sothothy rumors about shutdowns and delays? Poppycock! They’re true. But I never pass up a chance to say "poppycock". "
• Flunking Spore - John Bohannon [Science, 322 (5901): 531b, October 2008] - Apparently Spore fails to live up to the expectations of scientists and the promotional material for Spore might have been a little disingenuous: "So over the past month, I've been playing Spore with a team of scientists, grading the game on each of its scientific themes. When it comes to biology, and particularly evolution, Spore failed miserably. According to the scientists, the problem isn't just that Spore dumbs down the science or gets a few things wrong--it's meant to be a game, after all--but rather, it gets most of biology badly, needlessly, and often bizarrely wrong. I also tracked down the scientists who appeared on television in what seemed like an endorsement of Spore's scientific content on the National Geographic channel. They said they had been led to believe that the interviews were for a straight documentary about "developmental evolutionary" science rather than a video promoting a computer game "
• The Medium - The Hitler Meme [NYTimes] - The New York Times on that Hitler (Downfall) meme: "On YouTube, we’re in a bunker, and the enemies are always, always closing in. The ceilings are low. The air is stifling. A disheveled leader is delusional. This is the premise of more than 100 videos on the Web — the work of satirists who for years have been snatching video and audio from “Downfall,” the 2004 German movie of Hitler’s demise, and doctoring it to tell a range of stories about personal travails and world politics. By adding new English-language subtitles, they transform the movie’s climactic scene, in which Hitler (played by Bruno Ganz) rails against his enemies and reluctantly faces his defeat, into the generic story of a rabid blowhard brought low."
• YouTube Enables Deep Linking Within Videos [TechCrunch] - "It’s not a big new feature but it’s certainly one that will come in handy: YouTube will now allow you to send users to a specific point in a video by appending a short tag to the end of a video’s URL. It’s pretty surprising that this functionality wasn’t available earlier, as Google Video introduced the same feature over two years ago. YouTube users have been forced to rely on third party services like Splicd to do the same thing. To specify a point, append a tag to the end of your video link with the following syntax: “#t=1m45s” (you can change the numbers before the ‘m’ and ’s’ to edit the minutes and seconds, respectively."
• Woman in jail over virtual murder [BBC NEWS | Asia-Pacific] - "A woman has been arrested in Japan after she allegedly killed her virtual husband in a popular video game. The 43-year-old was reportedly furious at finding herself suddenly divorced in the online game Maplestory. Police say she illegally accessed log-in details of the man playing her husband, and killed off his character. The woman, a piano teacher, is in jail in Sapporo waiting to learn if she faces charges of illegally accessing a computer and manipulating data."
• Fan fury at Nine [TV Tonight] - Australian "Fans of Fringe who were unaware the show had been pulled from Nine’s current schedule got a rude shock last night and vented their anger in online messageboards. They were universally vehement in their displeasure with Nine’s programming. This site alone now totals 95 posts in one thread alone. Over on Nine’s own messageboard there were more furious comments: Fringe Dweller: C’mon channel 9, have some balls and tell the people why Fringe has been pulled! Oh I’m sorry, you don’t care about what people like. Maybe we could lose one of the four hundred different versions of CSI. God Bless ‘Two and a Half man’ where would you be without them. Maybe you can rename yourselves to Channel Two and a Half Men CSI Malibu!!! Why I’m at it, you pulled Fringe and we still have to put up with that The Strip crap."

The first season of Dexter has been on free-to-air television in Australia, but no sign of season two and certainly not season three. The show has been coming first on the pay-TV channel Showtime, but with season two already finished, and despite season three already playing in the US, Dexter season three won’t be shown in Australia until January 2009. That is unless you happen to visit YouTube! As the New York Times reported:

After months of experimenting with long-form video, YouTube said on Friday it would start offering full-length episodes of some television shows on its sprawling Web site. The staggering growth of YouTube — five billion videos were viewed there in July — has come primarily from short videos that last only a few minutes. But Internet users are gradually becoming more comfortable watching longer videos online, prompting YouTube’s commitment to the format. “This is what the users want,” said Jordan Hoffner, the director of content partnerships for YouTube. With the addition of TV series like “Dexter,” “Beverly Hills, 90210” and “Star Trek” through a deal with CBS, YouTube is catching up to other Web sites that have promoted long-form video for some time. Most important for YouTube’s owner, Google, the longer videos will include advertising before, during and after each episode. Google is under pressure to raise more revenue from the nearly four-year-old video sharing site. …On the CBS page on YouTube, classic TV shows like “MacGyver” are joined by “Dexter” and “Californication,” two series that appear on Showtime, a cable channel subsidiary of CBS. The company is selling its own advertising inventory for the series being shown on YouTube; the two entities will share the revenue.

