But when Dylan first fires up her laptop’s webcam and begins to record herself video-blogging, the constraints of old media dissipate, and so, apparently, does her social discretion. Part of Dylan’s angst derives from her frustrating position as a low-level editorial assistant at Women’s Attitude magazine.
“What is the life of a writer, and am I living it?” muses the show’s main character, Dylan Krieger (Bitsie Tulloch). It’s a lot of false starts, second guessing and feeling sorry for yourself. “Quarterlife” has advertising deals with Pepsi, Target and Toyota, and it’s not a leap to guess who’s riding shotgun, given that one of the show’s main subplots has two young filmmakers making a commercial for a Toyota dealership.Īwriting teacher of mine once explained away the dearth of great novels about life’s third decade with a wave of the hand: “Nothing interesting happens in your 20s,” he said.
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Widely thought to be the most expensive Web-only TV show yet, “quarterlife” is financed by a combination of venture capitalists and advertisers, according to Herskovitz, who would not offer exact budget numbers. MySpace will promote the show by serving 500 million Web pages that include ads for “quarterlife,” he added. But they’re bringing us a lot of eyeballs, so it’s worth something.” “We don’t care about MySpace, because they’re not paying us. “We only care about our site,” Herskovitz said at USC. com, which boasts a much larger and more eye-friendly viewing screen than the small screen on the MySpace page. Starting tonight, “quarterlife” will be doled out in eight-minute “webisodes” posted twice a week, first on MySpace (Sundays and Thursdays), then a day later on the show’s proprietary platform and social network, quarterlife. So Herskovitz and Zwick decided to bypass TV altogether, re-imagining the show as an Internet original - an endeavor Herskovitz described as “a speculative wing and a prayer.” Indeed, “quarterlife” has its roots in a 2005 ABC television pilot called “1/4life” that did not make it to air. Which means that both its characters and its medium are experiencing rapid, whirling change on the one hand and a pervasive sense of uncertainty on the other.įor his part, Herskovitz said he had become “radicalized” by what he saw as a consolidation of media power that had homogenized broadcasters’ offerings and which, as he wrote in a recent Times Op-Ed, was “literally poisoning the TV business,” having laid the groundwork for the writers strike. “Quarterlife” valiantly attempts to navigate a perilous strait: On one side it’s a tale of young artist-types trying to get a handle on real-world living, and on the other it’s an ambitious exploration of a new media genre whose waters are largely uncharted: the short-form Web drama.
Having nailed the 30s in the ‘80s and the teens in the ‘90s, Herskovitz, 55, and Zwick, also 55, have left themselves with a difficult pair of decades in which to complete their epic of growing up: the 20s, and this one.
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Most of us over 25 are familiar with the work of Herskovitz and “quarterlife” co-writer Edward Zwick, the creative team behind “thirtysomething,” the term-coiningly iconic TV series of the late 1980s, and “My So-Called Life,” which, if its status as the best teenage drama ever is not universally agreed upon, then only a handful of people need their minds changed. That’s not strictly true - it’s just not the show’s audience that’s buzzing about it.
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