One of my favorite bits from this week’s show is a silly game show we created called How Will They Bite It? It wasn’t until after we’d played the game that I realized it has the potential to actually be a legitimate game, that anyone can play at home while watching some of the magnificently craptacular Syfy Original Movies (and let’s be honest: magnificently craptacular original movies is probably the one area where the network formerly-known as sci-fi truly excels, and may actually set the standard by which all other magnificently craptacular movies should be measured.)
Take a look:
Although we’re only two episodes in, I think we have a possible recurring bit in How Will They Bite It?, one that I can play with just about anyone who we can trick into coming onto our show extend the tremendous privilege of appearing on The Wil Wheaton Project.
I got our ratings numbers yesterday afternoon. Surprisingly, they were slightly lower than our first episode, but I understand that the ratings across the entire network for the whole night were down, so that’s not necessarily a reflection of us, as much as it is something that just sort of seems to have happened. I wonder if there was a big sports thing, or maybe a finale in some other show? I heard that we kept more of our lead in than last week, which is actually really good, according to the people who care about that sort of thing. I also heard that a very important person at the network loved our second episode, which is also very good. Most importantly for me, though, is that I was completely happy with the show. I thought the jokes worked the way we wanted them to, and all the other stuff I mentioned yesterday.
Felicia and I talked last week when I was feeling pretty down about the ratings, and she pointed out to me that the only thing I can truly control is the creative side of things, so if I put out something that I’m happy with, I can let all the other stuff go. This week, I can let all the other stuff go.
Now, here’s something interesting that I’m probably going to get yelled at by the network goons for sharing, but it’s important and relevant. A lot of people have told me that I haven’t been able to watch our second episode online. I understand that if they try to watch it at Syfy.com, and they don’t have a cable or satellite provider, they can’t see it. I understand that it isn’t even on Hulu like our first episode was, and the show isn’t on Hulu+ at all.
With that in mind, look at this, from about an hour ago, from The Pirate Bay:
Last week, our first episode had a total of about 800 seeders and about half as many leechers. Math is hard, but I’m going to estimate over 2300 seeders and almost as many leechers, for our second episode alone. That’s pretty huge growth and interest from people who probably want to watch our show, but can’t, because they’re cord cutters, or they’re in a country that doesn’t carry the show. Yes, I know there are people who want everything for free and won’t pay for anything, but I don’t count them as “lost” viewers, because they were never going to be scored by advertisers or the network, anyway.
I think I mentioned that our ratings improved with every repeat last week, and our 11pm repeat on Friday even beat our premiere on Tuesday. This tells me that people clearly want to watch our show, and as more people hear about it, the more they tune in. I understand that this is the way it typically goes with shows like ours (I heard it took The Daily Show a year and a half to find its audience), so we’re expecting a slow but steady building of audience as the summer goes on. That will be awesome, but it can be even more awesome, if we can make it easier for people who want to watch us to find a legal way to do it.
I’ve heard from countless people who legally watched our first episode that they wanted to watch our second one, but discovered that they couldn’t watch it in a legal way. It’s out of my control, so I can’t do anything except point out over and over and over again that the show is losing potential viewers, and that’s really frustrating to me.
Our show costs a lot of money to make. It’s possible to make our show because Syfy licenses it from us, and then sells advertising on the show to cover their investment. If everything goes according to plan, it’s profitable. If it’s profitable, we get to keep making more episodes. The best way to help us be profitable, then, is to watch the show on Syfy when it airs during the week. I don’t fully understand the realities and nuances of licensing and all that, but I do know that the world is rapidly changing, and a lot of people don’t want to watch TV live. I know that lots of people don’t want cable because they can’t afford it, or because they hate cable companies. I know that a lot of those people would gladly pay for Amazon on demand, an iTunes subscription, whatever Google Play does, or watch some ads on Hulu or Hulu+. I’m doing everything I can to let the people who make those deals know this, but I’m a very small voice in a very loud room. If you want to help make that voice louder, you can write a polite email to Syfy and let them know that you want to watch the show in a way that supports us.
Maybe this is all a lot of hand-wringing for nothing, because we are only two episodes in, and because this is an entirely new type of show for Syfy, they’re just getting their legs under them the same way we are. Maybe this will all work itself out over the next couple of weeks, and everyone will be happy. That’s what I hope for, because I am having an insanely good time making this show.
Before I go, I just want to reiterate that I want you to watch our show, and I want you to like our show so much that you keep watching it. I’m trying my best to make it easy for you to watch our show in a way that helps us pay for it, so we can keep making more of it. I know for some of you it’s easier to just fire up a torrent client and go to down, and I’m sympathetic to that. But I’ll ask all of you, please, if you can watch the show in a way that counts for our network and our advertisers, please do.
Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.
The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.
But whatever our differences may have been in the past, we strongly agree that the dragnet collection of millions of Americans’ phone records every day — whether they have any connection at all to terrorism — goes far beyond what Congress envisioned or intended to authorize.
Since June, ongoing revelations about the NSA’s activities have shown us the expanding scope of government surveillance. Today is the day people around the world are demanding an end to mass spying.
A broad coalition of organizations, companies, and individuals are loudly voicing their stance against unwarranted mass spying—over 6,000 websites have joined together today to demand reform. EFF stands by millions of users—represented by groups like Demand Progress, ACLU, PEN, and Access as well as companies like Google, Twitter, Mozilla, and reddit—to reform governmental collection of innocent users’ information.
Over the past few years, we’ve seen the Internet as a political force make waves in Washington. From our defeat of the Internet censorship bill SOPA to our battles over CISPA, TPP, and patent reform, history has shown that we can activate our networks to beat back legislation that threatens our ability to connect, as well as champion bills that will further our rights online.
We can win this. We can stop mass spying. With public opinion polls on our side, unprecedented pressure from presidential panels and oversight boards, and millions of people speaking out around the world, we’ve got a chance now to change surveillance policy for good.
Last year, we were presented with a new opportunity—an opportunity in the form of leaks that showed us the truth about deeply invasive surveillance programs around the world. This is the year we make good on that opportunity. Let’s ensure that sacrifices made by whistleblowers and risks taken by brave journalists were not done in vain.
Join us in fighting back. We’ve laid out below how you can speak out against mass spying.
Calling Congress takes just five minutes and is the most effective action you can take right now to let your elected officials know that mass surveillance must end.
Here’s what you should say:
I’d like Senator/Representative __ to support and co-sponsor H.R. 3361/S. 1599, the USA Freedom Act. I would also like you to oppose S. 1631, the so-called FISA Improvements Act. Moreover, I’d like you to work to prevent the NSA from undermining encryption standards and to protect the privacy rights of non-Americans.
Please, take a few minutes and make a phone call. I’m sure that you, like me, feel cynical and disempowered (especially here in California, where our completely corrupt and useless senator Dianne Feinstein has become one of the NSA’s most vocal and ardent defenders, even though she’s supposed to be providing “oversight” in the senate), but this is not a fight that we’re going to win by sitting down and shutting up. Quoting EFF again: “We can win this. We can stop mass spying. With public opinion polls on our side, unprecedented pressure from presidential panels and oversight boards, and millions of people speaking out around the world, we’ve got a chance now to change surveillance policy for good.”
I encourage you to read more at the Reddit blog, where they’ve put together a comprehensive and easy to understand rundown of what’s at stake, and what we know about NSA spying. Talk to your friends and your family, and let’s do whatever we can to restore our fundamental rights to privacy.
People are turning off the TV and turning to the internet for entertainment. We may not like it, but it’s fact. Which is why I’m making digital series. Better to be out in front of the revolution than scrambling to keep up.
Broadband internet was supposed to benefit from the end of cable TV, but it hasn’t.
In all, about 5 million people ended their cable and broadband subs between the beginning of 2010 and the end of this year.
It’s a fascinating article, and worth reading if you care about this sort of thing like I do. Setting aside the reality that you never hear someone declare: “Oh man, I fucking LOVE my cable company! They are the BEST! Their customer service is, like, UNBELIEVABLE, and I REALLY get my money’s worth for my subscription fees. I love my cable company so much, and they’ve totally earned my business and loyalty!” and so it’s likely that younger customers are fleeing cable because the experience — not necessarily just the content — sucks, I want to talk briefly about creating original content for online distribution.
I remember a time, in the not too distant past, when we’d feel like we had to justify ourselves for making a webseries, like it wasn’t real TV or film. It was like we were creating for online because we couldn’t make it in the big leagues, and had to seek out an alternative. In some ways, that was true, because in the traditional way of doing things, we had to appeal to gatekeepers at networks and mid-level development executives who were more afraid of losing their jobs than they were excited to make something new. That makes sense: there’s a shitload of money at stake for most productions, and it’s only logical that the people in charge of spending that money would be risk-averse — But what’s the point of being in a creative industry if you’re not willing to take some creative risks? That’s where the Internet came in, and fundamentally changed everything for creators. We could take risks, we could make content that maybe wouldn’t appeal to tens of millions of people, but would appeal to hundreds of thousands. We didn’t need to compete with other creators for ratings during a narrow broadcast window, because we understood that our audiences would watch our stuff on their terms, when and where and how they wanted to. We understood that the world was changing, and people would be watching programming on smartphones and tablets, frequently time shifted for their convenience. We knew that because we were those people.
