Tag Archives: Expansion

Season Premiere: The Guild Season 3 – “Expansion Time”

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“Expansion Time”

September 1st, 2009

The biggest challenge facing a show, in the past, was bringing in new viewers. In an age of repeats as the only way to really engage with a show outside of new episodes, anything serialized faced intense challenge. However, as we all know, the internet and DVD have made this easier than ever, and there’s no better example than this than Felicia Day’s hit web series The Guild.

If there was ever an argument for the benefit of internet distribution methods, I’d say this is it: the show remains independently produced by Day, but through funding agreements with various sponsors (including Microsoft) the show has an extensive footprint across various different platforms, and has only increased in both scale and quality since its first season. And due to the ease of access (with episodes on YouTube, at WatchtheGuild.com, as well as streaming on XBox Live and on DVD) of the first two seasons, anyone can catch up as I did, late at night when I ran out of other things to watch and decided to see what all the fuss was about.

The Guild is ultimately, like any good show, about characters and their various nuances. It is unquestionably a comedy, testing the strength of online relationships in the context of the real world to hilarious and awkward results, but at its core is a sort of sadness of Vork’s hermit-like state, and horror at Clara’s child care standards. I won’t pretend to take the show as a social commentary, but there is something beneath its comedy that shows a real appreciation for the types of people who play these games, and the sense of serialized character development that defines the best sitcoms (at least in my eyes).

I went through the first two seasons about a month ago, and really enjoyed them: the first season was sharp in its integration of Bladezz back into the folds (and letting Codex/Zaboo’s odd-couple relationship remain the show’s focus), while the second season worked perhaps even better in splitting everyone up into groups now that the character types had been integrated. When I started the show, it seemed like everyone would be stuck in front of their webcams and we’d be watching the drama of the guild infiltrate their real lives, but now we’re seeing it work the other way around (to a degree) with the real life influencing the guild.

Here’s a link to the premiere at MSN.com, and then my thoughts on the premiere after the jump.

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False Pluralism: Emmys go from 5 to 6, but not from Wrong to Right

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False Pluralism:

From 5 to 6, but not from Wrong to Right

If you’re the kind of person who is reading this article, there are certain hopes you have in life.

They were once personified by Lauren Graham, critics’ darling and star of Gilmore Girls, who went seven seasons without an Emmy nomination. Then, you had The Wire, a low-rated but critically acclaimed HBO series that despite being hailed as the greatest series of all time failed to garner any non-writing nominations. And then there’s Lost, which after winning an Emmy in its first year out faltered due to its genre elements getting in the way of its taut and well-constructed drama, only returning in 2008.

The last decade or so of the Emmys have been defined less by who was winning (dominated as it was by The Sopranos and The West Wing), and more by who wasn’t even getting invited to the dance. In the internet age, this is to be expected: internet chatter is always more focused on the negative than the positive, and when the Emmy system is a complex unknown to most people assumptions are made and grievances are aired. The three above examples, and countless more, will go down in the annals of message boards or blogs as those shows which represented a black spot on the Emmy Awards – and, unfortunately for the Academy, their record is getting spottier every year.

But hope is not gone for a show like Lost, or shows like Battlestar Galactica and Friday Night Lights, for the Academy is making another change to its nomination structure:  they’re taking all Drama and Comedy series and acting categories into six horse races. Once reserved for a tie, the six-way battle is now the standard, and to quote Academy president John Shaffner this move “exemplifies the academy’s awareness of the amount of great television and fine individual work that is seen across the enormous spectrum of the television universe.”

Of course, what Shaffner is really saying is much simpler: “Dear Internet fans, *Insert Favourite Show* now has a better shot at being nominated, aren’t the Emmys relevant again?”

And sorry, Mr. Shaffner, but this wasn’t the only change, and your statement is an inherent contradiction of the OTHER methods taken by the Academy today. While the Emmy system was before extremely complex, (which I try to explain here), they’re going back to the drawing board: gone are the Panels that made up 50% of the final standings, replaced by, in the case of series, nothing but the popular vote of the entire membership and, in the case of acting races, by small, selective sections of the membership.

Which is officially the most egregious example of “one step forward, two steps back” that I’ve ever seen.

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