#liw transmedia

[thebirdscomeback]

so i started thinking about bea and ben's relationship arc in lolilo and how it happens almost fully in subtext because if their issues were ones that could be shared on camera they wouldn't be issues at all. and now i'm having a 'oh god vlogseries are so crazy cool!!!' moment thinking about the audience (us!) as an active participant in these characters lives, not only through transmedia and comments and stuff but as the act of being observed fundamentally changes characters' behaviour/choices. how an audience renders problems and plotlines both visible and invisible. how vlog-style LIWs aren't just telling the same story in a different medium, they're problematising the original story by making characters aware that they're inside of it. for fiction to be so heavily influenced by its audience in a way that the characters are aware of (if mostly subconsciously) is just like, very cool to me.

[flutishly]

LBD rewatch, full show summary

Rewatches will never fully recreate the experience of the first time around, for good and for bad. Sometimes, a rewatch strips away some of the joy from a well executed plot twist. Sometimes, it adds entirely new dimensions that could not possibly have been noticed on the first pass. Sometimes the art itself has “changed” in the interim, due to cultural or technical development. No matter what, the viewing experience will be different.

For popular media - and more specifically popular media with involved fandoms - a huge factor can be the post-show narrative. Any good fan will know that a show doesn’t have to be currently airing in order to have an active fandom (Star Trek, anyone?), but there is immense weight to how a longform story that has grown and changed over time is perceived by its longterm fandom. Some shows have huge followings while they’re airing and then basically disappear from the cultural consciousness soon after they finish, often due to burning bridges with their own fanbase or having endings that don’t live up to their earlier seasons (Game of Thrones, How I Met Your Mother), some shows simply fizzle out and nobody remembers that they still exist (I loved Call the Midwife, but I’m about four seasons behind and it very much no longer has the active fandom it had a decade ago...), and then there are the shows that keep chugging along, maintaining their own moderate success and cultural appeal even years after completion (The Office, a show I expected would not have a lasting impact, remains confidently present).

What’s this to say about the Lizzie Bennet Diaries, though?

When it began airing, LBD felt like a minor media earthquake. The show leaned into its vlog-style presentation, integrated different social media platforms as an active part of its storytelling (”transmedia”), bounced between different accounts without minding if someone suddenly missed a part of the story (but trusting their ex-world media to do the job, and also trusting the viewer to find what needed to be found), and doing so in a way that felt shockingly believable. There’s a reason that LBD sparked the imaginations of so many different young creators across the world, who wanted to emulate this sort of storytelling. LBD set the stage.

A common narrative that’s emerged in the years since LBD ended is one that admires how it set that stage, but then adds a caveat about its implementation. Hardcore fans of what became known as “literary inspired webseries” (LIWs) will often point out that LBD was a “flawed” show, obviously not their favorite, “not very good” in retrospect, and so on. I’ve seen countless posts and tags to this extent and have even on occasion caught myself thinking that too. Of course I liked LBD, I would tell myself, but I didn’t love it the way that I went on to love other shows. As time passed and the LBD-specific fandom quieted down, I accepted this narrative as truth.

And this is where a unique benefit of rewatches comes into play: Rewatches can set the record straight.

The Lizzie Bennet Diaries is, ultimately, still not my favorite webseries. It’s still not what I would call the “best” literary webseries I’ve seen, either. It doesn’t have the best transmedia. It isn’t the best adaptation of a webseries I’ve seen, nor the best adaptation of the original work itself. (Some might argue that it’s not even the best modernized adaptation of Pride and Prejudice, but here I find myself disagreeing somewhat; I’ll elaborate on that some other time.) Lizzie Bennet Diaries was, in a way, eclipsed in my mind by some of the series that came after it.

All that being said, it’s also a very good series. And it’s not a stretch to say that I loved this rewatch.

I’ve gone through some of the show’s features and flaws in my previous posts (parts 1, 2, 3, 4, and 5), but a recurring theme from my recap posts was that a lot of things that I remembered being bad simply weren’t there. I remembered Lydia’s transformation into her Wickham arc being abrupt, but it wasn’t; her loneliness and sense of not fitting in start extremely early on. I remembered Lizzie as being presented much more kindly/positively than what she actually is, in part because of her growth during the series and attempt to be less judgemental (which is all explicitly laid out in the text!). I remembered the show feeling slow, but it wasn’t. I remembered the parts that were/weren’t on camera feeling like MASSIVE stretches, but they’re mostly discussed in-text. I remembered feeling like there was a clumsiness in the show actually feeling real and fresh, especially compared to shows that came afterward, in terms of acting.