For Australian viewers, news like this is almost always greeted with the caveat that the service will be geo-locked so it can only screen in the US. Just ask Hulu about that one. However, after reading that the CBS Showtime YouTube channel was completely accessible in Switzerland, I had to find out whether it was it would stream in Australia; and to really test things properly, I chose the first episode of Dexter’s third season which hasn’t screen here in Australia in any legal capacity. And guess what? All 58 minutes of the show streamed perfectly! (See update below.) In a spiffy new YouTube widescreen format, too. In that one click, the tyranny of digital distance has been overcome! Now, I wouldn’t be at all surprised to find out that Showtime Australia ask that it gets geo-blocked in the near future, but for now it seems that there is a completely legal way to watch the latest Dexter and Californication in Australia, with a legitimate revenue stream flowing back to the producers (the episodes have advertising in them) and that’s a price I’m quite happy to pay! I just hope this trend catches on; Australians might even be able to pay for these episodes on iTunes as they’re screened in the US (or am I just edging into the land of wishful thinking now?)!

PS Could a few people reading this in Australia and elsewhere outside the US please click the link and let me know if the episode of Dexter loads for you? I’m curious whether this is a global release or it’s still geotagged somehow!

Update: Eight hours after this was initially posted, the inevitable “This video is not available in your country” message replaced the the Dexter episode in question when accessing from Australia. Apparently it’s blocked everywhere outside the US (even Canada; thanks for letting me know, Karen). However, not all content from Showtime on YouTube was blocked … as far as I can tell, it’s just the recent content and that which hasn’t been broadcast internationally (I can still watch the first episode of Californication, for example). Oh well, it was fun having full access for the half a day it lasted.

Update 2: I spoke too soon; now the only things accessible outside of the US are the promos and trailers. Looks like business as usual, trying desperately to keep the digital globe carved up into arbitrary geographic sales zones.

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!

• ‘Heroes’ Causes BitTorrent Boom [TorrentFreak] - "An example of the BitTorrent traffic boost was reported yesterday, as Mininova got 10 million downloads in a single da. A record breaking figure, in part thanks to the debut of ‘Heroes’ and several other shows. Other BitTorrent sites report a similar increase in traffic. It’s Heroes that breaks all the records though. Our statistics show that, across all BitTorrent sites, the two episodes from Heroes’ season opening were downloaded well over a million times each - in just one day. The vast majority of the downloads come from outside the US (92%), where shows usually air weeks, months or even years later. The show was downloaded the most in the UK (15%), where the official season opening is scheduled for October 1st. Canada, France and Australia complete the top 5." (Which is really interesting to compare with the US domestic TV viewership was down 25%.
• Banned for keeps on Facebook for odd name [The Age] - "Facebook users with even slightly unusual names beware: your account can be suspended by the site's draconian administrators without warning and your personal information held to ransom until you show them a government-issued ID. That reality was made all too clear for Sydneysider Elmo Keep this month when she tried to login to her account and was told she was banned for violating the site's terms of use. She is the latest in a string of people to be banned from the site without any prior warning or recourse because Facebook believed they were not using their real names. ... This and countless other questionable rules has led some to sound the alarm on the dangers of entrusting one's online identity to Facebook and relying on it so heavily for social interaction." (Run with the irony: this post has an "add to facebook" button at the end of the page!)
• Spore copyright control relaxed [BBC NEWS | Technology] - "Video game maker Electronic Arts has loosened copyright protection for the newest release of its game Spore. Released earlier in the month, the game received a flurry of complaints about a restriction that meant the game could only be registered to three computers. That restriction has now been raised to five computers, which the company says should account for all legitimate uses. The company has also addressed the complaint that each copy of the game only allows one player to use it. " (A step in the right direction ... a small step, I should add, but it would be Spore suicide for EA not to learn from the Amazon one-star anti-DRM protest!)
• Doh! Cartoons pulled from Russian TV [ABC News (Australian Broadcasting Corporation)] - "Pornographic, extremist and immoral - that's how Russian prosecutors are describing popular US cartoons like The Simpsons, Family Guy and South Park. The channel that carries them has been forced to suspend broadcasts of the offending programs pending legal action. On Wednesday (local time), a meeting of a government monitoring agency could take channel 2x2 off the air." (I wonder how long it will take before South Park is advertised with the tagline "Pornographic, extremist and immoral - Russia"?)
• Priceless! (Microsoft Ad Campaign Made on Mac [Flickr] - "The new microsoft ad campaign includes photos in their website www.microsoft.com/presspass/windows/imageGallery.aspx made in a mac! Hilarious! A good story around this issue by Daniel Eran Dilger at this link." (More in The Age.)

