Included in President Obama’s commencement address at Note Dame University last year was a desire to find ways to communicate about a workable solution to the problem of unintended pregnancies. A Southern California-based independent media company called Yellow Line Studios wanted to help give that desire a voice. And so they created Bump+.

Using the device of a fictional reality show, Bump+ follows the stories of three women, all in their first four weeks of pregnancy, as they weigh the pros and cons of continuing to full term. Denise is almost a child herself, though this is her third pregnancy with signs they were results of domestic abuse, Hailey is a sorority girl who seems to care more about what being on the show can do for her than her pregnancy, and Katie is facing the tough decision of what to tell her husband when he returns from Iraq…because the father isn’t him.

Launched on the eve of the 37th anniversary of Roe v. Wade, the show has been releasing 2 episodes a week since February 1st, all the while fostering an open and honest communication with and between its audience. Though the production itself is clearly not trying to present itself as a true documentary, the comments show a sincere desire to communicate with the fictional women involved and in the end, the audience influences the final decisions of the women. Several alternate endings were shot and however the story is lead, the project intends to follow-through with it. One of the women may decide to keep their baby while another opts for abortion…one may choose an entirely different option altogether.

Depending on how the series actually turns out (the final episode of season 1 is scheduled to launch on March 15th), the series could be seen as glorifying the abortion issue. Hopefully, it will be clear that it wasn’t the wishes of the production itself to take any particular stance on either side of the debate, but to allow an audience the opportunity to talk out all the sides together, as well as share personal stories people have faced when it comes to pregnancy and parenthood. It’s an issue almost everyone will face at one point in their lives and the format of a place online paired with a visual story to embody the discussion is a unique one that can hopefully be utilized in the future on a wide range of issues.

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Lazy Sunday has to be credited as one of the breakout viral videos that launched YouTube into a household name. (Ironically, it’s not actually on YouTube any more – just Hulu) The SNL Digital Short was one of the first from Lonely Island crew after Andy Samberg joined the cast back in 2006. Last night in a reprise of the hit video, Samberg and Chris Parnell performed a live version of Lazy Sunday (above) with The Roots on Late Night with Jimmy Fallon. [LateNightWithJimmyFallon.com]

The Legend of Neil has been greenlit for a third season from Atom.com, according to tweets from creator Sandeep Parikh. Atom won’t officially confirm this, but we’re pretty sure this is a go. The Streamy-nominated series has been Atom’s most successful original web series for the past two years. [Twitter]

Auditude announced an advertising agreement with Dailymotion today, saying that they will now power the Paris-based video site’s catalog of more than 12 million videos. The technology from Auditude will support advanced video ad formats, enhance content targeting, enable multi-party demand and manage business rules and sales rights Dailymotion’s hundreds of licensed content partners. [Press Release]

I’m Dating a Porn Star, a new adult comedy web series pilot debuted this week from Crossroads Films, the creators of critically acclaimed Old Friends. It stars Old Friends‘ Tim Curcio and is shot by OF’s Matt Cady. For now, producer David Title is looking for some fan support in terms of views, as “it was deemed a bit too dirty for traditional distributors.” Judge for yourself: [blip.tv]

Anyone But Me continues to rack up award nominations, this time in Canada with 3 nominations in TVGuide.ca’s Soap Opera Spirit Awards and another 4 noms in Time After Time/Soap World Awards. This adds to the series three Streamy Award nominations including Best Female Actor nod for Rachel Hip-Flores. Episode 5 of the indie drama was just released today (see below). [Anyone But Me]

Coma, Period signed a distribution deal with online network KoldCast TV (below) adding to its existing distro with Strike.tv. The comedy series from Lead Ballon about a man stuck in his subconscious has been well received so far from critics, and rocks a pretty witty Twitter stream from its fictional protagonist Dan Humford. [Coma, Period]

Got something for Quick Clicks? Shoot them over to tips[at]tubefilter.tv

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Illeana Douglas may be quite the name in web series circles now, especially after landing six Streamy nominations for her popular comedy Easy to Assemble, which just wrapped its second season earlier this year. It even spawned a spinoff series Sparhüsen, which nabbed its own Streamy nod. But aside from those two, the Emmy-nominated TV and film actress has yet to venture into a web series where she isn’t the one calling the shots. Looks like that’s about to change.

