Archive for May, 2011:

Ashton Kutcher’s Katalyst Incubates Creators with 48-hour IdeaJam

ashtonAshton Kutcher is a man full of ideas—and to that, he also knows a good one when he see it. Back in February, the actor and entrepreneur dropped by the LA edition of Startup Weekend, a 54-hour no-sleep grindfest of tech entrepreneurs tasked with taking an idea from concept to launched startup in just one weekend. Out of it came some pretty clever products, like Zaarly, that Kutcher himself backed along with other investors.

That got Kutcher and partner Jason Goldberg and their team at Katalyst thinking. Could this same format be done with online video content ideas? That’s when they looped in a major sponsor, Intel, and came up with IdeaJam, a 48-hour event held April 1-3 with 48 digital filmmakers forming six teams tasked with pitching, creating, adapting, building, devising, and editing their ideas under the over-arching “What Inspires You?” theme. Now video from the event, shot documentary style, is released on IdeaJam’s YouTube channel showcasing how these teams pulled together some pretty captivating work.

Many of the participants are known to Tubefilter readers for their work in online video, like Rob Polonsky of ChadMattandRob, Leyna Weber and Annie Lukowski of Working Bug and Japhy Grant of Foodies.

Juding the competition were Kutcher and Goldberg (Katalyst co-founders), Chad Hurley (YouTube founder), Erin McPherson, Head of Yahoo! Video Programming, David Janollari (Head of Scripted Development) and Guy McCarter (Managing Director, Greenroom Entertainment). While the winner has already been announced—it was Greg Burke and the “Crash My Pad” team (see his pitch below)—it’s still worth watching the full series to see just how these ideas evolved. The “Crash My Pad” concept won the $20,000 prize and a producing deal with Katalyst to further develop and release the series.

“It was an exceptional experience surrounded by inspirational peers under the guidance of Ashton Kutcher and Jason Goldberg,” Weber told us about her ‘Match My Date’ project. “They were immensely helpful. We were in our element. Even though the deadline was tough, we often impose insane deadlines on ourselves, so it was familiar. We thrive on this.”

“The idea blossomed throughout the weekend. The first pitch involved the ability to match up friends ala how one one can endorse people on LinkedIn,” added Weber’s partner Annie Lukowski. “It evolved with the addition of a reality show component — adding a live stream to the experience, so the date would be viewed by the public. This added a voyeuristic element of fun to it and the incorporation of social media. Our outstanding editor, Pascal Leister, pulled an all-nighter, making changes up to the last minute. It was an all-hands on deck effort.”

The live stream of the first IdeaJam netted 24,000 viewers on Ustream according to Katalyst. “When we’re producing it we think it’s important to engage the audience,” Kataylst President Anthony Batt told us. “We believe as a company that we want to turn viewers into users. So we want viewers to be involved in the process of telling the story.”

“It was such an awesome learning experience. To be creating 48 hours straight with very limited resources and no budget really gets you thinking outside the box — the way we should be thinking always!” Polonsky, who headed up the ‘Alibuys’ team told us. “The idea started off as a web series which evolved into an actual company we created. We dreamed bigger. Took the idea and stretched it as far as the imagination could go and then ran with it.”

“For a digital content creator, this is a huge opportunity,” Japhy Grant told us. “How often do you get to pitch an idea, execute and then present in front of executives from YouTube, MTV & Yahoo all in the span of 48 hours? The talent at the event was off-the-wall impressive and we’ve all be in contact and working with each other since the event, not only on developing our shows further, but on other projects as well. I think that may be the most lasting impact Idea Jam has. It basically brought together a whole “class” of digital content creators through this shared experience. These folks are now my go-to group when developing new projects. Thanks to Idea Jam, we all speak the same language now, not only in terms of thinking about what digital content ought to be, but how it can be executed rapidly and expertly.”

More IdeaJams

The IdeaJam series itself will continue with at least three more similar events in LA, according to Katalyst. The next one, IdeaJam 2 hits on the hot field of edu-tech and was moderated by education expert Alan November. “Creativeng the Ideal Classroom” will debut online June 13. The following two IdeaJams will go down later this summer with a focus on animation in one and comedy in the other.

“There’s something about not sleeping for 48 hours and creating non-stop that puts you in an amazing state of mind,” added Polonsky. “You just feel so focused and zoned in — absolutely wired. Nothing else matters. ”

Batt and the Katalyst gang are bullish on online video, noting there increased focus on producing more web original series after their earlier efforts like animated comedy Blah Girls and office docu-comedy KatalystHQ. “We’re stepping more into being more active in producing content for the web, abd have a lot of interesting stuff up our sleeves,” he said of the to-be-announced slate of originals.