A lot of these stem from two main issues: 1) the last part of the show is a lot less well paced than the beginning, and 2) there are acting inconsistencies with the medium. The first of these is something similar to what I described earlier in terms of the end of the show being weaker than the beginning. The second is a problem that recurs across the vast majority of webseries that I’ve watched, but I think I remembered it being worse for LBD is because of how good the good parts are. 

So here are some of those good parts: Ashley Clements’ Lizzie is absolutely brilliant. I feel like she’s rarely remembered for being tremendously well-acted, I think because it’s sort of assumed to be an easy role, while someone like Mary Kate Wiles garnered obvious (mostly justified) admiration for the more obvious work she did as Lydia. Meanwhile, Laura Spencer and Julia Cho are also both excellent in their respective roles as Jane and Charlotte, rounding out the main cast in a way that feels almost unbelievably good. Of the lead four, I actually continue to have the most nitpicks with small things in Lydia’s acting (which could also be about directing), but these also feel unimportant in the grand scheme of how her story played out so richly. It seems trivial to say it now, more than a decade since LBD first aired, but the active choice to make Lydia a second lead character is inspired, even if I’m still a little uncomfortable with how some of her story played out. And none of this would have worked without good acting and writing, especially in how Lizzie builds and presents her story.

The acting inconsistencies mostly occur in the side characters and much of that is also down to the show’s insistence on having people show up on camera when they frankly didn’t need to. Having Fitz be a random friend who shows up on camera with Lizzie was fun because he wasn’t a plot-central character, he was just sort of... there. His appearances feel casual. (It’s helps that he’s one of the characters who is clearly most comfortable being filmed.) But I cringed just a little bit every time Bing appeared onscreen, and Gigi too for the most part. It’s not necessarily poor acting, to be clear, but it’s inconsistent with their environment and it makes it harder to buy into the “real”ness of those videos. Darcy, at least, carries his obvious discomfort with being on camera like an absolute burden (which is entirely believable), but this didn’t help alleviate my sense that Lizzie should not have been uploading those videos.

The fact that the ending is weaker than the entire run of the show is a more serious issue, I think, and certainly helped contribute to my sense of the show being less well-paced than it actually was. One of the things I’m grateful for, at least, is that “The End” is an episode that centers around Lizzie, Charlotte, and Lydia. Part of what didn’t work for me with LBD’s end was the fact that it felt like the show forgot that it wasn’t actually a romance, but more Lizzie’s becoming and growth process, with Lydia, Jane, and Charlotte as crucial linchpins during this process. Darcy is an obvious presence in the story, but the Lizzie Bennet Diaries as a show isn’t about Lizzie and Darcy getting together, just like Pride and Prejudice isn’t a romance novel. The problem with ending LBD within a couple of episodes of Lizzie and Darcy getting together is that it makes it seem like that was the whole point of the story.

But on this point, there’s also a reminder of the fact that for the most part, Lizzie Bennet Diaries is a good adaptation. I’d remembered feeling like it was old-fashioned because of things like the Jane/Bing subplot and how Lizzie and Darcy spoke with each other (...stiffly), but the majority of the show does a really nice job of loosening up Pride and Prejudice to match the modern day. The way that many of the romantic gestures end up tied to jobs is a nice nod to the fact that modern women have aspirations and goals that aren’t just about bagging a rich husband (coughcough). I also still really admire that the show decided to fully humanize Lydia, without stripping away the weight of what happens to her. Except instead of it being a burden on others and All About Lizzie, it’s actually a story about the ways in which a young woman’s value can be easily erased and recognizing that event as the abuse that it is. I still don’t love all the ways in which that arc plays out, but the fact that it exists? Excellent.

This rewatch was the obvious choice to start my Great Webseries Rewatch and it earns its stripes; even more than a decade later, the Lizzie Bennet Diaries is a mostly well-made, well-written, and well-acted show. It also has the distinct honor of being a show that had genuine widespread appeal, garnering attention beyond a small fanbase of loyal viewers. LBD set the stage, performed, and earned its standing ovation. The fact that others came up onto that stage afterward and performed their own wonderful art should not take away from its achievements.