Douglas just wrapped shooting a two-episode guest starring arc on Spherion-sponsored office comedy The Temp Life in New York this week, playing cold hearted CEO Eve Randall. Also shooting a guest spot this week is Taryn Southern who reprises her gumpy midwest IT tech Nancy Roder for a few more episodes.

This isn’t the first we’ve written about the bi-coastal casting moves on The Temp Life this season, which have seen notable web series standouts like Sandeep Parikh (The Guild), Thom Woodley (The Burg) and Rachel Risen (The Hayley Project) coming on board to bolster the show’s cred and fanbase. To give an idea of numbers, it took two years for the series to reach 1 million views, while its latest season—its fourth—has just passed 2 million.

The connection between Easy to Assemble isn’t hard to piece together. Temp Life creator Wilson Cleveland—who also plays the former temp agency boss Nick ‘Trouble’ Chiapetta—heads up CJP Digital Media the web arm of Manhattan-based marketing firm CJP Communications. Easy to Assemble teamed up with CJP for its latest season with Cleveland’s team helping score a suite of new distribution deals for the show including The Hotel Network and a lucrative one with My Damn Channel.

As for the brand backing the series, they’ve taken notice to the uptick in views and higher profile names attached. The 60-year old staffing firm which employs more than 160,000 people worldwide loves the online buzz the Hollywood and web talent brings to its less-than-glamorous core business.

“We have had incredibly talented people involved with The Temp Life this year, and we are honored to have Illeana Douglas helping us end this season on the highest of notes,” said Melissa Waldon, Spherion’s Senior Social Media Strategist.

Ironically, it even has its Streamy nomination this year for best branded web series, pitting it square up against IKEA and Douglas’ Easy to Assemble along with Altoids-backed Brainstorm, Topps’ Back on Topps and Lexus’ Parts Art. The season finale episodes of The Temp Life will premiere online next month, April 5 and 26.

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This isn’t your average “I ripped Rick Astley’s “Never Gonna Give You Up” off YouTube (rickroll) and then mixed in some clips of Captain Picard saying “make it so” on a loop” mashup. Contagion explores a world in which Jack Bauer is investigating the murder of Bella Swan by Blade while tying to get Mulder and Scully to help him before the Resident Evil zombies attack…but they do, leaving him no choice but to go pick up the Winchester brothers from Supernatural.

And it actually looks really, really good.

Created by Canadian television director and editor Ray Holycross, the series originally began as a way for him to hone his editing skills in his spare time. He had planned to release an episode each week for 2 months, beginning in December. And just in case anyone tries to call foul on the fact that he’s using copywritten material, Holycross makes sure to post information on Section 107 of the Copyright Act 1976 on the series YouTube account, also stating, “I do NOT make any money on this. Copyright is to the rightful owners, and this was for fun and not to make any money or profit at all.”

Unfortunately, Holycross had to take a hiatus after episode 3. However, to make it up to those chomping at the bit for more, he recently released a teaser trailer (below) for the final three parts of the series, each running 10 minutes, slated to be released at the end of March.

What will happen in this 30 minutes of the ultimate geekerific television and movie universe showdown? Will Blade take down Bauer before the zombies do? Will the Winchester brothers end up in a love triangle with Scully? Will anyone care that Edward Cullen was killed in the first 30 seconds of episode 1? Tune in March 29th to find out.

