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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
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’!
Annotated Digital Culture Links: May 29th 2009
Links for May 28th 2009 through May 29th 2009:
- 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?)
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.
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.)
Annotated Digital Culture Links: January 6th 2009
Links for January 6th 2009:
- 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.”
Final Battlestar Webisodes
As the countdown to the final (half) season of Battlestar Galactica ticks down in the US, SciFi are in the middle of a final run of webisodes (‘The Face of the Enemy’) which, as usual, are getting good press both on their own terms and as models of successful webisode content in relation to existing franchises. The New York Times, for example:
“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.)
Annotated Digital Culture Links: December 24th 2008
Links for December 23rd 2008 through December 24th 2008:
- 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”
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:
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.
Annotated Links of Interest: October 26th 2008
Links of interest for October 24th 2008 through October 26th 2008:
- (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.”
Dexter is on YouTube for everyone, not just the US (Update: Not any more.)
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.
Dr Horrible Finally Available through iTunes Australian Store
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!
Tama Leaver dot Net by Tama Leaver is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.