The Debacle That Was the Streamy Awards

I raced back from a wedding in Phoenix to make sure we (Allison and I) didn’t miss the Streamys.  We got tickets from the amazing & wonderful Susan Stoebner, producer of the webseries “Space Hospital.” I’m glad we went.  Because I wouldn’t have believed it if I hadn’t watched it with my own eyes.

Much has been said about the 2nd Annual Streamy Awards in the past week, and I don’t want to rehash old news.  I will say that I was excited to see Felicia Day and the cast of The Guild, Kevin Pollak, Patrick Duffy and Robert Englund in person.  I was glad to see my friend Bernie Su give his excited & passionate acceptance speech for Best Writer for his breakout webseries “Compulsions.” I was moved by the brotherly love between Mark Gantt and Jesse Warren when they accepted multiple awards for their deserving series “The Bannen Way.” And I loved the way comedian Paul Scheer held everything together when it started to fall apart.

And fall apart it did.

I can understand the technical problems, initially.  Shit happens, things malfunction.  But when it happened over and over, and it was compounded by horribly told, low-brow jokes, it was like a train full of children derailing off a bridge into a lake of crocodiles.  There was a constant stream of jokes about how the web TV industry doesn’t have money and support, two things that a classy awards show, if this had been one,  might have affected and made inroads into with the big boys of network television.  Instead, it was embarrassing.  I’m all for a good penis or vagina joke if it’s done well, but not ad nauseum and in front of thousands of people, some of them potential investors in future webseries projects.

I love the medium of web TV.  As a composer, it’s always been my endgame to score for television.  It’s my favorite medium, and the one that affected my career path, and where I want to be.  Web TV is the indie version of network television, and despite what a recent Mashable article (an opinion piece) proports, web TV content producers want their shows to make it to television.  If I can make money working in web TV, I will happily spend all my time doing so.  But the only way we’re going to attract the kind of investors we need is to look like we know what we’re doing, to produce smart, funny content that entertains, that attracts A-List actors, and ultimately attract advertisers that believe in the viability of the shows and the industry.

I haven’t lost faith in The Streamys.  I think this year’s show and backlash that followed are going to reshape them for the better, and I will be there next year.  Hopefully representing something I scored, like “SOLO The Series,” Purgatory Inc,” “My Bitchy-Witchy Paris Vacation,” “Fallen,” or “End Result,” but I’m going to be there nonetheless.  And I think it’s going to be a different experience than it was this year, because I think the industry is ready for web TV to take the stage.