The Legion of Extraordinary Dancers lit up the Oscars stage last night (above) on ABC with a medley of all of the Best Original Music nominees. Talk about a killer (and free) promo for their upcoming web series The LXD from director Jon M Chu. Check out Madd Chadd’s legendary robot skills in the UP section of the routine. [YouTube]

The Guild’s creator-star Felicia Day is going to star in a SyFy Channel Saturday Original Movie where she will portray “a werewolf-hunting descendant of Little Red Riding Hood.” “In the action-packed Red, Red (Day) brings her fiancé home, where he meets the family and learns about their business – hunting werewolves.” The movie, set to debut in 2011 on SyFy also stars Kavan Smith (Stargate Atlantis) and Stephen McHattie (Watchmen). [Bloody Disgusting]

DigiVenture is hosting a Women in Digital event tonight in Los Angeles hosted by Joanne Griffith that will feature a panel representing audio, visual and print media professionals, including: Carmen Dixon, former ABC producer and creator of the blog Allaboutrace.com, Zadi Diaz, founder of the web TV series, Epic Fu, and Shani Byard-Ngunjiri, founder of Media Message Ed. The free event will be held at Otis College of Art and Design on Monday March 8th from 7-9pm and parking is free. [DigiVenture.org]

Funny or Die tapped director Ron Howard to rope together the best SNL prexys from the past few decades in a Presidential Reunion video (below) that already broke 2.5 million views on in under a week on site. Darrell Hammond stars as Bill Clinton, Jim Carrey as Reagan, Dan Aykroyd as Dick Cheney, Fred Armisen as Barack Obama, Chevy Chase as Gerald Ford, Dana Carvey as Poppy Bush, Will Ferrell as George W. and Maya Rudolph as Michelle Obama. The video is part 1 of three in the series. [Funny or Die, MainStreetBrigade]

Got something for Quick Clicks? Shoot them over to tips[at]tubefilter.tv

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During last night’s Oscar telecast, trailers for a branded reality-based web series following Rocco DiSpirito, Marisa Tomei, and Dan Cortese as they travel through Italy exploring the unique passions of Italian cuisine were nestled between the iPad and Coca-Cola adverts (one of which featured Safety Geeks: SVI’s Tom Konkle). In addition to Dr. Horrible aka NPH himself opening the show and The LXD teaming up with Debbie Allen for the Best Score performance piece, the web space was fairly well represented.

Sponsored by Italian food product company Bertolli and made specifically to help promote their new line of Italian frozen dinners, Into the Heart of Italy marks the company’s largest marketing investment ever according to an interview with Gaston Vaneri, a marketing director who oversees Unilever’s U.S. frozen foods business (Unilever owns Bertolli). Being described as “Amazing Race meets Top Chef“, the show seeks to promote its product by celebrating a country known for it’s love of all things culinary.

It will be interesting to see if the huge investment in this series; from it being completely produced in Italy, to the use of celebrities, to the chunk of change required to advertise during the Academy Awards; will have a payoff not only in views for the series itself, but the obviously larger goal of driving up sales for Bertolli products. This will be one of keep an eye on, with the first episode of the series launching March 14th.

Last Thursday, founder of theStream.tv Brian Gramo went live and told the online community that he had a very important announcement to make considering the interactive web television network. Viewers in chat knew Gramo was serious when almost every host of every show on the network joined them in the room. This was either going to be very good news…or very bad news.

In the aftermath of the Twitter storm that followed, it would prove to be a little of both. Bad in the fact that Gramo announced the departure of theStream’s longtime (and only) sponsor, Evo energy drink (it was a friendly departure, due to finances on Evo’s part), as well as having to layoff his two full-time employees. Good in the fact that it forced Gramo to begin seriously considering the future of the station and begin formulating a possible business model that will lead to the longevity of the station and the community it has fostered.

“I know everyone wants to do a Streamathon and raise a lot of money to keep theStream going,” said Gramo, who I had a chance to sit down and talk to at length about the future goals of theStream. “But that’s just a Band Aid, that would keep us going perhaps another couple weeks, another month or two. I’m much more interested in coming up with something that is much more sustainable.”

“When you come in and shoot an episode, it’s costs thousands of dollars to produce. (The hosts of the various shows) don’t see that,” Gramo explained. “It costs thousands a month in rent, all our different internet connections and bandwidth, production insurance … even the menial salaries me, Chloe, and Jared were drawing … even if it’s $100 dollars a day per person, that is still thousands of dollars.” One option for how shows can assure they continue is by providing their own sponsors, such as Doc Mock’s Movie Mausoleum has done with Newgrounds. One of Gramo’s goals is to have sponsors tailored to each show, as opposed to having one overall sponsor for the entire station.