“It’s hard to be a publisher no matter what, but if you’re producing content, specifically video, the timing has never been better,” added Batt. “But I think if you can own a vertical there’s a high likelihood that you’ll be successful.” Batt pointed to Machinima.com as one of the vertical successes to model.

Dave Days, MysteryGuitarMan, DeStorm To Headline Tubefilter Meetup

We’re only two days away from Tubefilter’s second quarter meetup, The Digitour Debriefed! RSVP here right now.

The Digitour 2011, a 27-city national tour of top web stars with over one billion combined views and more than six million subscribers on YouTube, is finishing its six week tour, and its last stop will be the Tubefilter Meetup.

The Digitour reveals a new way for online talent to connect with, engage, and monetize fans—and proves that web celebrity translates to live audiences, just as “real” Hollywood stars and musicians do. The success of The Digitour may indicate the beginning of something big—really big—a major paradigm shift in the way studios, advertisers, networks, and investors will regard the online video industry.

Come join us as we get the download from the producers and top performers on The Digitour. Is this sustainable? Is there real money to be made here? How did the tickets sales go? How did they pull this off? Find out this Wednesday, May 18, at the Tubefilter Meetup.

Sponsored by Openfilm’s Are You The Next Web Celeb? contest, which launches May 18 from the Tubefilter Meetup.

Panelists:

Sarah Evershed
Executive Producer of The Digitour and President of The Cloud Media

Dave Days
#1 Most Subscribed of All Time – Musicians on YouTube
266,385,550 Views

DeStorm
#10 Most Subscribed of All Time – Musicians on YouTube
80,668,257 Views

MysteryGuitarMan
#8 Most Subscribed of All Time on YouTube
251,313,815 Views

The Digitour Debriefed
Wednesday, May 18, 2011

 

 

Where to Watch the Cannes Film Festival Online

The 64th installment of the Cannes Film Festival commenced on May 11, 2011 and concludes on May 22, 2011. Between those dates, President of the Festvial Jury, Robert De Niro and his fellow jurors (who make all the decisions on which films will and won’t screen in Southern France’s resort town) will preside over the festival’s glitz, glamour and screenings and award one director the prestigious Palme d’Or.

You can catch trailers from the flicks and HP-sponsored snippets of the festivities at the Festival de Cannes website, but you can’t watch a whole lot else. Apparently, whatever online video experience Robert De Niro’s developed over a few years of collaboration between his own Tribeca Film Festival and YouTube was lost in translation when he accepted the Jury President position at Cannes. You can watch some official selections from the festival on the web, just not a lot.

The National Film Board of Canada partnered with the Short Film Corrner at Cannes for its 7th Annual Online Film Competition. The NFB selected its top 10 Short Film Corner favorite to screen on its YouTube channel. Viewers are encouraged to watch and vote for their top choices with a thumbs up. The winner with the most thumbs pointed skyward will be announced on the channel and at Cannes on May 19.

The NFB made their selections to encompass an “eclectic mix of languages and genres,” so unless you speak Danish, you won’t be able to understand them all. Though if you do speak Danish, please let me know what’s going on in a Bear’s Life. Blondes and abominable snowmen are two of my favorite things.

The Best Museum on YouTube

My award for Best Use of YouTube by an Institution that Houses and Cares for a Collection of Artifacts doesn’t go to an internationally renowned depository of art showcased in a structure that’s equally as famous as the masterpieces on its walls. It goes to a museum that’s a little something special that exists under the umbrella of the oldest private medial society in the United States

The Mütter Museum (which was established in 1858 by Thomas Dent Mütter for the purposes of medial education and research) at the College of Physicians of Philadelphia (which was established in 1787 by a group of Philadelphia physicians “to advance the Science of Medicine”) is home to a collection of diseased organs and genetic monsters (including President Grover Cleveland’s malignant tumor, wax castings of conjoined twins, and preserved fetal specimens), some of which, the strong stomached curators highlight on videos on YouTube.

Director of the Mütter Museum, Robert Hicks and Mütter Museum Curator, Anna Dhody both recently launched regularly scheduled online original series showing off intriguing items from their museum’s collections.

Hicks takes 60 seconds a week in his Mütter Minute to tease viewers with top billing items like a formaldehyded piece of John Wilkes Booth and fun museum fillers like an 18th century leech carrying case.

