If you’re a regular reader of this blog you’ve noticed it looks different! I’ve redesigned the site to better organize all the information on here.

First is the homepage. The featured slider will show the most recent posts. I’ve arranged articles by subject, so you’ll see section for posts on “Web Series,” which will highlight individual shows; “Online Video,” for posts about the broader market for web content; “Culture,” for essays about representation and American culture; “News and Updates” will highlight professional announcements; and “Television and Film” will feature just that.

Each individual post now has more social media options, including Reddit, which I’m excited about.

The other big changes are to the pages above. The “About,” “Web Series” and “Essays” tabs are now better organized and comprehensive. My “About” section now includes all the information from my personal website: an extended bio, academic scholarship, press I’ve written/received, information about my projects, and news. The old pages from my personal site will now redirect to these.

The “Web Series” page, in which I list posts on various issues, has been split up into six separate subpages on separate topics: the market, an introductory primer, and pages about web programs and race, gender, sexuality and a list of shows set in New York’s boroughs — just for fun!

The “Essays” page is also cleaner. The lists are now categorized neatly in subpages: academic, film, TV and web video.

The web series lists — black, gay/lesbian and Latin@ — will continue to be updated regularly. I’m considering adding new lists and redesigning the current ones.

As always, Televisual is a work in progress, so please email suggestions and bear with me!

Asian Americans watch more online video than other ethnicities and yet are mostly underserved in original content. Former NBC head and founder of studio Electus Ben Silverman is trying to change that with K-Town, a reality show about hard-partying denizens of Koreatown.

K-Town has been in development for awhile. Executive produced by Tyrese Gibson, it was pitched to cable networks but couldn’t find a buyer, probably because network heads thought it would be too niche. (Though not really comparable, Bravo has had moderate success with The Shahs of Sunset, having recently renewed that show for a second season). Gay fans got interested because star Peter Le had a side business as a muscle worship god online.

Now the show is headed to Electus’ YouTube premium channel LOUD, which will focus on pop culture generally. Electus has three premium YouTube channels, one, Hungry, focusing on food, and the other, NuevOn, focusing on Latinos — NuevOn’s first reality show, Mi Vida Con Toty, features Sofia Vergara’s son constructing funny situations about her life. The studio is clearly reaching for underserved minority audiences, something YouTube is as well: a number of its new channels prominently feature Latino-targeted content.

Executive producer and MTV development chief Liz Gateley promoted K-Town as a direct answer to the Jersey Shore, telling the Hollywood Reporter:

“What’s great about it is that that they represent any sort of young, twentysomething crowd that’s just trying to make their dreams come true,” Gateley said. “But you’re just seeing it through the streets of Koreatown as opposed to the streets of Jersey Shore.”

Despite what is almost certain to be a much-debated representation of an underrepresented subculture, Angry Asian Man‘s Phil Yu is still psyched for what he called a “train wreck of awesomeness:” “I’m actually a little bummed that this isn’t going to be airing on a cable network, in the neighborhood of all the other trashy reality shows out there. But I suppose this is the way things are going, and there’s nothing wrong with that.”

The trailer is kind of a work of art, in an abrasive, manipulative sort of way. Hyping the show’s viral past (when it was announced, in the height of the Jersey Shore hoopla) and suggesting it was too risky for TV.

That’s a message YouTube can get behind.

It’s Crowdfunding Campaigns to Watch: Fantasy Edition! In today’s installment we have two web series promising supernatural intrigue.

The first is Guards of Dagmar from creator Tina Cesa Ward (Anyone But Me, Good People in Love). Ward’s notoriety in the web series world has made Guards a buzzy project for awhile now, and the campaign is a big push to support production. “I believe in order to deliver high quality work, you have to hire highly capable crew,” Ward wrote on the campaign website.

What is Guards? I’ll have the expert explain. It’s unlike anything you’ve seen before!

Tom has given up his dreams to be star chef and takes a job as a cafeteria cook in a residency for the developmentally and intellectually disabled.  There he’s met by Daniel, a lifelong resident of Dagmar who witnessed the choking death of his friend during lunch time.  Daniel is convinced monsters killed his friend and ever since then Daniel has stood guard during every lunch trying prevent the same fate from happening to anyone else.

When Daniel meets Tom, Daniel is convinced that new cook that says he can change the menu is actually a new Guard sent to Dagmar to help.