In addition, Gramo plans to implement several other long-term strategies to try and assure theStream isn’t relying on just a single source of revenue for its survival. These include upgrading the studio with benefits such as greenscreen capability, access to a jib, prompters, and HD cameras and then renting out the space for a discounted rate to independent productions to bring in ongoing emergency revenue as well as raising awareness of what theStream is doing for young producers, something that has always been important to Gramo. “I like production, I’m a production nerd. That’s why I have the show Filmnut. It’s just really what I want to do … just producing that show and being creative and working with creative people that don’t know how to get done what they want technically … it’s a great partnership.” As additional incentive, productions that utilize the studio’s resources early on will be offered the benefit of being able to lock their discounted rate for the duration of the studio’s existence.

“If we can get the studio reconfigured, we can be making a decent amount of revenue during the day to support the primetime lineup once again so people don’t have to worry about losing that one sponsor,” stated Gramo. “We were relying on one source of income and we need to be relying on multiple sources of income. Each show needs to be paying for itself and the network needs to be improving itself off the income of the rentals.”

So the short-term goal would be raising the money to go forward with the studio revamp. Fan donations are already coming in and every cent helps. “Twitter has been a great asset to theStream. People started using the hashtag #savethestream,” explained Gramo. “But theStream isn’t going anywhere, I don’t know what else to do and we have a lot of properties that can exist without that studio. A lot of the shows will continue and theStream.tv website isn’t going anywhere. So instead of the hashtag #savethestream, it should be #saveourstudio. If you go to theStream.tv/SOS, I’m putting all the information there for people to help.”

If you are in the LA area and would like to help out in a more hands on way, Gramo is looking for volunteers to help with the actual revamp, which is scheduled to take place on or before Monday, March 15th. If you are interested, you can e-mail Gramo at brian.gramo[at]thestream.tv or call 310-424-5197.

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Back in November, a video collaboration between wildly popular vlogger Shane Dawson and web comedy originators The Fine Brothers hit YouTube. Within a week, it had gathered a whopping 2 million views. The video (above) was a parody of the Canadian teen drama Degrassi: The Next Generation, which would explain some of the success in terms of targeting a large and passionate audience. But what was interesting about the popularity of this video was the fact that it is over 10 minutes long and was actually viewed more often than the source material it was spoofing.

This weekend, a second video parody is going to hit the internet. Titled Girls Gone Wild On Degrassi, a sneak peek of the video (below) reveals that the collaborators are going to kick it up a notch…by actually including a member of the Degrassi cast, Lauren Collins, who plays the girl girls love to hate, Paige. On how she became a part of this installment, Collins said: “It’s all thanks to the Twitterverse! I received a ton of @’s about Shane’s first Degrassi video so I had to check it out! I thought it was hilarious. Dirty, vulgar and slightly inappropriate…sure. But that’s what made it so much fun. Jokes aside…what impressed me the most was the amount of detail that went into the writing. I knew that Shane and the Fine Brothers were huge fans and really appreciated the show. So I tweeted Shane and we kept in touch from there. I happened to be in LA while they were shooting Part 2, which worked out nicely.”

The Fine Brothers (whose fourth edition of their “Spoilers” series premiered this week in preparation for the Oscars this Sunday), always having strong, well-developed opinions on the New Media space as a whole, feels that the implications of their fan-generated content has great potential. “We think it is one of the few case studies of the power of web video that is often overlooked by traditional media, as well as the new media community itself. View counts have been de-valued in the space due to views being either non existent for most shows, full of fraud, or just flat out bought. It’s the elephant in the room. No one wants to talk about views, and those who boast them can’t transparently back them up, but Shane Dawson can, as can we with our own content. This is a situation where a top YouTube star with a real sustained fanbase and viewership does indeed have the power to make content that rivals television numbers- and beyond that, grab the attention of everyone from the executive producer of Degrassi to getting a cast member to join the cast. There is no money here in terms of the production itself, a 2 person crew (both of us), no company, no big press roll out or marketing budget…it’s a true brand, a true star, and true viewership with the kind of power that can change the way people look at the web space. We feel these Degrassi spoofs have done just that, and there is a bright future for companies that are smart enough to work with the right people that have proven they understand web video and can prove they can get the eyeballs to build a sustainable business model off of.”