[20genderchild]

my LIW to wrestling pipeline actually makes sense when you consider they both have

a transmedia element/playing with the line between reality and fiction

stories that are much more character centric than plot centric

feature monologues for character development (promos/vlogs)

very heightened emotion that should in reality be dealt with off camera

Anna Lore. ​realizing Anna Lore was Ryan Nemeth’s girlfriend was a crazy full circle moment for me lol

[thebirdscomeback]

not that anyone cares but this is just really interesting me and I think about it a lot. I watched LLL for the first time over one night from around 10pm to 5am about six months after it finished. having watched it full around ten times since I wonder how much better the experience would have been if I was around for its real-time run. I adored it that first time I watched it, not being able to fall asleep even with the sun rising because I was just *buzzing*. I had no time to compute anything I just seen but I knew it was something really special. on one hand, I know that I didn't have to deal with a lot of stuff that might have made the experience worse. I didn't have to spends weeks wondering when the hell something was going to happen (although I'm not convinced I would have minded) and I didn't have to deal with the fandom hate that came with it (I definitely would have minded). I was never confused by all the character arcs that only really make sense once they're over.

It also meant that I didn't get to analyse anything, or think about anything or even really process anything as it happened. it was over by the time I could understand what was so compelling that it made me watch it all in one go in the first place. I will always be a little sad that I never got to experience moments like the couple hours between sardines and i don't know what to call this, or, like was mentioned, the break between farewell and break 'dem rules. that kind of thing is just so unique to webseries and I wish I got to experience these characters lives alongside them.

it does make me wonder about people finding LIWs now, and what that experience would be like for them. I hate the idea that no one could experience them in the way they were intended, and could therefore, never get quite as much out of them as someone watching in real-time, but ultimately, that is what makes them so special, the waiting for updates and the feeling you had in the days after a dramatic episode dropped and the transmedia and the discussion. and most of all, the feeling that you really are watching these people's vlogs. the idea that that is only an experience that people who happened to find this genre between like, 2012 and 2017 will get to experience is honestly a little devastating because it was so cool! I miss it so, so much. there's a lot of great things about watching vlog-series after the fact, and maybe some of the time it's even better, but it just isn't the same.

anyway, I still stay up until five in the morning once a year on the anniversary of me first watching LLL, no matter the responsibilities of the next day, and it is always such a joy, so I guess that counts for something.

Hey, so I noticed you mentioned you came into lll at ACCOSTED, and so binged the episodes up till then. I have this working theory that lll is actually a better experience binged than watched as it was releasing. I've seen a lot of people express this, and I think it has something to do with the tension of the conflict being spread over months as opposed to a matter of hours, leading to the perceived strength or weakness of the resolution. I'm wondering if you have thoughts on this at all?

Oh, I have tons of thoughts on this.

The upshot is that I think you’re correct. LoLiLo is simply too tense, for too long, at too slow of a pace. It’s unpleasant to watch in real time. For me it was almost sickening. The only experience I’ve ever had that comes close was reading Chapters 51 - 53 of the webcomic Gunnerkrigg Court as they were released – an experience that drove some other readers to take a break from the comic until the storyline was resolved and could be read all at once.

The small-doses release format works really well for telling stories on the internet; it makes stories part of your daily routine, and in some cases that creates a stronger connection to them than you might otherwise have. It allows stories to be told in real-time, and provides a system for creators to tell longer stories than they would if forced to release them in a single go. It gives stories time to build an audience via word-of-mouth.

But ever since those chapters of Gunnerkrigg Court, I’ve suspected that there are certain kinds of stories that the small-doses format makes too effective. Misunderstandings, undeserved reputations, people trapped in unjust systems, people trapped by their own faulty beliefs – pretty much any story that builds tension to unbearable heights so that it can be released, like a sigh, when the situation is resolved. The small-doses format prolongs the wait for catharsis, but it also prevents you from simply putting it out of your head for a few months, like you might do with a cliffhanger on a TV season finale. So you’re stuck in that tension for months, unable to really let it go unless you quit watching/reading.

Plus, LoLiLo is just generally slow-paced – it takes 19 episodes and nearly a month in real time to get to “RULES,” which is the first place where you can get a sense of what the story of LoLiLo is going to be. Compare The Lizzie Bennet Diaries, which takes only six videos (two weeks, real-time) to “introduce” Darcy. There’s over an hour of footage before LoLiLo’s inciting incident; LBD gets there in 15 minutes.