Being those people, and creating for those people, has let us who are the tip of the spear in online distribution continue to just destroy the legacy media companies: we don’t want to control how our audiences get to watch and enjoy and share the things we make. We understand that attempting to control the experience people have when they watch our stuff just makes them find ways around that control, usually in a way that hurts our bottom line and our ability to support ourselves.
Around the second season I did of The Guild, I stopped feeling like I had to apologize for or justify creating original content for Internet instead of television. I stopped feeling like we were playing in the minor leagues, or engaging in a long and expensive audition for “real” work. I recognized that were were ahead of the curve, and the rest of the entertainment industry was going to have to catch up with us. It was so liberating, and it’s been so exciting for me as a producer and consumer to watch new talent emerge online that would never get a chance if TV was the only option.
The successes and failures in Google’s You Tube thing that made Geek and Sundry possible provide a great example of those who get it and don’t: the channels that the major networks and studios used to dump existing content failed, and the channels that made original content thrived. I think it’s safe to say that the legacy content producers and networks just don’t understand the online audience in the way they think they do. I think they’re afraid of online in a lot of ways, because a lot of the older executives who make decisions about digital are still fighting Napster in their heads. I understand their fear, but they’re going to have to come and join us here in the future, or they’re going to wither and die.
We who make webserieses (is that a word? It is now) have been in the future for a few years now, and I’m very interested to see what happens as people who are used to being the king of the mountain without really trying are forced to compete — or at least share space — with those of us who have worked very hard to earn whatever we have online.
Broadcast, cable, satellite, and movies will always be there, and they’ll always have fantastic and lousy content (just like the internet), and I hope that I’ll continue to work across all mediums as an actor and producer. But looking to the real future (the one that is ahead of us, as opposed to the one we live in now): I’ve believed for years that the next generation of creators will go online and play by their own rules. The next Joss Whedon will never have to deal with an evil FOX executive who ruins the next Firefly because of reasons, andI hope that I get to work with him or her someday, because that person is going to make something wonderful.
14.8.14 1342 EDT: With some help from Mysterious Kevin, we tracked down the source of the commenting sign-in woes, and everything should be working once again. If you’re still having trouble, clear your browser’s cache (or login using porn private mode) and you should be all set. Thanks for your patience, and thank you for participating in conversations here at my blog.
1421 CDT 13/8/13 We’re aware of the problem, and we’re trying to figure out why Facebook stopped working as a login. I suspect it has something to do with Facebook changing the API to require a photo ID, hair sample, DNA swab, and your deepest fear, notarized. I’m also looking at an alternative solution to making an account here that doesn’t require a password that looks like line noise.
Earlier this afternoon, I tried to open up Echofon, my desktop Twitter client of choice. It gave me a persistent “401″ error, which meant that it wasn’t working with Twitter’s API. I did some searching and learned that Twitter had changed its API, and if I wanted to continue using Echofon, I’d have to upgrade to the current version.
No problem! I upgrade things all the time! I hit the update link in the menu, and the app told me that I was using the current version. Uh oh. A little more searching, and I learned that Echofon wasn’t supporting the version I bought, but was supporting a version that I could buy through the App Store. I didn’t want to pay again for the same app, so I looked for something different, and now I’m very happily using Tweetbot.
An interesting thing happened, though, that I thought was worth discussing in more depth than 140 characters at a time allows.
Sad to bid farewell to @echofon, but I’m not paying twice for the same app just to upgrade. Hello, @tweetbot.
A non-zero number of developers were offended, and a growing shitstorm swept across my desktop. The general gist of the response was that I suggested users should expect free support forever and never pay to upgrade software. I read what I believe to be a large number of false equivalencies, and rather than try to respond point by point on Twitter, I’ll talk about it here where we can probably have an interesting and informative discussion.
First off, I never suggested that developers should not get paid for their work, because I do not believe that. I did not mean to imply that all upgrades (like OS 1 -> OS 2) should just be free. I also realize that, in this specific instance, Echofon did nothing wrong. The developer ended support for its desktop version (which I had bought a license for in-app) and began to support mobile and App Store versions. So I would be wrong to expect Echofon to give me the App Store version because I’d already paid for the version I was using. In other words, I wasn’t paying twice for the same app; I was paying twice for essentially the same app that would be supported through different channels. I still don’t feel okay doing that, and I think it’s silly to expect users to pay again because Twitter changed its API, but I support Echofon’s decision to conduct their business the way that they feel is best for them. For the record, someone at Echofon offered to give me a license key to use with the App Store if I sent an e-mail copy of my receipt to them. I don’t know if they’re extending this offer to everyone.