“Also we want to give Degrassi some huge thanks and appreciation for completely embracing what we are doing,” the Brothers continued. “Many shows could learn a thing or two about the value and power of the web, and it’s amazing to see the show supporting us. As fans, we can’t even express how good it feels to know we can actually give back to people who have brought so much entertainment to us. And talk about surreal when you then have the actress in person, right there reading lines you wrote. If that’s not what being a web creator is all about, we don’t know what is!”

And there is still more to come from this pairing. “I would love to continue working with the Fine Brothers,” 2010 Streamy Award-nominated Dawson said. “I know we are both obsessed with the show Saved By The Bell so I think that should be our next project. Playing Zack Morris has been a dream of mine since I was 5. If only I could be as cool as him…one could dream. As far as other projects outside of YouTube, television has always been the goal and we are taking all the steps to get there. It may take some time but when it happens I know it will be amazing. There needs to be more wigs and cross dressing on television and I think I can make that happen!”

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After their pilot episode snagged the Grand Prize at the 2009 Escapist Film Festival, creator Brett Register and his producing team of Rick Rey and Paula Rhodes knew they were on to something. At that point the show was called Dorian’s Quest, but after a name change to A Good Knight’s Quest, the team set out to shoot a 24-episode gamer comedy web series that would run on The Escapist Magazine’s site in weekly installments.

“I’m a huge fan of the Escapist, I have been for years, ever since I was in college,” said Register. “I always wanted to do an 80’s style show, like my own Masters of the Universe web series—the bad movie not the cartoon TV show.” To launch the series, the team hosted a well-attended LA premiere at the Capitol City Hollywood on Monday night. While its real-life-to-game crossover theme isn’t entirely unfamiliar to web series fans—think The Legend of Neil or even the French series Noob, this one takes the more Enchanted spin on it.

When a video game princess crosses over into the real world, a geeky gamer is thrust into an epic suburban adventure in this comedy web series featuring an all-star Web TV cast, including Craig Frank (Compulsions, The Crew), Paula Rhodes (Shuffle), Douglas Sarine (Ask A Ninja), Angie Cole (Sorority Forever), Charlie Bodin (24, Cold Case), Cathy Baron (Valley Peaks, The Eves), Brett Register (The Crew), and many more!

And as for that elusive mystery guest star? She is revealed in the exclusive new trailer (above) to be none other than Brea Grant from Heroes. Catch up with episode 1 below:

So far twelve episodes have been shot, according to Register, and in April they plan to shoot the final twelve. “It’s self contained story that will end after the 24 episodes,” added Register, “so if we did a second season it would really be sequel.” For the business side of things, Escapist is paying upon delivery of the episodes, with some incentives worked out similar to the site’s most popular series to date, the Streamy-nominated animated hit Zero Punctuation.

After just one episode, the fans have been vocally supportive of the new show, banging out 350-plus comments so far. “These are video game ethusiasts who are usally very hard on things they don’t like,” noted Register, “but the repsonse has been very positive so far.” Register also noted that this is his dream situation online and reminds him why he makes web series after all. “It’s a first time I’ve felt that it’s a huge benefit having the show on the web rather than traditional media with this kind of interactivity between creators and fans.”

A Good Knight’s Quest runs every Friday for 24 weeks (starting February 26th) on TheEscapistMagazine.com.

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This week saw the launch of Hulu’s first original web series, If I Can Dream, backed by reality TV’s worldwide top dog, American Idol creator Simon Fuller. His first foray into the web goes way beyond Hulu though, as the series blends several reality formats into a 24/7 experiential internet show combining dozens of live camera feeds, edited episodes and even a public auditioning platform on MySpace. The show follows five young and aspiring talents trying to make it in Hollywood, which on its own isn’t anything novel. Three of them are actors, one a musician and another a model, all starting somewhere near the lower ranks of Hollywood’s slippery talent ladder.