• Pirates become canon keepers [The Australian] - "Some commentators have suggested that it's simply easier for studios to replace the entire score than to investigate music rights. In any case, an unannounced modern alteration is cultural vandalism, even if you don't think the original work was any good. As a result the DVD is useless as a piece of cultural history and as a representation of an original work. With the internet full of sellers (often fans themselves) willing to provide the copies of this and other series taken from unedited broadcasts, the studio has taken a huge step towards legitimising piracy as a means of cultural preservation." (A fantastic, if rather sarcastic, article by Kit MacFarlane arguing that piracy may be the only course open to preserve tv texts in the face of minor - and major - alterations made by studios and distributors on the way to dvd releases and more. )
• BATTLESTAR GALACTICA returns to iTunes...in HD [GALACTICA SITREP] - Battlestar Galactica and other NBC shows return to iTunes (US). If you're logged into the US store right now you can get 4x03 (He That Believeth in Me) in HD for free (logged in to the US store, I say, not necessarily in the US!).
• Australia rated foot of developed world on school funding [PerthNow] - "Australia's government spending on public education is the second lowest among developed nations, a new report has found. Turkey, Portugal, Mexico and Iceland all spend more money on public education institutions than Australia. ... Federal Education Minister Julia Gillard says the new OECD Education at a Glance report highlights the need for the Rudd Government's much-hyped "education revolution"." (Yes, but WHEN is this much-vaunted education revolution actually going to start? It's close to unforgivable that the once 'clever country' is so far behind in global terms.)
• Google Turns 20 (fiction) - "This month, September 2018, marks the 20th anniversary of Google as a business..." A provocative little piece of speculation fiction looking back from 2018 at the rise, and fall, of Google. A few ideas are a bit far-fetched (Windows Free?) but most are plausible; all beg interesting questions about current trends, from software design, to monopolistic practices, to (really) participatory culture!
• John McCain Gets BarackRoll'd [YouTube] - John McCain gets rickrolled by the all-singing, all-dancing Barack Obama show! LMAO!

Ten will be playing BSG exclusively on their High Definition channel (great for those who get it, no doubt infuriating for those who don’t) but, really, the audience they’ll pull will be infinitesimal compared to the eyes they’d get if BSG was concurrent with the US schedule.  Meanwhile, a few people might just have downloaded BSG via BitTorrent given the series is amongst the most downloaded TV shows of this year (and last).

• having “exclusive rights” in a region is a remnant of the twentieth century’s mass media [jill/txt] - "The tyranny of digital distance is most often experienced by people outside of the United States. ... Another aspect of these cultural blockades where being outside of the US has been an advantage is baseball. In the US, if you’ve moved away from where the team you support is based you often won’t be able to watch their games because the local television stations won’t broadcast them. So MLB.tv lets you subscribe to watch all baseball games - except local ones, because the local television stations have exclusive rights to them. If you live outside of the US, you have no local games - so you can watch every baseball game live, no holds barred."
• Wizard People, Dear Reader by Brad Neely (NOT Harry Potter) [Illegal Art] - Brad Neely's hilarious "unauthorized re-envisioning of Harry Potter and the Philosophers/Sorcerer's Stone", released in 2004. It's a long audio parody to be played at the same time as the DVD of the first Harry Potter film. Like a DVD commentary for evil! [YouTube Version] [Script] [Wikipedia Entry]
• 1.8 million hits in four days for grocery pricing website. [WA Today] - "The new GROCERYchoice website received 1.8 million hits in its first four days, showing consumers are interested in the information it provides, federal Assistant Treasurer Chris Bowen says. GROCERYchoice was launched last week by the Australian Competition and Consumer Commission to provide consumers with more information about grocery prices."
• How to Get Your Indie Film on iTunes (...It's Not Easy) [CinemaTech] - Scott Kirsner's really useful guide to distributing independent films via iTunes and (more feasibly) via their main competitors like Amazon Unbox. For the upcoming filmmakers of tomorrow, this is essential information! (Especially if you're already planning your own Dr Horrible!)
• Amazon Adds Universal Wish List [Micro Persuasion] - Amazon.com's Wish List feature has been around a long time - over 10 years in fact. However, recently the e-commerce site expanded it with a new feature called The Universal Wish List. Using a simple bookmarklet ... you can now add any item to your list from anywhere on the web." (I use Amazon's wish lists a lot, both for purchases and to fill out bibliographies of new books, so this looks like a really useful little addition to me!)