One of the many false equivalencies was “would you do Star Trek again for free if it was reshot to 16:9″. This is absurd, not only because I’m more suited to play Riker than Wesley, but the more I thought about it, I began to consider what this person may have been saying.
What I think this person may have been saying was something like, “if you were asked to do your job again because the technology had changed since you first did it, would you think it’s reasonable to not be paid for your job.” Another wondered if someone who paid for w00tstock 4.0 could reasonably expect to get into w00tstock 5.0 without paying. Again, I believe this is a false equivalency (the w00tstocks are entirely different shows — versions, if you will –, while the specific piece of software I was talking about had stopped working and would not work again if I didn’t pay for the same software in a different distribution channel), but I see where that person is coming from. If I was a software developer and I read my tweet, I may have pulled out my jump to conclusions mat and decided that Wil Wheaton was saying my job isn’t worth getting paid for, and what I make isn’t worth supporting. Man, that Wil Wheaton is really a dick!
So, to be clear: everyone who makes things deserves to be compensated for their work. I fully support developers who make awesome software (and Echofon is awesome) and fully believe that those developers should be able to earn a living from their work.
Further: I would never expect that I am entitled to OSX 10.5 simply because I bought OSX 10.4, especially if the new OSX was fundamentally different from the old one. However, I do believe that it would be wrong for Apple to make me pay an additional fee because something I already bought from them stopped working through no fault of my own.
This point is where I feel like what I was saying and what developers on Twitter heard diverged. If you invest lots of time and energy into a new version of your product, and you believe it’s fair to charge users for that new version, that’s entirely your prerogative. I do not believe that it’s right to charge users for what’s essentially a maintenance update, but as I am not a developer, I can’t say if that’s fair or not.
What I do know is that I will always support development of projects I love and which provide me value when I use them. All things (in this case, features) being essentially equal, though, I will give my money to the developers who provide me with the best service experience, and in this case, I got a better service experience from Tweetbot than Echofon. Your milage may vary.
I have no idea how this will actually work, and I’m once again glad that I don’t use Instagram … but I know a lot of people who do, and many of those people are celebrities to some degree.
Here’s what I’m wondering: if Kaley Cuoco uses Instagram to share a photo of her and Melissa Rauch doing something silly, does that mean that Instagram can take that photo and use it to advertise for something silly without compensating them for what becomes a use of their likeness for commercial purposes? I can see that being a pretty serious shitstorm if it happens. I’m not a big enough celebrity for it to personally affect me, but I know a lot of people who are. If someone Instagrams a photo of Seth Green walking through an Urban Outfitters, does that mean Urban Outfitters can take that image and use it to create an implied endorsement by Seth? What if the picture is taken by a complete stranger? Who gets final say in how the image is used? The subject, the photographer, or Instagram?
This sort of dovetails with similar concern I have about the automatic opt-in nature of much of our digital life: if I’m in someone’s address book, and they use an app that grants the developer full, unfettered access to their address book, I’ve now had my information given without my consultation or consent to a developer who I know nothing about, and I never even knew it was happening.
Just as we have a “do not track” option for our webbrowsing habits, we’re going to need to have something similar for other aspects of our increasingly-digital lives: from contact information to our location to moving and still images of ourselves. Because it’s no longer enough for me to be careful with my opt-ins and online sharing; now I have to ensure that every single person around me is careful and respectful of my privacy wishes, as well.
Yesterday, LeVar and I were making silly Star Trek jokes with each other (you know, like you do), and we ended up talking about how lucky we are to have the job we have, and how lucky we are to be so happy to do it.
“I have found that the key to being happy — well, one of the keys, anyway — is to be easily amused,” I said.
LeVar agreed with me, and then commented on how thin and tanned and healthy and awesome looking I was, and some other things that I didn’t also just make up.
So I mention this thing about being easily amused (my fingers keep trying to type that as “amuzed”, which is stupid because that’s not how you spell it and if you were going to spell it that way it would be “amuZed” and it would be on a neon sign for a club in the 80s that’s just a front for Panda smuggling and Nick Nolte brings the whole thing down the day before he retires from the force.)
Where was I?
Oh. Right. I mention this thing about being easily amused because of an exchange Felicia Day and I had on Twitter shortly after LeVar and I had that conversation:
Hosting the IndieCade awards tonight!I’m doing my own hair, so if the back of my head looks janky…that’s just the indie way, lol.