Dhody debuted a disturbing program last week that instructs viewers to Guess What’s on the Curator’s Desk. The premiere features a dull, elongated corkscrew intended for use on females only. Dhosdy displays the item and then asks you to leave your best ideas of WTF it is in the comments. She’ll give you the answer in next week’s installment, though I’m not sure if I want to know.

The Mütter Museum first joined YouTube in October 2009 and has uploaded selections from their collections ever since, but the recent launch of Hicks and Dhody’s web series highlight a marked change in the museum’s online marketing efforts from “Let’s show the web something cool” to “Let’s show the web something cool as part of a sustained, scheduled program.”

And don’t let the numbers fool you. This content is way more intriguing than triple or four-digit view counts would leave you to believe. Give it a watch, or better yet, go visit.

Lisa Kudrow Web Series Finally Gets its Showtime Premiere

Lisa Kudrow played a psychotherapist who only interacts with patients via FaceTime with a poised facade and more neuroses than a Woody Allen marathon for the first time in 2008. That’s when LStudio – a new media studio and online video destination founded and funded by luxury car company Lexus – debuted Web Therapy.

Since then, Lexus has produced 48 episodes of the web series over the course of three seasons featuring personalities like Meryl Streep, Courtney Cox, Julia Louis-Drefyus, Jane Lynch, Selma Blair, Molly Shannon, and more. They all seek resolution and catharsis, but generally only receive frustration or confusion. You can catch them all the installments online, and come July 17, you’ll be able to catch a select few on Showtime, too.

In Spring 2010, the premium television network picked up Web Therapy to run as interstitials between regularly scheduled Showtime programming. Anouncements released earlier this month indicate Showtime will finally air the first of ten new episodes of Web Therapy on Tuesday, July 17. Rashida Jones, Bob Balaban, Lynch, and Cox are all slated to guest star opposite Kudrow.

The debut has been more than a year in the making, but at least the series is going to see the light of a television broadcast. Other such online originals haven’t been so lucky.

Prince William and Kate Middleton are ‘Happily Ever After’

If you’ve recovered from your bout of Royal Wedding fever and since turned your attention to things more American only to realize you prefer the ridiculous pomp and decorum associated with courtship traditions of a millennia years old monarchy to mint juleps and labor disputes between billionaire NFL team owners and millionaire athletes with stunted lifespans and 3.6 year careers, than Funny or Die has a web series that can give you another bout of Anglophilic hysteria.

Will and Kate: Before Happily Ever After is an online original series from FoD that gives viewers a look into the lives of the now happily wedded couple in the days and moments before they tied the knot. Oliver Jackson Cohen takes on the role of an aloof Prince William and his fivehead while Allison Williams plays Kate Middleton as an apologetic significant other who is sensitive to her future husband’s whims and incredibly privileged upbringing.

Like most good celebrity spoofs, Before Happily Ever After works because it ventures into absurd territory while still keeping a foot on the even path of reality.

The character of a future king with zero domestic and pop culture sensibilities and an affinity for Snoop Dogg could easily succumb to overacting, but Cohen manages to make sure at least part of his Will remembers his pedigree. And in the moments he gets a little too wacky, Williams’ Middleton is there, with the fresh perspective of a commoner whose family started a multi-million dollar party supply website, to keep the good prince in check.

‘What’s Trending’, CBS News’ Latest is More Than a Web Show

It’s not hard to notice that Shira Lazar is a maven on Twitter. Very little slips past one of her handful of carefully watched social streams, despite being one of the hardest working women in web video. And now it seems, Lazar has taken the old ‘Do What You Love’ adage to heart, launching her latest—and most ambitious—project to date, convincing not only an old media institution but an old guard bluechip brand to back What’s Trending, a weekly live interactive web show and a daily news source for exactly what Lazar and her team know best—what’s trending on the internet and social media.

Even as we wrote about Lazar’s many web shows over the past few years, she would often hint at her vision of creating a show built around trending news topics. But the concept needed the right mixture of backing and distribution, something too often overlooked in new web series launches.

That meant taking the concept to CBS News, where Lazar had a semi-regular blog (‘On The Scene with Shira‘) and video blogging correspondent gig on the now-defunct The Tomorrow Show. The idea of a distinctly old media news brand taking the leap into backing an upstart live web show wasn’t exactly an easy sell. It helped to wrangle a major brand—AT&T—into sponsoring the show.