The series has a transmedia component available exclusively to supporters of the campaign (once it reaches 75% funded). As for distribution, the project is designed for both short- and long-form and will be pitched to a variety of networks, including Hulu, one of Anyone But Me‘s distributors.

To support Guards, visit its Kickstarter page. For more information, visit its website.

I’ve done a lot of writing on sci-fi web series by and about people of color, so it was a no-brainer to feature the campaign for The Abandon.

The Abandon is the brainchild of Keith Josef Adkins, a playwright and television writer (Girlfriends). Adkins’ show is right on trend: a post-apocalyptic drama about a band of outsiders fighting for survival (see: Walking Dead, Falling Skies, JJ Abrams’ upcoming Revolution, etc.). The series follows five black men who discover they might be the last humans on Earth — and they might be prey: ”Friends from college, these five men will also discover why they are being hunted down by an alien species. And why the alien species may have a message that will disrupt the entire universe.” That’s quite a hefty story!

Adkins is producing the show in part to diversify the sci-fi genre: “The Abandon is inspired by my desire to see black and brown people work in the sci-fi genre. It is inspired by knowing so many black people who deeply love and respect the sci-fi genre and my interest in making them happy,” Adkins wrote on the campaign website.

To support the show, visit its Indiegogo site.

Original article posted on Tubefilter.

Filmmakers have plenty of places to raise money these days, the most popular of which are Kickstarter and IndieGoGo, both quite popular in the space and elsewhere. Even prominent writers like Bret Easton Ellis and directors like Hal Hartley use them.

But Aubrey Levy thinks independent television creators need a space of their own. His new website, Mobcaster, helps producers looking to finance and distribute long-form TV — half-hour and hourlong episodic series. Mobcaster is both a crowdfunding site and an indie TV network.

“We are an independent TV channel. We’re just in a crowdfunding phase,” Levy said. “The audience dictates the shows.”

How does it work? A TV creator approaches Mobcaster with a pitch for a TV pilot, or, if they already have a pilot shot, a six-episode season. Audiences have to fund the project in order for it get produced. The creator produces the pilot or season, which is then released on Mobcaster. The creator can go back on the site and fundraise for more production. Mobcaster takes 5% of crowdfunding money and a 50/50 advertising split when the show airs on the network.

The idea behind Mobcaster is to get audiences involved in the development process, destabilizing the power of network heads as creative gatekeepers, while also guaranteeing that crowd-financed projects don’t get lost on the Internet, never to be heard from again. Eventually Mobcaster plans to have a full slate of shows continually funded by users. Some of those might get picked up by television, since all series are long-form (Mobcaster would take a minority share, but creators would retain the intellectual property).

That’s not to say Levy isn’t actively looking for high-quality shows for the site. He discovered Mobcaster’s first and most successful campaign, an Australian comedy of errors called The Weatherman, at last year’s New York Television Festival. “I was incredibly impressed with the show, with the production, the writing, the acting,” he said. “They were looking for an outlet for it.”

Funding independent television is personal for Levy, who started out as an actor and writer. Levy wrote a pilot a few years ago that generated some interest, but the rigorous network development process sent him through tons of revisions, none creatively necessary, only to have the series not make it to air.  “We had to please so many constituents just to get it sold to network,” he said. Mobcaster cuts out the middlemen.

At the same time Mobcaster hopes to fill a void for those who want to create long-form television but have found distribution challenging. Independent filmmakers have the festival circuit, and short-form TV producers have YouTube and a slew of web networks. But long-form remains a challenge: aside from on-air, only a few online networks are ordering full-format television, and most are working with established TV producers and personalities. At the same time, successful Mobcaster shows could move to those channels if they build large fan bases. But they don’t have to rely on traditional television.

“It’s a system built around finding one Modern Family or one Lost that pay for the rest,” Levy said. “I see the inefficiency in the system, and we’re trying to bring efficiency to it. We’re trying to disrupt the process without destroying the world.”

A variety of shows are already on Mobcaster, from Back to Your Senses, a docu-series about people who find pleasure from work to Drifter, an ambitious sci-fi series from a number of mainstays from the web series world. Levy says he’s in various stages of conversation with over 100 content creators to place projects on the site.