I don’t mind the slow pace, but it definitely benefits binge-watchers, because an hour isn’t so long to wait, when watched all at once. We’re used to waiting an hour for TV shows to tell us what they’re about. The West Wing takes 40 minutes to introduce the President. Most of the first hour of Lost is an incredibly well-shot but fairly standard stranded-on-an-island story. About half of all procedurals spend their first hours setting up the status quo that will hold for the rest of the season.

That said… Watching LoLiLo in one big gulp would’ve been a more pleasant experience, but I’m not sure I’d be as committed to it if I hadn’t watched those last dozen videos in real time. It heightened the experience, and it drove me to rewatch – and only through rewatching have I gotten a real sense of the story of LoLiLo. And there are a couple of places – notably, the break between “FAREWELL” and “Break ‘Dem Rules” – where I think the story loses all emotional sense if you don’t watch it in real-time. Watched as-it-aired, “Break ‘Dem Rules” is a relief, giving a welcome sense of closure after two weeks of “FAREWELL”-inspired confusion and upset. Watched immediately after “FAREWELL,” I imagine that “Break ‘Dem Rules” would just read as emotional whiplash; you’d go from “Leo has cancer” to “singing about how much happier we are” in ten seconds. (This is one reason that I don’t love the way “FAREWELL” was handled. It doesn’t play well in *any* format: In real time it’s frustrating, and on binge-watch it’s confusing.)

For all of its experiments with and departures from the format, LoLiLo is a vlogseries, and vlogseries are meant to be watched over time. That’s how the genre is designed. So probably, if I were to introduce someone new to LoLiLo (which I’m wary to do, because getting the full story out of it is quite a time investment), I would use a viewing strategy that breaks the series into large chunks, watched over the course of two or three weeks, no more than one per day:

Episode 1: “A Merry Note” - “RULES” Episode 2: “FLAT” - “CEREAL” (+ interviews, viewed after Ben’s intro but before the challenge) Episode 3: “MYSTERY” - “STAKEOUT” Episode 4: “TRAGEDY” - “Fish In The Sea” Episode 5: “Relatives and Reunions” - “PUNISHMENT” Episode 6: “Bea and Ben Take on Embarrassment” - “BALTHDAY” Episode 7: “Vegan Fred” - “Berry Nice” Episode 8: “GUNGE” - “+confrontation+” Episode 9: “Beatrice and Ballads” - “FAREWELL”Episode 10: “Break ‘Dem Rules”

Zoos Job would be watched at the viewer’s own pace, any time after Episode 8.

This divides LoLiLo into stretches of videos that cover roughly the same subject matter, preserving cliffhangers and letting each episode build to a major story beat. That way, you have time to sit with the story, to experience the tension and the mystery, to theorize and make guesses and even rewatch as you go – but you’re not left hanging for so long that it becomes painful.

And then, you know, I’d recommend the new viewer rewatch at whatever pace they like. :)

[wbywebseriesreviews]

Call for Questions/Topics

Hello! 

I would like to do a new series on my channel where I talk about webseries in a more general sense. 90% of my videos regarding webseries are reviews (the others being a breakdown of favorites and a quote quiz in which I spectacularly fail). 

But I’m finding myself really wanting to rant about webseries in terms of format, representation, production value, and our cultural context. This is not a series where I give advice or reviews, but more delve into topics within webseries culture as a whole. 

I would love to get some questions/topics ideas from the general community that knows so much and has been so richly creative. Many of you have been watching series for longer than I have, or are content creators in this community. 

Example topics/questions: 

- Transmedia in Webseries 

- Pros and Cons of Literary Based Series

- Have you seen any webseries that take on rape culture in interesting ways? 

- Telling Stories in Vlog vs. Cinematic Style 

If you would like to send me your questions: 

Please begin them with “Webseries Q/T” so I can differentiate them from other asks that may be in my blog. If you don’t feel comfortable asking them here, you can comment them on my most recent Youtube video or send them to me on anon. 

Thank you <3 

[songsofantiquity]

We’re at 298 followers at the moment! Two more and we’ll post a peek at the script! And remember that our characters are on Tumblr and you can interact with them! Odessia (Odysseus) @acrosstheoceansoflife , Diona (Diomedes) @yourpastelgirlfriend , and Patrick (Patroclus) @patriotofthatgayshit all reblogged ask memes recently, so go anon them some numbers if you want to learn more about them!

[secretmessageproductions]

Some of our characters have started tweeting!