So why is this is big deal for web TV?

Reality’s Cost Paradox

Reality shows swept across television starting in force back in 1999 with the success of the voyeuristic Big Brother and followed soon after by Survivor, The Amazing Race and the launch of reality’s crown jewel, American Idol in 2002. Sure, it was a fresh format—complete with a whole myriad of sub-formats (docu-reality, competitions, hoaxes, makeovers, etc.)—but what really sold it up the network brass was the cost. These things were just plain cheaper than scripted television.

This of course left a whole slew of TV writers and actors left with a dwindling pilot season and fewer time slots open for their scripted stories. Networks have a finite number of hours of programming time every day, and when one show moves into a time slot another moves out. Online however, the time slots aren’t scarce at all. Networks have in effect infinite shelf space for new series, they just need to make the revenues line up with the costs before greenlighting a project.

The irony online, and probably the reason we haven’t seen more reality formats tried as web series, is that compared to most web series, these things aren’t cheap at all. In fact to pull off what are now widely accepted structures for reality series, it takes a considerable amount of footage be shot, countless hours of editing, and most often some sort of controlled environment during the shoot. This costs money.

So to pull off something of this scale for If I Can Dream, it took that magical trinity of Content (Simon Fuller’s show concept), Distribution (Hulu and MySpace) and Brand (Pepsi and Ford) to all come together. This couldn’t happen without all three lined up before even a frame was shot to disk.

Isn’t Reality Already Here?

Some could argue that the ultimate reality format already exists online: the endless sea of home videos uploaded into YouTube every minute. The cost structure of this content is zero. But adding controls and parameters that drive us to tune in weekly or even daily, means actual producing needs to happen. We won’t all aspiring actors trying to make in Hollywood, but we will watch a rigorously vetted crop of ever-so-coiffed dreamers. Sociological issues aside, that’s the state of mainstream American television tastes—traditional or internet.

But capturing mainstream TV viewers, who are now increasingly geared up with high-speed broadband connections, is the ultimate goal for many of the web’s would-be reality show producers. So luring Idol viewers online on a regular basis means delivering a product that fits a standard that for better or worse is what they demand. Mommy XXX on Crackle was close to emulating TV’s reality format as it followed the daily home life of adult film star Demi Delia, as was TheWB.com’s Rich Girl Poor Girl. Neither series however has been renewed as of yet.

For the most part, the web thrives on niche, and dozen of reality or docu-reality web series have found small but meaningful audiences. In Their Boots followed Iraq war veterans and their stories from the battle zones, and David Lynch’s Interview Project sat down to tell the real stories of the American Heartland. Online travel series like The Gap Year or InTransit have filled that raw experiential travel stories that TV seems to miss. It’s not that the web is dearth of reality storytelling, it’s that it’s short on TV’s idea of reality formats.

Floodgates to Follow

So in many ways If I Can Dream will serves the litmus test to see if a high-concept, heavily promoted and prominently distributed reality series can really deliver an audience for the brands that stepped up to back it. So how big an audience does it actually need? TV By the Numbers‘ Robert Seidman was quoted in the Huffington Post saying: “What would make it a hit on TV would depend on what network it is on, but in general it would need to average about 4 million adults 18-49 for the duration of the show to be considered a success in terms of broadcast network ratings (or about a 3.0 rating with adults 18-49).”

While Nielsen ratings aren’t quite apples to apples for online viewing yet, if the new series can score several million views per episode on Hulu, not counting the live feed traffic or MySpace postings, then it’s probably going to get renewed. This also assumes of course that they aren’t running any auto-play views across video ad networks.

A success for If I Can Dream means we may be seeing the start of a reality rush online in 2010. The boom of alternate reality games (ARGs) and interactive storytelling means new genre-bending formats for entertainment might emerge in the next few years. So whatever you think of the Hollywood polish and corporate sheen on Fuller’s web experiment, you can’t help but think what happens if it actually works.

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