“We chose to work with Mobcaster because we believe in their vision, where independently produced TV programming has a place in the entertainment ecosystem,” Koenig said. “Business-wise, it’s a long road ahead, but the audiences are already there for good shows. As producers, the industry is behind the demand curve. Mobcaster is helping us catch up.”

If you’re a fan of Children’s Hospital, but are looking for more gays in your medical procedural satire, look no further than Gay’s Anatomy, a sitcom about urology residents currently releasing its second season.

“It’s residency year two, hookers, and I’m a lean, mean urology machine!” Jim confesses in the opening of Gay’s Anatomy‘s second season. ”Seriously I’m on new birth control pills and I’m down two pants sizes.”

Gay’s Anatomy, created by Karina Mangu-Ward and B. Hodgson, is not for everybody. Like Children’s Hospital, it is almost certain to offend more than a few viewers. But in an environment where gay and lesbian shows are dwindling, and the most popular gay characters are mostly bland and inoffensive (Modern Family, Glee), Gay’s Anatomy is a welcome change. It’s outgrown the simple pun of its title and become a consistent satire of just about everything, with lovably unlikable protagonists.

For more about the show, check out out my first season interview with the creators. For all episodes, visit its website. The season two premiere is below.

I was going to write about this awhile ago, but my schedule is all out of sorts! Still, it’s never too late to spotlight an indie web series trying to get produced.

This edition of “Crowdfunding of Campaigns to Watch” features The Variants, a cult web series about the behind-the-scenes zaniness of an actual Texas comic book shop, Zeus Comics. That’s right: it’s a scripted, gay-focused Comic Book Men released long before AMC got wind of the idea.

“Our goal is to make six of the funniest episodes of The Variants you’ve seen yet. But we’d like to make more!” executive producer (and Zeus owner) Richard Neal said in his pitch video.

The Variants is looking for $8,000 for a third season and it’s almost there! With 24 days to go, however, they’re not stopping there. If they raise $10,000 they’ll make eight episodes; at $12,000, they’ll make ten!

Since 2009 The Variants has been dishing out light humor about the scrappy, nerdy team running an independent store. It’s the kind of comedy you want to root for, with enjoyable characters you want to spend time with. The series has had a number of strong supporters, including Tubefilter and The Walking Dead‘s Robert Kirkman, who offered the team a supportive blurb for their campaign.

Below I’ve pasted the first and latest episodes of The Variants. To support the show, visit its Kickstarter page. For more about the show, visit its website.

Originally posted at Hacktivision.

“The new scarcity is content, content that is quality,” Digitas chief creative officer Mark Beeching said at the company’s fifth annual Newfront yesterday.

We all know about scarcity on television—or at least we think we know. There are only so many channels on television, and only a handful of them create the headline-grabbing or critic-worthy original programming most people care about. Of course, there’s a lot more television today than ever; whole seasons of television can now be made for $1 million or less. Still, channels don’t order hundreds of shows at a time. Selectivity gives television its power.

The web boasts much more programming, Beeching was saying, and that’s a problem for marketers. If the power of television is curation, web networks have been trying for years to emulate it. To get brands on board, companies like YouTube, Hulu, AOL, Yahoo and Microsoft—with Digitas, the five founding partners of this year’s event—need to prove to audiences original web programming is worth watching. To do that, they feel the need to be selective: pick a few programs and push them. They need, in the words of future Participant television chief Evan Shapiro, to “help people know what to watch.”

Hence, the Newfronts. The Newfronts are the digital answer to the broadcasters’ Upfronts, where they parade shows and stars in front of marketers, while ad buys and deals get done backstage. These are also a way to get audiences interested in programs. Such conferences have two directives: watch this show (to audiences) and buy this show (to marketers). Backstage at Newfronts, held in SoHo, advertisers met network execs hungry for cash.

But digital networks have an extra task. They have to sell the medium. Judging from the event yesterday, and the many side events taking place all week, every network seems to have a different idea of how to accomplish these tasks, to position the web as the new television.

Web Programming execs, from left to right: Janet Balis (AOL), Rob Bennett (MSN), Jamie Byrne (YouTube), Andy Forssell (Hulu), John McCarus (Digitas) and Erin McPherson (Yahoo!)