Check out what Kay is up to at @YaySteward, and follow Nelly’s artistic process at @NellyInglewood. And while you’re at it, remember to subscribe to both of them on YouTube if you want to see each episode of The Campaign for Camelot as it airs!

The Campaign for Camelot is a modernized Arthurian webseries, premiering April 3, 2018. It is told through the characters’ in-universe vlogs. Subscribe to their channels: https://www.youtube.com/channel/UCTj0W8TyuRBQalb9EzmyM8A/ https://www.youtube.com/channel/UCj7mtxPURpxjlcRuNOsLg7Q

Check out the trailer here: https://youtu.be/vykBYLKNwqk

[nottinghamwebseries]

Find out what happened after Rory found out about Michael’s videos...

[maggiehalescorner-blog]

Journal entry of Jade Thornton December 28, 2017 I’m an idiot. A complete and total idiot. I can’t believe I went to Maggie’s house and just...asked her out. Like a damn teenager. No plan, no thought. Just ‘Oh hey Mags, wanna get a bite? By the way, I kind of LOVE you!’ Brilliant, Jade, just fucking brilliant. What a surprise that she turned you down flat. I mean, it’s not like she- But that’s not true. ‘It’s what I’d do for anyone’? She’d put herself in the path of a flying rock for anyone? What a stupid thing to say. What a stupid thing to do. I’m never going to find someone. I’m going to grow old and alone and no one will ever glance my way. No one will ever love me. Well--other than my mother. She’s happy, I can tell. That Maggie turned me down, without a single hesitation. She’s mad my behalf too. I’ve always been perfect, in my mother’s eyes. And it kills her, that anyone wouldn’t think the same of me. But she’s still happy. ‘Cause she never liked Maggie. She never saw what I saw in her. But then, what did I see in Maggie? Maybe it was all my imagination. Whatever I thought she was like, guess I was wrong. Fine then, Maggie Hale. I will erase you from my mind.

[literaryinspiredwebserieslove]

Thanks! It's actually going to be the Iliad plus the end of the Trojan war, and it's still in the planning stages, but it's going to happen.

[awayfromitallseries]

A Phone Call | Episode 48.5 - Away From it All

Bathsheba receives an unexpected call.

This call is taken through Bathsheba Everdene’s smartphone, which can be accessed here.

“Away From it All’ is a modern web series adaptation of Thomas Hardy’s ‘Far from the Madding Crowd’, told in a multimedia format.

Watch the series here!

Follow the series: Twitter Facebook Instagram

And use #AFitA to join in the conversation!

[neveracceptordinary]

Crew and Editors for North and South Webseries

I, along with Neelima Mundayur (a wonderful vlogger), Jessamyn Leigh (the creator of Project Dashwood), Hazel Jeffs (the creator of Away From It All), and Sarah Goodwin ( a writer for Like, As It Is) am creating a webseries called Maggie Hale’s Corner based on the novel North and South by Elizabeth Gaskell

We are currently looking for musicians, transmedia writers, people to film,  and editors.The production roles (other than filming) aren’t geographically specific, so you can be anywhere in the world and be a part of the team!

  We will be filming in the DC/Virginia/Maryland area. 

If you would like to come help me adapt North and South in any capacity,message me on tumblr or email me at laceyjs92@gmail.com. And if you know someone who might be interested, share with them!

[literarywebseriescenter]

Why the LIW awards 2018 didn’t happen?

Last year, I started preparing everything for the LIW 2018, very motivated to get this done early in the year.

I questioned a few of LIW creators about the awards, as I had noticed criticism in the past and I wanted to make sure they were happy with the way it was done. Suggestions I got was:

1)      Instead of asking the voters to name an actor/director… for a category, they wanted each LIW creators to name the person they wanted to present for each award. So I needed to contact every single LIW creator, and ask to name a person for each category, such as actor, actress, transmedia, etc.

2)      LIW creators questioned about the awards wanted to have different type of awards, one for LIWs with small budgets and one for webseries with bigger budgets. 5,000€ was the limit that was decided. Their argument was that smaller webseries could never get an award, because it was a low budget webseries with a small audience. Although Low-budget webseries got awards in the past, and big giant high budget webseries didn’t get awards in the past. There are plenty of examples. But they wanted to have two categories to have more chances to win.

So I went to contact every LIW creator of a LIW which aired in 2017. It took me 2 to 3 months to get answers from all of them.

For 1) I ended up with a giant list of names for each category, which would have been impossible for any voter to go through, while voting. My conclusion was that making the voter name whoever they wanted, as I did in 2015, 2016 and 2017, is actually a better and manageable way to do the LIW awards.