• Barack Roll [YouTube] - Barack Obama gets ... or possibly embodies being ... rickrolled.
• Tape Delay by NBC Faces End Run by Online Fans [NYTimes.com] - "NBC’s decision to delay broadcasting the opening ceremonies by 12 hours sent people across the country to their computers to poke holes in NBC’s technological wall — by finding newsfeeds on foreign broadcasters’ Web sites and by watching clips of the ceremonies on YouTube and other sites. In response, NBC sent frantic requests to Web sites, asking them to take down the illicit clips and restrict authorized video to host countries. As the four-hour ceremony progressed, a game of digital whack-a-mole took place. Network executives tried to regulate leaks on the Web and shut down unauthorized video, while viewers deftly traded new links on blogs and on the Twitter site, redirecting one another to coverage from, say, Germany, or a site with a grainy Spanish-language video stream. As the first Summer Games of the broadband age commenced in China, old network habits have never seemed so archaic — or so irrelevant."
• Twitter Down for Hitler [Blip TV] - DownFall Hitler parody: "Upon hearing tragic news, Hitler decides to tweet his sadness only to learn it's down. " LOL
• So what if you give most of it away?: The Bikini Concept. [The Road To Attversumption] - "I found out the age-old concept of the bikini to apply. That by giving away 90% of the concept, and keeping 10%, the attraction factor was just as strong, if not twice as strong (there are reasons for me saying ‘twice as strong). And yes, what the bikini didn’t reveal, was the part the audience most wanted (naturally), and was the part they were willing to pay for."
• Hamlet Retold Via Facebook (PNG Image, 1254x1608 pixels) - "Hamlet became a fan of daggers." Clever little retelling of Hamlet using Facebook stories.

Any questions, feedback or criticism would be most welcome!

• Dr. Horrible's Sing-Along Blog [Hulu] - Joss Whedon's 3 Dr Horrible webisodes - availble for one week only - are now back - for 4 months - on Hulu. Only, of course, if you live in the US. Or know how to circumvent Hulu's region locking.
• Harry Potter and the Half-Blood Prince - Trailer [Moviefone] - The new trailer for the Harry Potter 6 film looks amazing. The embedded version seems geo-locked to the US, but the HD versions should load anywhere (or, at least, they loaded in Australia). Evil Young Lord V looks very creepy!
• Conroy welcomes ISP filtering [Australian IT] - "The federal Government will embark on the next step of its internet filtering strategy after initial trials proved successful, Communications Minister Stephen Conroy said. ... today released the findings of a recent ... ISP-level internet filtering trial...
• Scrabulous pulled from Facebook in US and Canada [ABC News] - "The creators of online Scrabble knock-off Scrabulous say they have pulled their application from US and Canadian Facebook pages due to a lawsuit filed by game-making giant Hasbro."
• Google enrolled for schools email deal [The Age] - "Google has snatched what is believed to be its biggest single client in the world - the NSW Department of Education - away from its rival Microsoft to claim up to 1.3 million new users of its free email product."
• Joss Whedon's online musical comedy Sing-Along Social Media Blitz [Chief Marketer] - "WWJWD. What Would Joss Whedon Do. Marketers looking to capitalize on the power of social media could do worse than keep that mantra in mind next time they want to launch a campaign." (A look at the success of Dr Horrible.)
• China becomes biggest net nation [BBC NEWS | Technology] - "China now has the world's largest net-using population, say official figures. More than 253 million people in the country are now online, according to statistics from the China Internet Network Information Center (CNNIC)."
• Indiana Jones and the Temple of Absurdly Implausible Excess [NYTimes.com] - Has the phrase “jump the shark” jumped the shark? Or, more to the point, should we be saying that it has “nuked the fridge”? ...which emerged from a 1980s dorm-room discussion of a particularly ridiculous episode of the TV show “Happy Days"...

Now, it's not unusual for content to be limited to US internet addresses, especially television, but Dr Horrible is a different kettle of fish. Joss Whedon has done an amazing job of courting the fans and getting them on side to view promote (and eventually buy) Dr Horrible's adventures, so it came as something of a shock to most international fans (with whom Whedon usually has a pretty good rapport) when discovered they weren't able to get the free stream of Dr Horrible's first act (or even buy the episodes on iTunes).

On Whedonesque - the main Joss Whedon appreciation blog (to which Joss posts from time to time) - the thread initially celebrating Dr Horrible's release was inundated with international fans lamenting the fact that they couldn't view the new web-based show. Dr Horrible's Facebook page and MySpace page similarly received a vitriolic helping of international fan dismay!

Now, if Dr Horrible was an NBC or Viacom property, that would be the end of the story. However, given Joss Whedon's track record, it seems reasonable that the geo-blocking was unintentional or accidental. And now we can see that's exactly right ... on various forums Whedon's team have posted that they're trying to get a globally-viewable version up. It seems that this may very well be the case that the tools for online distribution simply aren't quite up to the demands being put on them by content creators. Ironically, this experience might actually lead to more fans working out how to circumvent Hulu's geo-restrictions as Whedon has sided with the fans once more and in the short term the official Dr Horrible Twitter feed has linked to instructions on how to circumvent Hulu! Indeed, for long-time Whedon fans this might be reminiscent of a moment in 1999 when Whedon encouraged Canadian viewers to "bootleg that puppy" after Fox postponed the season three finale due in the wake of the Columbine shootings.