A web show with a brand sponsor behind it still needs viewers, and the time slot for the weekly half-hour show, 10:00 AM PT / 1:00 PM ET on Tuesdays, was picked to capture the biggest online audience for CBS News with the East Coast on its lunch break and the West Coast just getting going. Each episode will feature Lazar as the central host recapping the trending news of the day followed by one on one interviews—broadcast live, mind you—of social media influencers like Will.i.am, Cory Booker and Guy Kawasaki. The interactive component will let viewers ask questions directly to the guests in real time through Gigya’s socially connected chat widget.

what's trending logoThe What’s Trending site has been active the past few weeks, as Lazar and her fellow Executive Producer Damon Berger race to finish the build-out of their new 2,500 square foot Hollywood studio before the live show’s launch next Tuesday. “We do believe in contributing and creating noise beforehand, and not just in advertising and marketing, but in actually creating valuable content for people,” Lazar told us from her studio still buzzing with set builders. “That means creating context and bringing people to the source of the headlines they might just see in their Twitter feeds—something larger than 140 characters.”

“It’s about showing you those culturally relevant stories, or ‘what you need to know to be in the now’,” she added. “You’re informed and you can share those with your friends.”

She’s quick to point out that it’s not an entertainment show playing the rat race of celebrity news headlines. “We look at it as a talk news show for the digital age. We cover topics ranging from an new hit album to the conflict in Syria to Antoine Dodson.” Limiting it to one topic niche, as many web shows do, is something she is happy to avoid. “I look at all of my friends and all our Twitter streams and we’re not that one-sided. All of us like sharing many types of information so why isn’t there a show that represents those type of conversations.”

In many ways, Lazar could be the Katie Couric of the web, ironically on the same network that until recently was anchored by Couric. “I love the legacy and the brand of CBS News and its standards, that brings with it a lot of credibility,” added Lazar. “I’m coming from a different generation and I built my career on the web and they have been a great partner in acknowledging that.”

The team surrounding Lazar is a handpicked group of regular contributors like social media correspondent Melissa Jun Rowley, managing editor Michelle Castillo, and Erik Tavcar who is head writer and producer. Guest correspondents will also chime in with their trending thoughts like tech guru Chris Pirillo, social media expert and filmmaker Jason Pollock, Social Good expert Beth Kanter, Gov 2.0 expert Alan Silberberg, Social Media scientist Dan Zarrella, What The Trend’s Liz Pullen and O’Reilly Radar’s Alexander Howard. Veteran web series creator Brett Register has been tapped as the show’s director.

A Model to Watch

The concoction of major news outlet with a brand sponsor and what is effectively a startup is a new form of model for web shows. In effect it’s a model worth exploring, and depending on how it performs, worth emulating. “Online, with traditional networks, there aren’t a lot of them doing original programming because it does require money,” Lazar pointed out. “But there’s no staple show for the Facebook generation and we want to fill that gap.”

The funding from AT&T is seed capital that allowed for the team to build out a full production studio in downtown Hollywood, with a striking, and real, Hollywood skyline backdrop of through their windows and a fully tooled control room for mixing the live show and various pre-taped segments. “We wanted to do something that wasn’t just putting on a web cam or an unproduced live stream,” added Lazar. “We wanted to raise the bar and create a broadcast quality show online with the authenticity and interactivity of the web.”

What’s Trending’s official launch of the weekly series is Tuesday, May 17 at 10:00 AM PT / 1:00 PM ET.

MTV Networks’ Online Studio in Development

We already told you about Rob Riggle, Owen Benjamin, and Team Tiger Awesome’s Comedy Central-produced, Atom-distributed, Axe-sponsored web series Dirtcathalon, showcasing attractive college coeds competing in a variety of fratcacular challenges, but that’s just one of two recent online original initiatives from MTV Networks. The other is The Download.

Comedian Jordan Rubin and internet blogger and personality extraordinaire Molly McAleer host the tech-centric program on the set of eHarmony. The two trade banter about irritating aspects of social media or technology, play around with a Samsung TV (the program’s sponsor), and welcome celebrities like Jerry O’Connell to discuss things ephemeral and internet. The best thing about it is it’s actually funny. (That “set of eHarmony” line I stole from the show).

D.M. Levine at Adweek reports the two series are the first of several in the works to come out of a newly organized, dedicated web production arm of MTV Networks’ MTVN Entertainment Group. The entity that oversees Comedy Central, Spike and TV Land never before had an online only production unit. Levine explains in the past “producers on the network’s regular shows lent their efforts to the production of Web-only content.” Now, this new division will handle all online original productions.