For 2), I ended up having only 1 web series which aired in 2017 with a budget > 5,000 €. So it didn’t make any sense to have two types of awards.

I had tried to please everybody, did a lot of work to end up in the same place than 3 months earlier. By the time I realized that I should have done it my own way, the way I had done for 3 years, it was June. I was then facing some mental health issues and juggling with two jobs, having no time for anything else that work and sleep (and cry). Which is still the case to be honest. I am at a stage where I don’t even know what is going on in the LIW universe, as you don’t see me on social media anymore, which sadden me very much as I built strong links with many of you. But that is how it is.

Therefore, there has been no LIW awards in 2018, and most likely no LIW awards in 2019.

[bisexualwentworth]

So it's very late but I would like to have the webseries world know that my LIW is progressing. I've started some transmedia accounts for a few characters (they're secret for now but you can probably work out who they are if they reblog something from you), and I've been experimenting a lot with storytelling techniques recently.

My beautiful friend @cheerupqueerup also has a secret Tumblr for her OC, and we've been doing tag games with our characters for about three weeks now, which begs the question, why has no LIW character ever reblogged one of those in the past? I would ask them things. I would send them random numbers. Please someone do this.

So at this point our characters have actually started messaging each other and we've just landed in straight-up RPG land, which is delightful and also really useful in terms of character building.

So basically, storytelling is fun, LIW things are fun, I have great friends, and I'm really good at procrastinating work with creative things.

[panneshirley]

literary inspired web series + transmedia (2/?)

bathsheba’s lyric ideas

[pansexual-link-larkin]

An Overly Complicated and Probably Impossible Hypothetical Proposition for a New LIW Award

Look, the system isn’t working as well as it could. No awards should have two shows sweeping all but one category when so many shows were eligible. Here’s my plan: The Lizzie, the Literary Inspired Series award. I call it that because 1. LBD, 2. my siblings keep making up ridiculous names when I mention the LIWAs so I leaned into it, and 3. I need something to distinguish between the two.

Keep in mind I am not the authority here at all I have only been active in the fandom for a year. I’m just working off of complaints I’ve seen and research I’ve done in production of my documentary about LIWs.

So creators would have to submit their shows for consideration for a Lizzie. I do this for a number of reasons: 

Eligibility rules would be much stricter. 

Shows would have to be directly inspired by or based upon works of literature. Shows like Poe Party, NLTS, and The Writing Majors wouldn’t be eligible. (although I do love all those shows so much)

The show must have aired in the past year, but cannot be submitted for 2 years of awards. I do this because my own show, School Spirit, aired in 2016, but was not completed until mid May 2017. While eligible for a 2016 LIWA, it would also be eligible for a 2017 LIWA. This double eligibility would be solved if shows had to be submitted.

It would give smaller shows a greater audience.

If anyone is allowed to submit for eligibility and then the list of submissions released before the first round of voting.

Creators could curate their best work.

Just like how studios submit their best episodes for consideration in the Emmys, creators should be able to curate the episodes that best exemplify the category.

The other biggest change is the most difficult one to execute: a two tiered voting system (I’m not gonna lie I stole this from Eurovision.) So to prevent the Lizzies from becoming an overt popularity contest, a jury of authorities in filmmaking and literature would provide half of the sway over voting, with the public providing the other half. The award Best LIW would have 2 awards, the Jury’s Choice and the People’s Choice.

Let’s talk categories: (Shoutout to Zoe at @literaryinspiredwebseriesreviews for inspiration)

Best Actor in a LIW (Non-Vlog)

Best Actor in a Vlogseries

Best Supporting Actor in a LIW (Non-Vlog)

Best Supporting Actor in a Vlogseries

(all of those are not gendered bc it’s overtly binary and I’m a nb web show actor who feels weird being lumped in with “actresses”)

Best Costume Design

Best Set Design

Best Diversity

Best Script

Best Directing

Best Music

Best Transmedia

Best LIW (Jury’s Choice and People’s Choice)

This is all very hypothetical, I’m just trying to determine if there is an option that would make everyone happy. And this is in no way an attempt to replace the LIWAs. The LIWAs are great as a People’s Choice Award for the LIW community, but since there are so many shows that are decent quality that cannot retain audiences used to TV production qualities, a more discerning eye could be cast to the massive amounts of effort put into shows that normally go by unnoticed.