Of all the founding partners—the Big Five to TV’s Big Four—Yahoo! and Hulu might be going the hardest for “big content,” the theme of this year’s Newfronts. Yahoo is branding itself the “first digital network” and is marshaling Katie Couric to help it back up the claim. If Yahoo doesn’t want to be TV, it wants to be bigger than TV:  “This is not TV. This is what I call before ‘TV on steroids,’” said Erin McPherson, Yahoo head of original programming. The network is heavily promoting its much-anticipated, 90-minute, post-apocalyptic animated series, Electric City, written and starring Tom Hanks, with co-starring roles for Holland Taylor and Jeanne Tripplehorn.

Hanks chose Yahoo because of its global reach, McPherson said. Yahoo can distribute a artsy blockbuster around the world, Avatar via the web (Electric City comes with a green message, naturally). “The internet could embrace ambiguity in a way that television can’t,” McPherson said. She has past hits to back her up. Intentional or not, Electric City follows in the footsteps of early web video hits Afterworld and After Judgement, both post-apocalyptic, sci-fi dramas.

Yahoo is choosing to go big, but Hulu has no choice. As the primary site for watching broadcast TV online, viewers who visit the site expect traditional formats.  “The bar is pretty high,” said Andy Forssell, Hulu’s senior vice president of content. The network says its focusing on picking up shows from television and film vets like Morgan Spurlock, Richard Linklater and Seth Meyers who have an interesting idea they couldn’t get on-air. The network’s first half-hour show, Battleground, has received mixed reviews, with Reuters and The Wrap calling it TV-lite, but other respected critics saying it’s must-watch web TV. Forssell encouraged marketers to look out for its shows in the upcoming year, signaling a shift from the very recognizable Battleground.

AOL, now with the powerful Huffington Post in its corner, is aiming to be the CNN of the web, with a live 12-hour news and entertainment program, The Huffington Post Streaming Network. The promo shown at Newfront looked like MSNBC meets Current TV, with young, hip hosts and a lot of swerving cameras. The network will try to leverage Huffington Post‘s high social media activity to get a jump on the competition. AOL’s Janet Balis boasted the site logged its 150 millionth comment yesterday: “It starts with television, but we hope it becomes a social experience,” Balis said.

Microsoft and YouTube are, arguably, moving the farthest away from TV. YouTube, which we’ve covered a lot on this site, has 100 premium channels in the mix, many of which have already premiered and been variously praised and scolded for deviating and emulating television. At the event, YouTube’s content head Jamie Byrne showed a clip from one of their many Latino-targeted channels, this one a reality show about Sofia Vergara from her son on the network NuevOn from former NBC entertainment head Ben Silverman’s studio, Electus.

“We think we’re just getting things started,” Byrne said. “We’re taking the risk out of the scenario for the content creators, so they can think about business.”

What Byrne means is the site, historically known as “a platform about individual videos,” is moving away from promoting the mass of “viral” videos and showcasing what’s marketable. YouTube-approved content will now define YouTube, the quirks smoothed out. Content creators will have a lot less marketing to do, less worrying about making their videos spread. YouTube, like any TV network, will market its own programming.

Most famously known in the web series world as the distributor of Felicia Day’s indie hit, The Guild, Microsoft appears to be focusing on innovation and interactivity. It hasn’t let go of the past: Day, a charming and intelligent spokesperson for the power of the web to support producer-driven content, was a strong presence at the NewFronts this week. She is, with good reason, a strong supporter of her employer, which has supported The Guild for four years.

For the post-TV future, Microsoft is focusing on Xbox and interactivity. The company unveiled a promo for an Xbox-distributed “show” called Kid’s Kitchen, which is kind of an interactive game where kids pick ingredients and make a digital meal, which “mom” can then cook. In the promo, the kids playfully interacted with a television screen, yet what the audience saw was anything but. Microsoft wants to reinvent television, but Kid’s Kitchen is also nostalgic for early television: those days when families gathered around one screen, not four or seven, in the heart of the house, the living room. Make room for web TV.

All in all, the afternoon of talks, promos and stunts was exhilarating, and there’s clearly a lot of innovation in the space, despite the overwhelming popularity of brand-friendly reality programming, the mainstay of cable TV. Nevertheless, a quiet anxiety pervaded the event, an uncertainty about who really owns the future of TV, the old or new media.

