Features

net.wars: Reality TV

Here at the American Film Institute's Digifest in Hollywood – really Hollywood, with the stars on the sidewalks and movie theatres everywhere – the talk is all of "cross-platform".

So I can tell you that the Xerox machine in the second season of Mad Men has its own Twitter account, as do many of the show's human characters. Other TV characters have MySpace pages and Facebook groups, and of course they're all, legally or illegally, on YouTube.

This event allows the AFI's Digital Content Lab to show off some of the projects it's fostered over the last year, and the audience is full of filmmakers, writers, executives, and owners of technology companies, all trying to figure out digital television.

One of the more timely projects is a remix of the venerable PBS Newshour with Jim Lehrer.

A sort of combination of Snopes, Wikipedia, and any of a number of online comment sites, the goal of The Fact Project is to enable collaboration between the show's journalists and the public. Anyone can post a claim or a bit of rhetoric and bring in supporting or refuting evidence; the show's journalistic staff weigh in at the end with a Truthometer rating and the discussion is closed. Part of the point, said the project's head, Lee Banville, is to expose to the public the many small but nasty claims that are made in obscure but strategic places – flyers left on cars in supermarket parking lots, or radio spots that air maybe twice on a tiny local station.

The DCL's counterpart in Australia showed off some other examples. Areo, for example, takes TV sets and footage and turns them into game settings. More interesting is the First Australians project, which in the six-year process of filming a TV documentary series created more than 200 edited mini-documentaries telling each interviewee's story. Or the TV movie Scorched, which even before release created a prequel and sequel by giving a fictional character her own Web site and YouTube channel. The premise of the film itself was simple but arresting. It was based on one fact, that at one point Sydney had no more than 50 weeks of water left, and one what-if – what if there were bush fires? The project eventually included a number of other sites, including a fake government department.

"We go to islands that are already populated," said the director, "and pull them into our world."

HBO's Digital Lab group, on the other hand, has a simpler goal: to find an audience in the digital world it can experiment on. Last month, it launched a Web-only series called Hooking Up. Made for almost no money (and it looks it), the show is a comedy series about the relationship attempts of college kids. To help draw larger audiences, the show cast existing Web and YouTube celebrities such as LonelyGirl15, KevJumba, and sxePhil. The show has pulled in 46,000 subscribers on YouTube.

Finally, a group from ABC is experimenting with ways to draw people to the network's site via what it calls "viewing parties" so people can chat with each other while watching, "live" (so to speak), hit shows like Grey's Anatomy. The interface the ABC party group showed off was interesting. They wanted, they said, to come up with something "as slick as the iPhone and as easy to use as AIM". They eventually came up with a three-dimensional spatial concept in which messages appear in bubbles that age by shrinking in size. Net old-timers might ask churlishly what's so inadequate about the interface of IRC or other types of chat rooms where messages appear as scrolling text, but from ABC's point of view the show is the centrepiece.

At least it will give people watching shows online something to do during the ads. If you're coming from a US connection, the ABC site lets you watch full episodes of many current shows; the site incorporates limited advertising. Perhaps in recognition that people will simply vanish into another browser window, the ads end with a button to click to continue watching the show and the video remains on pause until you click it.

The point of all these initiatives is simple and the same: to return TV to something people must watch in real-time as it's broadcast. Or, if you like, to figure out how to lure today's 20- and 30-somethings into watching television; Newshour's TV audience is predominantly 50- and 60-somethings.

ABC's viewing party idea is an attempt – as the team openly said – to recreate what the network calls "appointment TV". I've argued here before that as people have more and more choices about when and where to watch their favourite scripted show, sports and breaking news will increasingly rule television because they are the only two things that people overwhelmingly want to see in real time.

If you're supported by advertising, that matters, but success will depend on people's willingness to stick with their efforts once the novelty is gone. The question to answer isn't so much whether you can compete with free (cue picture of a bottle of water) but whether you can compete with freedom (cue picture of evil file-sharer watching with his friends whenever he wants).