For Dr Horrible, it has been a rough start, but Whedon's track record and the excitement from US fans who've already enjoyed Dr Horrible leave the rest of us waiting eagerly, knowing that Whedon and his team are doing all they can and will surely learn a lot from this experience. (And thus, I should add, we can reasonably expect that acts two and three of Dr Horrible will, indeed, get a simultaneous global release!).

Update: Drs Horrible (aka Mutant Enemy) have risen to the challenge, and the first act of Dr Horrible is now viewable by everyone! Go watch Act One ('tis funny!).

Update 2: It seems that Dr Horrible's first day had one more obstacle: popularity.  Dr Horrible's servers were completely overloaded and the site diappeared for a while, but now they've moved onto "monster servers" so all should be good ... or is that evil?

• TV takes the online challenge [The Age] - '"The reason people are illegally using P2P [peer-to-peer] networks is simply because content isn't available elsewhere," says Ten's general manager, Digital Media, Damian Smith.' (So give me a legal way to download Battlestar Galactica today and I will!)
• Exploring Fantasy Life and Finding a $4 Billion Franchise [New York Times] - "... Electronic Arts, the Sims?s publisher, plans to announce that the series has sold more than 100 million copies (including expansion packs) in 22 languages and 60 countries since its introduction in 2000. All told, the franchise has generated about
• Australia's YouTube stars to get paid [Australian IT] - The YouTube Partner Program provides money to YouTube content creators in exchange for displaying banner ads on their videos, has been launched in Australia today.
• Parents angry at violent school bully game [The Age] - From Rockstar Games, the people behind Grand Theft Auto, comes the hugely provocative Bully: Scholarship Edition in which you play a rebellious school kid, and runs the risk of (purposefully?) provoking cyberbulllying to normalising school-yard shootings.
• ABC's digital push for channels, radio [The Age] - "The ABC wants to triple its number of television channels and radio services over the next 12 years as it seeks to increase Australian content levels and cement its place in the digital media age, its managing director, Mark Scott, has flagged"

• The new digital paparazzi [On Line Opinion - 14/4/2008] - Peter Black discusses "the new digital paparazzi" which are more likely friends, family, or even ourselves, posting photos online with little concern for personal privacy. Black argues that this is evident of a shift in the way privacy is thought about.
• Civil liberties expert slams email spying plans [ABC News (Australian Broadcasting Corporation)] - "The head of the Australian Council of Civil Liberties, Terry O'Gorman, says tighter laws to protect Australia against cyber terrorism threats are not needed." (In the wake of proposed laws which would let certain employers read their employee's email.)
• Study: Pirated Web Video Peaks 12-18 Hours After Broadcast [WatchingTV Online] - "Unauthorized viewing of popular TV shows on video-sharing Web sites like YouTube peaks between 12 and 18 hours after an episode is broadcast, according to a study conducted by Akamai Technologies and content-identification service provider Vobile."

While the article has taken a couple of years to evolve from the initial idea to this published version, the ideas still seem current. Indeed, there was an engaging debate recently in th US between the New York Times Vulture blog (and here, and here) and film and media scholar Michael Newman over the issue of newspapers and blogs posting spoilers about current TV shows when audiences are increasingly time-shifting and either watching their shows a few days later on TiVO, or a few months later on DVD. As I argue in my paper, the problem of avoiding spoilers becomes even harder for viewers in other countries, when the broadcast (or the option to download legally) is often delayed by a number of months - an issue indicative of what I've called the tyranny of digital distance.

I'm also pleased that the editors of this themed issue, and the general editor of Media International Australia were kind enough to give me permission to put up a post-print of my article here. (A post-print, for those interested, is the final version of the article submitted to the journal after the peer review process and final changes to the article have been made, but before the article is page-made and the layout done for the journal itself.) So, if you fancy reading the whole paper and you don't have access to Media International Australia through your library, you can still read the full paper here.

If you can get hold of the journal, there are a number of other papers which are a great read. One of these, Axel Bruns' 'Reconfiguring Television for a Networked, Produsage Context' can be accessed over at his blog.

As always, any comments or thoughts on my paper or the issues it touches on are most welcome!