Leveine also explains MTVN execs are reluctant to call the production entity a studio, but that’s certainly what it looks like. Expect to see a higher quantity of branded content to drop on Atom, ComedyCentral.com, and Spike.com in the coming months.

Alphabird Acquires PlaceVine, Launches High CPM Matchmaking

alphabirdOnline video syndication has had a checkered history over the past five years or so, and the notion of guaranteeing video views lurked near the backwaters of the video scene, in close quarters to the shadowy axis of ad unit autoplay, view fraud and outright gaming of the system. Paid video syndication, an increasingly larger part of most branded entertainment campaigns, has become a business of its own, though still clouded by the murky associations with practices with which the industry is still grappling to form its opinion.

San Francisco-based Alphabird is emerging as the leader in the paid video syndication business, while at the same time battling the perception issues of its field. It touts its ability to “guarantee audience” on premium website publishers and YouTube, insisting that its videos are distributed in-page, as opposed to in-banner. Clients like Warner Bros., Disney, Fox and Fremantle Media and have turned to the company to help push out its online video projects to prospective viewers strewn across a myriad of premium portals and influential blogs.

placevineToday AlphaBird announced it has acquired brand integration matchmaker PlaceVine for an undisclosed sum. Co-founded in 2007 by Adam Erlebacher and Greg Neichin, PlaceVine was the winner of The Wharton Venture Award, for building a platform that matched brands with placement and sponsor opportunities in web, TV and film projects.

The acquisition gives Alphabird a working platform of content partners and brands looking for audience, making the addition of a wide reaching syndication network an apparent smart move. “Alphabird’s ability to deliver content to the right audience makes it a natural home for PlaceVine,” says Erlebacher of the deal.

Higher CPMs Than YouTube

Coinciding with the acquisition, the company is launching the PlaceVine Contest Platform, which plans to systemize the process of online video contests and effectively lets web video creators generate high CPMs—starting at around $20 all the way up to $100 or more—on the views those creators generate from YouTube videos made for the campaign. The first contest features SF-based music label The Royal Factory, who is offering an award pool of $20,000 for videos in response to its creative brief to drive interest in new artist Austin Brown.

The hook for video creators is the lure of significantly higher CPMs (cost per thousand impressions) on their videos by a magnitude of about ten times what they earn from YouTube’s partner program. The $20 CPM is on the low end, says Alphabird COO Alex Rowland, with brands able to set the CPM they choose.

“In general we’re looking to solve two problems,” adds Rowland. “One, the ability for brands to connect with audience in an authentic way, and two, to give YouTube creators a bridge to get some of these lucrative ad deals.” He points out the issue of many of the brand dollars flowing towards the top channels, which smaller growing channels aren’t able to command enough scale to participate. The new platform effectively lets the video producers ‘group-buy’ in effect, a creative brief from a brand and parcel out the inventory to several creators.

But will Google be okay with letting this many brand dollars flow around them while still using its platform for delivery? “I would love to get the phone call from Google’s legal department saying we’re shutting you down,” adds Rowland. “I think that would be antithetical to the marketplace saying we want to help these guys, and it sounds kind of evil to me. You can’t sit there and say you can only monetize video through Google.”

Pay for Performance

Alphabird CEO Chase Norlin talks about the difference between what they call the two classes of online videos—those with asset values and those without asset value. He concedes there may in fact be middle ground, but in general he’s talking about asset value video having existing IP value from other media—think 30 Rock clips or movie trailers—with non-asset value video being much of what we consider web original videos and series.

“We are in the business of taking no asset value content and turning it into something that has value,” says Norlin. “Where the client is paying us on a performance basis to make sure people want to watch that content.”

“When we started, we were syndicating viral videos for clients,” adds Norlin. “But now it’s actual series like Jen & Barb Mom Life and Disney’s The Possibility Shop. Norlin points out that they now have around 40 episodes going out weekly on targeted web site publishers.

While the idea of paying for audience can sometimes rub video creators the wrong way, particularly those with limited resources, the model relies on getting the video products in front of would-be viewers, but then letting them make actual decisions to engage. And it’s only those engagements that count towards views—and count towards the performance budget.

This mirrors an overall shift in the online video industry towards Cost-Per-View (CPV) and Cost-Per-Completed-View (CPCV) budgeting rather than impressions on videos. Even YouTube acknowledged this week that by 2015 some 50% of its video ads will include cost-per-view video, meaning that the viewer initiated the ad in some manner rather than through autoplay.