The opening panel set the tone. Piers Morgan moderated a group of saavy women from across TV’s long tail: Michelle Phan, YouTube’s pioneer beauty vlogger and Lancôme spokesperson; Felicia Day, web series mastermind; and Kristin Chenoweth, Broadway diva and star of ABC’s GCB (which in my mind will always be Good Christian Bitches). Piers Morgan, after acknowledging with breezy British superciliousness that he’d never heard of vlogging, Phan or Day before prepping for this event, ended the panel quite enraptured by the mastery Day and Phan have of the web space and their audiences (geeks and young women, respectively). Both women have big numbers to back up their efforts — a consistent theme in the event, with nearly event network, show and person boasting millions of followers, views, likes, comments, etc.

Chenoweth, too, was impressed. The new media neophyte, who plans to vlog during her upcoming tour but admitted to lacking any expertise, ended the panel in deference to the smart, young web stars.

“Basically, you’re going to be my boss one day!,” she exclaimed with delight.

The Big Five are certainly betting on it.

Credits:
-Digitas, 2012
-Digitas, 2012

Thanks NewsforTVMajors and Racialicious for linking.

So HBO has a problem with Girls. Mainly, that a lot of smart people are really pissed the show is so white! And they’re right. I’ve refrained from writing extensively about this because (a) so many other people (links above!) are doing it well, (b) I think the show is smart, and (c) I agree with Seitz: race is the industry’s problem, not Lena Dunham’s. She is privileged, yes, but, let’s be honest, also got lucky with a sweetheart Louie-like deal: cheap production and relative freedom in lieu of high ratings (Girls‘s paltry 0.4 rating in the demo would get it canceled everywhere but HBO, and maybe FX**).

In the spirit of shifting blame back on the industry and being constructive, I’ve decided to link to some web shows mainstream TV critics might not know about, because there are so many.

The Girls imbroglio, which was easy to see coming but surprised and heartened me in its scale, has shone a light on the ugly side of Hollywood most people forget about. Mainly, that most everyone is white, and most people in power are male. Alyssa Rosenberg has done a really great job highlighting this in the past week (see: her posts on women of color already writing for TV and her stats on their employment).

There’s been some discussion about how the Internet figures into all of this, with a number of people mentioning Awkward Black Girl, hugely popular and shopped to networks only to stay online (following The Guild, that might be a good call for Rae). Latoya Peterson linked to my black, gay and latino web series pages — links at the top — in her great critique of Girls.

I thought I’d make it easy, and, in the spirit of “put up or shut up,” spotlight a few shows, past and present, which could use an FX-style pick-up. A lot of these shows would be cheap to do, but could benefit from the little bit of low-risk cash TV networks can deliver (I’ve highlighted shows by men and women, because the problem isn’t just with female-led shows on TV, far from it).

As always, this is the tip of very large iceberg. Please put other suggestions in the comments!

The Misadventures of Awkward Black Girl

An obvious mention, Awkward Black Girl isn’t a perfect show — what show is? — but it’s smart, fresh and incredibly adept at speaking to specific concerns of black women, young black professionals and anyone who’s ever worked in an office or had to choose between two romantic interests.

Black and Sexy TV

Dennis Dortch’s online network features a number of relationship dramas and comedies. They’re pretty made-for-web, but I’d be intrigued about what a TV version would look like.

BJ Fletcher: Private Eye

This lesbian detective series ended its run last week — final episode embedded above. It built a sizable cult following and almost made it television, but the producers decided to end it on the web.

I emailed the show and creator Regan Latimer told me why:  ”It was a very conscious decision for us to bring the show back to the web – it’s an amazingly creative and open format for telling the stories we want to tell. It’s a new industry that is quickly opening up as a new standard for traditional media. And we’re excited to have been in on the ground floor.” For its part HBO is not foreign to lesbian web shows, having funded years ago the short-lived Time Traveling Lesbian.

PS – another lesbian sitcom about two “girls” (and, like Girls, anti-heros as well!): The Slope.

Chick

Drama Queenz

Drama Queenz went all-out in its third with 20-minute episodes and higher production values. The show wants to be on TV, someone should shepherd it through! (It won’t be Logo).

East WillyB

There’s no better way to balance a comedy about privileged hipsters in Brooklyn than with another comedy about gentrification in Brooklyn. East WillyB is currently raising money for its first full season — visit Kickstarter.

Melody Set Me Free

Performance and video artist Kalup Linzy’s web series has new episodes out right now! If we’re looking for an arty/avant-garde show by and about people of color, we need look no further.

