In case you
haven't heard, we fans of the late, lamented TV show Veronica Mars have a lot
to celebrate this week. In less than 1 day a Kickstarter campaign to fund a
movie based on the show (something fans have been clamoring for since the
show's cancellation 7 years ago) raised $2 million. As of this writing, they're
still not 3 days into their 30-day fundraising drive and they're already approaching
$3.3 million.
If you have
never watched Veronica Mars, I implore you to do so. It is one of the smartest,
most ambitious shows that has been on network TV in the last decade. Take a
gander at the Season 1 trailer. It's got the noir-ish feel that permeated every
scene of the show for its entire run:
It was unapologetically dark (who opens a series pilot with the lead character getting raped?), hauntingly funny and devilishly clever. Veronica Mars was a natural evolution of female heroine from Joss Whedon's Buffy. It had the same quality of writing, probably a touch better acting and much more mainstream appeal.
Back in 2007 I was one of the people who bought Mars Bars from the
As
thrilled as I am with this development, and as excited as all of the talk about
how this could very well change the dynamics between fan bases and studios who
own the rights to the universes and characters that we tend to obsess over,
this week's events have given me a bit of pause.
The biggest
issue that I have with the Veronica Mars campaign is that in the future I could
easily see movie studios holding some of their properties hostage to campaigns
like this one. They could, in effect, transfer the cost of production onto a
fan base by refusing to make a movie unless they pay up, and then reap all of
the rewards of the ticket sales if fundraising goals are met and the movie is
made. Sure, the "investors" in the campaign get the cultural artifact
that they want, but they end up having to pay for it twice.
The natural
counter to that, however (this is where I argue with myself), is that
if the "rewards" for lower-tier investment levels are digital
downloads, DVDs or the like, then essentially fans are simply pre-purchasing
things that they'd probably buy anyway, thereby voting with their dollars for
something tangible.
On the
other hand (man, I'm really argumentative today!)... When people, in effect,
"pre-purchase" DVDs and digital downloads, they're really only
shifting the distributors' post-theater revenue stream to the pre-production
stage. In that scenario the studios are robbing Peter to pay Paul. They get to
cash in immediately on the intellectual property instead of waiting for months
and months for the production and distribution process to play out. And I fear
what any entertainment executive will do when given the chance to lock in
profits now by essentially eliminating all risk from the production
proposition.
Clearly
this does not end the tug of war between corporate producers and consumers, but
it does shift the battle into a different arena, and, hopefully, we fans are at
a bit less of a disadvantage here.