Also, for me the Writer's Strike coincided with my final revisions on my Tyranny of Digital Distance paper which looks at the way online content and networked communication change the expectations and possibilities of media (especially television) distribution.  The series that formed my case study was Battlestar Galactica (BSG) and so I was intrigued to see show-runner Ron Moore talking about BSG's first webisodes (The Resistance from 2006) in relation to the strike.  He noted that despite being put together by the same crew and cast as the regular episodes, the studio didn't want to pay for this 'promotional' content, which wouldn't involve paying anyone; Moore held out and got people paid, after some industrial action, but the studios still wanted to run the webisodes without credits and eventually did.  From this, Moore came to one conclusion:

"If there's not an agreement with the studios about the internet, that specifically says 'This is covered material, you have to pay us a formula - whatever that formula turns out to be - for use of the material and how it's all done,' the studios will simply rape and pillage."

One of the stumbling blocks in getting the studios to agree to share the profit from online content is the fact that writers are simply not the most visible people in the whole world, and thus lack bargaining power.  Actors are, and film directors, but writers are rarely well known and that's one of the things the strike has changed somewhat.  Or rather, an increased visibility of writers is one of those things that happened leading up to the strike, in some corners, at least, and has worked in favour of the writers' cause.  Ron Moore, I think, is a great case study here: sure, he's the show-runner for BSG as much as a writer, but across the last few years Moore has amplified the voice of the writer to BSG's fans and beyond.  The episodic BSG commentary podcasts have occasionally featured actors from the show, but the podcasts have most frequently focused on discussions of the writing process and have even featured additional raw recordings of writers' meetings.  The fact that the podcasts are released synchronously with the episodes means that fans have often linked the writers perspectives with the show as much as the actors and CGI that make the visual experience.  If nothing else, I would argue, Moore helped fans 'hear' the writers in an explicit way which highlighted the ongoing creative role of the writing team.  Indeed, if Joss Whedon had been podcasting during the filming of Buffy, he'd probably have filled this role, and his DVD commentaries certainly talk about the writers and the process of writing, but the immediacy of Moore's podcast are, I think, key to their success.

Ron Moore has also maintained a blog and, like the podcasts, this was hosted by SciFi.com and centrally branded.  However, one of notable things about the strike has been that Moore wanted to blog outside of the corporate umbrella and has thus started writing at his own domain.  On his second post he noted that when the much-anticipated Battlestar Galactica: Razor airs next week, the podcast commentary will be a little different: it's a recordings of the writers' room when the Razor story was broken.  Again, the writers are in the spotlight.  Now, wearing both his writer and show-runner hats, Moore has blogged about BSG's uncertain future, a post sure to have the full sympathy of (albeit anxious) fans:

Production wrapped on episode 413 late last night, and there’s no certain date to resume shooting.  No more scripts exist.  My office staff has been laid off.  My cast has been suspended, without pay.

I refuse to believe that we won’t finish, that we won’t be back to film our final stories, but I know and accept there is that possibility.  The strike will be a seminal event for many of us in this business as it’s put literally everything we care about in the balance (if only for a short time so far) for something we all believe is important.

Writers talk a lot about the strike, about the reasons we’re out on the picket lines and our feelings and experiences in the business.  It’s been an interesting three weeks.  I’ve connected with more scribes in the last few weeks than in many months before and I come away from it to date with a sense of optimism about the solidarity of the membership and admiration for my peers.

Galactica’s coming back, I frakking promise you that.  But I am ready to put the rest of the story on the table and take the risk that I’ll never be able to tell it, in support of this strike.

Like Adama says, you make your choices and then you live with them. 

Still. 

A helluva gamble.

It's a gamble that fans might have been unprepared to accept in the past, but with the visibility of writers thanks to Moore, and thanks to the strike, it's a gamble which fans will likely support.  That said, I think the writer's have probably gotten all of the sympathy that viewers are likely to give - things will get harder as the episodes already in the can run out and shows stop abruptly mid-season. Lets just hope that as talks between the WGA and the studios resume next week, a reasonable outcome can be reached.

Until then, for an accessible and convincing explanation of the WGA's position, watch this 'Why We Fight' clip.  However, if you prefer your news just a little funnier, then this clip from Daily Show writer Jason Rothman (with a characteristically odd cameo from John Oliver) in the style we've come to love, is for you:

Incidentally, I think this clip is brilliant, because Rothman does such a good job of showing how much of The Daily Show comes directly from the writers' pens.

Visit United Hollywood for more, or to show support click on Fans4Writers.

[X] Learning Futures Symposium - 10 & 11 September, Canberra - This is a two-day symposium held at ANU looking at the changing shape of education, pedagogy and learning in general in the face of changes brought on by digital communication under the web2.0 umbrella.  The programme (pdf) looks pretty interesting, with showcases of Australian social software educational efforts and some great sessions which are more centred around conversations than too many formal presentations.