Queen Hussy

Pete Chatmon’s under-seen show is high concept: a former (black) party girl pitches her story about being a seventies’ wild child. The show presents her youthful exploits as proto-reality television in 8mm. Can you beat that?

The Real Girl’s Guide to Everything Else

This satire of Sex and the City and female-targeted media is arguably the polar opposite of Girls: diverse, politically aware, campy and silly. A second season is apparently in the works. Why shouldn’t it air on television?

Ylse

This early web series is no longer in production, but when’s the last time we saw a Latina-focused, racially aware sitcom on television?

**Yes, HBO is in fewer homes. You get my point.

Local New York station CUNY TV did a report on black web series production in the city, focusing on Tony Clomax’s 12 Steps to Recovery. I give some context as to why minority producers are taking to the web about halfway through the clip above.

I’ve had an informal policy on this blog of not featuring projects in the middle of crowdfunding campaigns, the idea being the show might not air. I also get a lot of emails from producers pitching such projects, and I’ve been afraid of favoring one over another.

Well, no longer! There’s been a steady stream of Kickstarter/IndieGoGo campaigns from projects I believe in and from creators I’ve highlighted in the past — or have wanted to highlight in the past. The arbitrariness of the rule has been made pretty clear.

“Crowdfunding Campaigns to Watch” will hopefully be a regular feature alongside “Web Series Spotlights.” So, pitch away!

First up is Drifter, an ambitious, long-form television pilot from a solid team mostly based in New York. Drifter is a sci-fi show, but it sounds like it will incorporate a number of other genres:

“One hundred fifty years from now, a man, alone in space on an eight month journey to Earth’s Colony on Mars, teaches his ship’s computer to let him virtually enter his favorite TV show.  When a politically motivated sabotage bombing leaves the ship damaged beyond repair, he finds himself adrift with only 12 days of life support left.  The virtual world of the TV show becomes his only chance for human interaction, friendship, and perhaps… even love.  What happens next?”

Drifter combines two of my favorite things: epic, apocalyptic drama (I’m a Battlestar fan) and stories about television (there are a lot of 30 Rock posts on this blog). The producers promise quality visual effects — a must for sci-fi — and storytelling.

Backing up those promises is the Drifter team, which includes a number of names familiar to web creators. The project was created by OMFGeek founder and IAWTV mainstay Jeff Koenig. Producers include Julie Ann Emery (Then We Got HELP!), Bradley Werner (Control TV), Scott Nap (Downsized) and J. Sibley Law (The Oligarch Duplicity). Actors include Al Thompson (of many projects), Rachael Hip-Flores (star of Anyone But Me) and, just announced on Indie Intertube, Emma Caufield (Bandwagon). Emery is also writing, alongside frequent Thompson collaborator Jorge Rivera (Rhyme Animal). Blake Calhoun (Continuum) is directing, Rob Gokee (SOLO, NotZK, many more) is scoring, and Rodney Smith (Dominion) is on camera. Whew! Quite a rich and diverse team.

The show’s Mobcaster campaign is only a few days — and a few thousand dollars — in, with several weeks to go.

Click here to support the show. To follow the show and the campaign, visit its Facebook page.

Next we have the first full season of East WillyB. East WillyB is a comedy chronicling the rapidly changing Brooklyn, specifically Bushwick, as the Latino community feels the pressure of gentrification.

I met the East WillyB team almost a year ago to date, when they were launching their well-marketed pilot season. Since then creators Julia Grob and Yamin Segal have been actively promoting and building buzz for the show, sitting on industry panels and marketing at live events. Grob and Segal have been advocating marketers pay attention to a new generation of Latino consumers, in a market dominated by mainstays Univision and Telemundo (both of which have started to release web programming): “We are the new generation Latino, some American born, some born in America Latina, Spanglish speaking, ni de alli, ni de alla,” the campaign site states.

Their efforts have brought them some success, including coverage in outlets like MTV Tr3s and the Daily News. Most web series about Brooklyn tend to highlight its new white, “hipster” residents, and East WillyB is a saavy, stylish contribution to the genre.

Their Kickstarter campaign has just started, and they’ve already begun to raise some cash, with plenty of time left on the clock.

Click here to support the show. To follow the show and the campaign, visit its Facebook page.