“Stuff doesn’t go viral,” adds Norlin. “You do have random hits, like Rebecca Black, and there seems like there’s more of them because of the press. But it’s very rare. You have to pay to activate great content. That’s what we are doing. That paid activation makes that happen on the internet.”

YouTube Launches its Own Billboard Top 100 Music Chart

I told you YouTube was getting more serious about music discovery.

Less than two months after the launch of Music Tuesday’s on the YouTube blog – an editorial offshoot crafted by the musos at YouTube that highlights their YouTube.com/Music featured selections –  the world’s largest video sharing site today debuted the YouTube 100 Music Chart.

It’s the initial makings of a Billboard style weekly list of “song traffic across official music videos, user-uploaded videos and viral debuts, and uses this data to provide a holistic view of song popularity.” The most interesting and innovative component of the chart is who’s on it.

This week’s Top 10 includes On the Floor by Jennifer Lopez, Judas by Lady Gaga, E.T. by Katy Perry, Look at me Now by Chris Brown, and a few spots down at #9 is Friday by Rebecca Black. A few more spots down at #44 is Nice Peter, sandwiched between Rihanna and Lil Wayne. That’s homegrown YouTube talent listed alongside international pop stars with major record label deals (plus a few acts that count as both), which makes for great opportunities for up-and-coming musicians to get more easily recognized by producers and brands looking for fresh talent. Pretty cool, right? I think so, too.

YouTube promises it will archive its charts for “future exploration of original recordings, music memes, and pop hits.” In the meantime, you can check out the Top 100 at YouTube.com/Music. And if you want a lean back music video viewing experience, click on the “Play the top 20” button to watch hit after hit.

What’s Osama Bin Laden’s Ghost up to?

Steve Brodner is a decidedly liberal, politically-charged, modern day Norman Rockwell meets Al Hirshfeld who satirizes the political arena by way of illustration and caricature. If you watched Warren Beaty run for Senator of Straight-Talkin’ Crazy Town in Bulworth or picked up a copy of Esquire, The Progressive, The Village Voice, or Harper’s Magazine in the last 30 years you’ve probably seen his work.

If not, you can catch Brodner’s art on his every other weekly or so Slate V web series Smashing Crayons. I’m guessing the title is a play on the drawing techniques of preschoolers and the artist’s three decades worth of frustration with government powers. At least that’s what it looks like. Whimsical cartoons with light, curly lines and vibrant colors fill each installment while Brodner’s voicever highlights whatever unsavory political issue is making headlines at the moment.

The latest installment ponders what Osama bin Laden is up to in the after life and what impact his spirt will have on future events. It looks like what a Neil Gaiman poem contracted for Air America would read like, which is to say its pretty, a little morbid, and left of center. It’s a cartoon, too. Show it to your kids and find out what darnedest things they have to say about bin Laden’s ghost.

David Lynch Coffee has a Love/Hate Relationship with Barbie

In heaven everything is fine and everyone drinks David Lynch Signature Cup Organic Coffee. At least that’s what the 65-year-old filmmaker and TV director who made the whole world wonder who murdered Laura Palmer would have you believe.

Lynch, who is no stranger to creating commercials containing uncanny content, recently uploaded and ad spot where he slings his organic, fairly traded cups of joe by way of a flirty conversation with the head of Barbie doll uncomfortably placed in his firm grasp.

Lynch is a long-time fan of online video. Way back in October 2008, the original Eraserhead signed a deal with the now defunct ON Networks for a web series that never saw the light of day based on his book, Catching the Big Fish: Meditation, Consciousness and Creativity.” Lynch’s website was also once home to a repository of sporadically uploaded weather reports, animated coyote programs, and other things sufficiently surreal for people who like David Lynch movies to enjoy for the small cost of $9.97 per month.

It’s no surprise that Lynch took the web to market his wares, but what is surprising is the execution. This ain’t your daddy’s David Lynch, and that’s a bad thing. If whispering sweet greetings while bending Barbie’s neck on top of fairy tale music constitutes what now passes for Lynch’s signature disturbing imagery, then dude might as well give away his director’s chair. The commercial is different, that’s for sure, but I’d expect more from the man who used to make ad spots like this.

Maybe it’s a sign Lynch needs more time to meditate on his crative projects or perhaps could use a little something stronger to drink in the morning than coffee.