[X] Thinking Society, Thinking Culture - 13 & 14 September, Perth - This is an interdisciplinary forum organised by the Institute for Advanced Studies at UWA with the aim of bringing WA's many academics, researchers, artists across the range of historical and cultural studies, and other social sciences, together the share their work and build fruitful interdisciplinary networks and exchanges.  I'm giving my paper "‘We’re sorry, but the clip you selected isn’t available from your location’: Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance" in 'A Digital World' session which takes place on Friday, 14 September starting at 10.30; this panel will also feature Toby Burrows talking about 'e-Research and the Humanities: Current Directions', Ethan Blue talking about 'Prison Medical Photography in Early 20th-Century California' and Jeremy Blank speaking on 'Past,Present,Futures:Integrating practice in Visual Art studies'. 

The keynote is being delivered on Thursday (13th) evening by Ross Gibson from UTS talking on "The Aesthetics of Repletion"; this talk is open to the public, so if you're in Perth, come along!

[X] PerthDAC - Digital Arts & Culture - 15 to 18 September, Also Perth - DAC has a history of being at the cutting edge of digital arts and media studies and this year looks to be no exception.  There's lots to look forward to, from talks on blogs in education to Axel Bruns on produsage to a host of key names in game studies talking about everything from Second Life to the Wii. DAC is concurrent with BEAP (the Biennale of Electronic Arts Perth) so the theory of DAC will mix with the performance and exhibitions of the latest in digital art which will no doubt be a very rich and exciting four days!

[X] The Australian Blogging Conference - 28 September, Brisbane (Free!)- Sessions will include The Politics of Blogging; Researching Blogging; Blogs, Creativity and Creative Commons; Legal Issues; Citizen Journalism, Blogs and Education; Business and Corporate Blogging; and Building a Better Blog.  I'll be facilitating part of the Blogs and Education session, although I'm not sure how many people will be there since I suspect the concurrent Citizen Journalism session, which includes a focus on YouDecide2007, might prove quite a draw-card.  That said, Blogging in Education is certainly fun to talk about and there's a lot going on in the world of edublogging, so I trust we'll have some great exchanges in our session, too! To see who's already confirmed they're attending, click here; that list will grow substantially across the next few weeks, I suspect!

I'm also chuffed it's September because that means Jill Walker Rettberg will be joining us at UWA for the month! And let's not forget that October will also include Australia's first Podcamp which will also be held in Perth!

“We’re sorry, but the clip you selected isn’t available from your location:” Watching Battlestar Galactica in Australia and the Tyranny of Digital Distance

[Figure 1. Screen-capture from http://www.scifi.com/battlestar/, 11 September 2006]

In the late 1960s, conservative Australian historian Geoffrey Blainey coined the term "the tyranny of distance" to describe how the geographic gap between Australia and the centres of the Western world (US, UK) played a fundamental role is shaping the Australian psyche and character (Geoffrey Blainey, The Tyranny of Distance, Sun Books: Melbourne, 1966). Thirty something years later and the world is far more widely considered a global village; the world wide web, email and a million other applications have made real-time information-heavy communication and commerce the norm. However, while information transfers have made ‘distance’ much less of a concern in a number of ways, many policies, practices and systems of commerce still operate as though they are centred on goods moving at the speed of physical shipping, not allowing for information moving at the speed of light down a copper or optical wire. In an era when ‘the tyranny of distance’ means so much less in many contexts, this paper will argue that in the multimedia markets of contemporary society there is, rather, a prevailing tyranny of digital distance which marks out those areas of communication and commerce in which the potential and, indeed, expectation of synchronous global culture (at least for English-speaking countries) leads to constant state of confusion and annoyance – on both personal and legal levels – when those expectations are not met.

The North American-produced television series Battlestar Galactica, re-imagined for the twenty-first century (from an original 1970s series), has consistently been at the cutting edge of television and cross-media. Executive producer Ronald D. Moore and the Battlestar team utilise not just blogs and production-side video-blogs, but also create episodic commentary podcasts, make deleted scenes available online, and have even put two full episodes online for free for viewing. Likewise, Battlestar was one of the first shows available via Apple’s online iTunes Store. Given the amount of extra online content, and the show’s science fiction genre, Battlestar has a large and very active fan community who consume both the television show itself and the officially produced extra material, as well as actively creating and discussing their own derivative ‘fannish’ works ranging from blog commentaries to fan-created videos. Thus, when the show’s producers launched a series of 3 to 4 minutes ‘webisodes’ to re-build interest in the show prior to the launch of its third season, fans across the (wired) globe were understandably excited. However, when citizens of Australia, the UK, Canada or any other country outside the US tried to view these webisodes, they were met with a notice saying: “We’re sorry, but the clip you selected isn’t available from your location.” The owners of Battlestar (NBC) elected to restrict these webisodes to residents of the US only. This decision upset fans across the global Battlestar audience, with US fans quickly circumventing the restrictions and passing copies of the webisodes to their international fellows. In this paper, I will contend that this moment typifies the tyranny of digital distance, exemplifying the legal, ethical and practical issues raised when a globally-promoted television series ‘centres’ on a single national audience. I outline the difficulties of ‘watching’ Battlestar from Australia, and argue for distribution modes which are more in keeping with the technological (and fan-led) potential of digital distribution.

