So far, Crackle is looking promising. Today Crackle rolled the debut of its bid in the webisode race with 'Coma'. The show has the same green-screen technique as 'Gemini Division' but the production value is higher. As for story -- too early to tell for sure. Like most webisodes, 'Coma' dishes out minimal plot per segment, but I already like it better than 'Gemini Division' or Stephen King's 'N is Here'. And...and...Crackle lets you embed content, and...and, it bills itself as 'Your online TV network'. Very smart. Here's the synopsis of episode 1:
Premiere episode! Crime syndicate captain Lennox (Michael Madsen) is part of a "hand-off" that should guarantee re-election for corrupt mayor (George Hamilton). Then Lennox is shot by a mysterious assailant. Was he set up?
Sarah McBride at WSJ reports on the potential the WGA strike has to boost interest in webisodes -- the new online short-form movie/TV show. I think it's a bit optimistic, but you never know. If major Hollywood writers start penning webisodes they might catch lightning in a bottle and create a new fresh type of episodic movie-thing that draws an audience...like a serialized Blair Witch, except with reproducible results. Channel after channel, oh, sorry -- I mean site after site of cool cutting-edge shows that you watch whenever you're in the mood, that last 5-20 minutes, with no commercials, that you can pause or watch again, or see a whole 'season' at one time, or whatever.
Well, all these shows have to be written. From WSJ:
Some writers are indeed contemplating making the jump to the Web. Striking outside the Disney studio last week, Ed Bernero, chief writer for "Criminal Minds," talked a good game about the online future. "If we can't reach a deal [with the studios], I'll just call Google or Yahoo or one of those companies and make a deal myself," Mr. Bernero says.
So, is there money to be made by the writers?
Online video companies are hungry for more professional material than what typically arrives in over-the-transom videos.
Could be. Can a WGA scribe write webisodes without incurring the wrath of the guild?
Some writers believe strike rules preclude them from writing for anybody, even if it isn't studio content. But a spokesman for the guild said the rules don't prohibit members from writing for new media for companies that haven't signed agreements with the guild. "We encourage members, however, to consider trying to cover their new-media services by having the employer sign a made-for-new-media agreement," the spokesman said, "and we will continue signing such agreements even during [a strike]."
Would it be worth it? I think so. There's a lot of schlock online, but I've seen an increase in the level of craft of these webisodes lately. Like Goodnight Burbank. It's a little too 'TV' for me, but well done -- I can see this show holding a viewer's interest.
If any webisode demonstrates the potential of online movie/TV content it's Quarterlife. This show is nicely paced, shot, and edited, and the acting is very good. Quarterlife is a 36-episode show produced by Edward Zwick (Traffic, The Last Samurai, Blood Diamond) and Marshall Herskovitz (thirtysomething, Legends of the Fall, Blood Diamond).
The pedigree of these two producers says something about the future of original online content.
Anne Thompson mentioned Joost has announced a deal to distribute original content by several producers. I've been watching this new industry develop with great interest -- largely because I don't watch TV (and don't see movies in theaters) and am looking for viable alternatives. I just can't deal with commercials and adhering to the networks' schedules. Why should I watch Letterman late at night when I'd rather watch his shows (or select parts of his shows) on the weekend (don't get me started on going to movie theaters).
So get TiVo, you say. No thanks. I've already invested in my internet connection and latest computers and, well, don't own a TV (except for this little B&W thingy I got at Radio Shack for $40). I'm not interested in spending money on a technology that's history. I'm convinced the net is the main way we're going to be accessing media in a few more years -- including getting movies and TV shows.
Anyway, I was glad to hear Joost is broadening its scope. Here's a look at other emerging venues.
The Joost deal adds content from ALL3MEDIA International, IndieFlix, September Films, and others to their already impressive lineup. (I'd love to get Joost but it's by invitation only and I haven't managed to wrangle one. Dang).
Then, there's the video sites like AtomFilms. I find a lot of cool shorts on Atom, but I can't see this type of site staying around much longer in their current configuration. I'd look for the addition of other content, possibly original serial programming, down the road.
Of course there's the movie download sites. These will really give movie theaters a run for their money in the next few years. For instance, CinemaNow offers movies for download for less than the retail cost of a DVD, and (really), for less than the cost of seeing a movie at a theater.
What about TV network programming? ABC is making its shows available online. The picture is on the small side and doesn't have great resolution, but you can watch shows like Lost and Grey's Anatomy anytime you want -- a huge step in the right direction. I didn't like NBC's or CBS's interface or picture as much, but at least the content is available.
I believe LonelyGirl15 was the first widely-viewed webisode serial -- it was quickly imitated by Michael Eisner's Prom Queen, the 80 episode psych-thriller playing 90 seconds at a time (episode 17 was just released).
Then, there's the producers that are sidestepping traditional distribution altogether and showing original films online such as FearNet.com and Sam Raimi's Ghosthouse. FearNet's content is not wide-release quality and Ghosthouse only has a few shorts, but the potential of this kind of direct marketing can't be denied. It's just a matter of time before Raimi (or someone else) releases a major feature-length movie online before sending it to theaters (if they bother with sending it to theaters at all).
That's a lot of stuff (and just the tip of the iceberg) and most of it has become available in the last year or so. One thing can't be denied -- the lay-out for the motion picture and TV industries is changing fast. To me, this whole scene is more exciting than traditional Hollywood studio pictures/distribution, and I'll be following it closely.
For now, I can't resist offering some free advice -- you might want to put off buying that national chain of movie theaters or TV stations for a bit.
I believe 