Tag Archives: Clips

With FXX’s Simpsons World, A Clip Database Comes Closer to Non-Linear Reality

Photo by Michael Underwood / PictureGroup

Photo by Michael Underwood / PictureGroup

For FXX as a cable channel, the arrival of The Simpsons reruns—including a complete marathon of all 552 Simpsons episodes through season 25 starting on August 21—marks a key transition in its brand identity. But given that Simpsons reruns have been proliferate in syndication on local stations for years, and DVD box sets have allowed fans to revisit the most beloved episodes of the series whenever they’d like, the idea of being able to watch eight episodes of The Simpsons leading up to each new episode on Fox on Sunday nights is not necessarily a revelation for fans of the series.

For this reason, the bigger news out of last November’s cable syndication deal between FXX and The Simpsons was the non-linear rights. At the time, this was largely framed in terms of the most basic way we understand the meaning of “non-linear,” which is to say that the series will be available to stream at any time. If we take “linear” to mean a traditional programming schedule dictated by a network or channel, then we have historically understood “non-linear” to mean an environment where audiences can choose to watch a show on their own terms through either video on-demand (VOD) services through cable or satellite providers or streaming platforms like Netflix or Hulu. Accordingly, headlines at the time of the announcement focused on the fact “The Simpsons Will Finally Be Available To Stream” or that “Every ‘Simpsons’ Episode Will Be Available To Stream In August,” as The Simpsons finally became part of a new era of television distribution.

And yet as I wrote at the time, although not exactly in these terms, The Simpsons has always been non-linear as a cultural artifact.

How The Simpsons Should Exist On The Web – Slate

“We don’t think about The Simpsons in terms of episodes, not in our contemporary moment. While I will be happy to revisit various Simpsons episodes in their entirety on FXX or FXNow, and I will on occasion pull out my DVDs and watch a few episodes back-to-back, how we think of and use The Simpsons on a daily basis comes in the form of jokes, bits, and memorable sequences. The Simpsons travels in these bite-sized chunks, and the value of The Simpsons in the age of online streaming should ideally reflect this.”

This is why I specifically called for a Simpsons clip database that would embrace not simply non-linear forms of television distribution, but also non-linear patterns of cultural engagement with the text in question. FXX has been relatively tight-lipped regarding details of what their Simpsons app—which was originally planned to launch alongside the series’ debut on FXX, but will now begin rolling out in October—would look like, but in January FX president of program strategy Chuck Saftler expressed his excitement at what they had planned, but made no specific assurances when I pressed him on the potential for clips to be built into the system.

This lengthy preamble is my way of working through the fact that, as demoed for critics at FX’s day at the Television Critics Association press tour, the newly unveiled Simpsons World app has fully and wholly embraced the non-linear ways The Simpsons echoes in the lives of its fans. With multiple channels of pre-programmed episode streams, the ability to stream any episode, character pages featuring curated clips, and the capacity to read-along with the script while watching any episode, Simpsons World is everything a fan could want.

And with the proposed ability to create and share clips to a range of social networks, it is also the engine for the Simpsons Clip Database I dreamed of.

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So It’s Come To This: The Case for the Simpsons Clip Database

SoitscometothisaSimpsonsClipshowWe should have known it would be FXX.

Two days after critics questioned the fledgling cable channel’s cancellation of Totally Biased With W. Kamau Bell, and what it meant for its future, FXX joined the long line of cable channels who have chosen to build their brand on the backs of syndication rights. And given that FXX is owned by NewsCorp, who also owns 20th Century Fox, that the channel would emerge victorious in the basic cable channel sweepstakes for The Simpsons is not a huge surprise. The decision allows Fox to keep the show within the corporate family, while simultaneously providing a cornerstone around which the FX brand and FXX specifically can differentiate within the competitive space of basic cable.

It’s not quite the “Simpsons Channel” that had been rumored in previous years, but it comes with what some would consider to be a comparable model: FXNow, the channels’ streaming service, will have exclusive rights to The Simpsons within a non-linear space, which some could argue is the most lucrative part of the deal. As DVD sales plummet and streaming becomes the de facto model through which many young adults receive their content, The Simpsons represents a substantial piece of television history, and one that its fans are likely willing to revisit. When Marcia Wallace passed away last month, how many Simpsons fans rushed to revisit “Bart The Lover?” When you’re standing outside a restaurant talking about the quality of your meal and you give it your lowest rating ever, seven thumbs up—I actually did this last night—there’s a chance you’ll want to rush home to check out “Guess Who’s Coming to Criticize Dinner.” In a world where Simpsons references are a language for a certain generation, the ability to stream this content has tremendous value, and would push use of an app that otherwise would struggle to compete with services like Netflix.

There are obviously some complications: for example, FXNow has commercial breaks within episodes, meaning there will be no space in which commercial-free episodes of The Simpsons will be available to stream. However, more importantly, I remain firm in my belief that the most valuable resource to Simpsons fans is not the ability to watch the show whenever they want, but rather the ability to reference the show at a moment’s notice. Within this deal, The Simpsons is being used as a leverage point to build a channel brand, generate revenue, and maximize potential revenue for a new channel; within popular culture, however, The Simpsons is used as a generator of meaning, a way to communicate that is best served with a different non-linear application that this deal would seem to render impossible (or at least highly unlikely).

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60th Primetime Emmy Awards Preview: Lead Actress in a Comedy Series

In the Emmy Awards’ smallest acting category, there’s not much in the way of wiggle room. The small numbers should mean more of a chance of grabbing a nomination for newcomers, like Pushing Daisies’ Anna Friel or Miss/Guided’s Judy Greer, but it’s also one of the most tightly contested of the major categories. This is because there’s a lot of forces at play here: you’ve got the power of the four Housewives, the heritage of Seinfeld, Everybody Loves Raymond and Married…with Children, and the credibility of awards-show favourites like Mary-Louise Parker or Tina Fey.

Combine all of this with last year’s winner America Ferrera, and you have a category where making the Top 10 isn’t enough; you need to have something special that’s going to make you overcome the logjam that could lead to the category’s five nominees. On the one hand, this shuts out a lot of good candidates who probably deserve a shot, as they won’t rank highly enough in the popular vote to have a chance.

However, the one good spinoff is that for the candidates who do have that name recognition, it’s going to be a race that is decided by who has the best tape. The seven or so candidates who have a chance of cracking that Top 5 will have to put forward their best material of the season, and the result is a race that’s going to be very close even if there’s so many “real” contenders.

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