As you might imagine, this paper will draw together my previous thinking about the tyranny of digital distance which you can read about here and here. I'm also finishing off another Battlestar-related paper that stopped being written for a year, but is now being finished off for a new collection. It's going to be a busy month, but I'm hopeful both of these will be well polished before Emily and I get married on June 9th (presuming this abstract is accepted). Wish me luck!

Update (8 May 2007): The abstract has been accepted! Thankfully, though, full papers aren't needed until August 1st so I'll be writing this after Emily and I return from our honeymoon (in Venice!!) .

Update 2 (21 September 2007): The full version of this paper has been accepted after peer review, and will appear in Media International Australia issue 126, which is scheduled to be released in February 2008.

Update 3 (26 March, 2008): You final version of this paper has appeared, and you can read it following the link from this post.

As part of their ever-expanding interaction with the fan community, the producers of Battlestar Galactica have announced a competition allowing fans access to selected BSG clips, sounds and music which they can mix with their own footage to create new videos. As their instructions explain:

Be a part of Battlestar Galactica!

We're giving you sound and visual effects and music clips that you can use to create and share your own four-minute Battlestar videos.

Create your own mock commercials, short scenes or even mini-episodes — funny or dramatic. Choose from more than 30 visual effects, 20-plus audio effects and cuts from the show's soundtrack, specially selected to help give your videos the Battlestar look and sound. Use them to make your video, add the required promo clip at the end, and send it to us!

Battlestar Galactica executive producer David Eick will choose one video to broadcast in full on SCI FI Channel during an upcoming Battlestar episode.

This sounds fantastic off the bat. Certainly I'd love to have a play and try out my sorely under-used editing skills. However, the instructions also come with these rules:

Your video can't be longer than four minutes. Don't use footage you don't create yourself or that you didn't get from the Battlestar Videomaker Toolkit.

Do not use any music for which you don't have the rights.
Do not include images, photos, logos or artwork that you did not create or to which you don't hold the rights (such as pictures from magazines, books and other Web sites).

No inappropriate content. If we can't show it on network TV in prime time, don't put it in your video.

Do not post your film on other sites, such as YouTube, MySpace, Google, etc.

You must be a legal resident of the United States and over the age of 18.

So, once again, the Battlestar Galactica franchise is treated as a purely US property. While I sympathise with the demands and difficulties of copyright, I have to concur with the forums in my disappointment that these wonderful fan-engaging opportunities are not open to the wider, global BSG community. This is another instance of what I have called the tyrrany of digital distance.

Also problematic is the notion that these videos can't be uploaded elsewhere - be it YouTube, MySpace or similar. I imagine such restrictions disuade some fans or simply get ignored (and its not like YouTube currently lacks BSG fan-made films).

All of that said, I commend the producers of BSG for this initiative, I just hope they can widen both the level of participation and allow fans broader rights to distribute (not profit from, just distribute) the fan films they'll be creating.

[Via Rex]

Huge delays in airing overseas TV shows locally are turning Australians into pirates, says a study conducted by technology lawyer and researcher Alex Malik. It took an average of 17 months for programs to be shown in Australia after first airing overseas, a gap that has only increased over the past two years, the study found. The findings were based on a "representative sample of 119 current or recent free-to-air TV series or specials", said Malik, who is in the final stages of a PhD in law at the University of Technology Sydney. [...]

Malik admitted there had been some signs of progress recently - programs such as The O.C. air within days of being shown in the US - but he insisted the overall delays had become longer. "Over the past two years, average Australian broadcast delays for free-to-air television viewers have more than doubled from 7.6 to 16.7 months," the study reads. Malik also studied comments by TV viewers on various internet forums, and concluded: "These delays are one of the major factors driving Australians to use BitTorrent and other internet-based peer-to-peer programs to download programs illegally from overseas, prior to their local broadcast."

Malik's findings are perfectly in line with the idea of the tyranny of digital distance which I've written about before (see "The Tyranny of Digital Distance" and "The Battlestar Galactica Webisodes & The Tyranny of Digital Distance"). Malik's study is further evidence that as long as media distributors continue to enforce ridiculous national/geographic-based release dates in an era of global information (and promotion, and fan actvitity), then bittorrent will continue to be a major source of TV for Australians. However, if we could legally download episodes at the same times as our US and UK neighbours, then media companies may very well discover that they could make more money, not less, by giving Australian consumers the choices we want!