About this project
WRECKED is an independent sitcom for adults. The show follows Spencer, an unemployed television writer who's been forced, for financial and emotional reasons, to move back in with her estranged brother in Seattle. Just because it's a comedy doesn't mean it ends well. It is not a redemption story and it is not for children.
"To be reductive: Sorkin-esque walk-and-talks + Girls + (Girls‘ drinking)² – unseemly nudity and Brooklynite pretension + Louie’s humor through failure + Seattle’s picturesqueness and charm + more drinking = Wrecked." -- primetimely.com
Independent film and music have long enjoyed a special, productive niche in American culture, but independent television is just beginning to emerge as a serious medium. Over the past thirty years, power has consolidated such that we now get our news, comedy, history, reality and drama from the same six megacorporations that sell us our electronics.
In the same way that bloggers have used the internet to shake up the news world, creative minds are turning online to fundraise for and distribute independent television programs. In the last few years, shows like Husbands and The Guild have been tackling subjects that would not be aired on channels owned by larger corporations.
We believe the new relevance of web television to be long overdue. In the quest for ratings, broadcast companies have come to rely on shallow narratives for the sake of broad appeal. Online-only content creators can speak directly to their audiences, creating a smaller, more devoted fanbase.
At Honey Toad Studio, we are hoping to contribute to independent television by producing quality content early in its development as a medium. We are breaking new ground by producing a webseries meant for an adult audience. We are a small studio comprised of young artists dedicated to representing characters honestly, even if that means WRECKED is "the kind of show that twenty-somethings tell their parents they aren’t mature enough to watch." (Bainbridge Review)
Watch our vlogs. (They're weird. It's nice.)
As part of our mission to create a new, more equitable and productive model for indie tv, we are releasing all of our content with the option to stream or download for free. The work is licensed CC-BY-SA, giving our viewers the opportunity to share WRECKED in any format and over any connection. Fans can even rework our material into their own in any way they choose, as long as they share the source of the material and release it under a similar license. We don't see the point in trying to place artificial barriers to our content. We want as many people as possible to see the results of our hard work.
We are proud of our first season and devoted to making more. The full story of Spencer's move to Seattle takes place over a five season arc. We would like to tell as much of that story as possible. Please support us in any way you can. Donate if you can, and share WRECKED and this page with your friends!
Like us on Facebook to get more regular updates about the project.
Follow us on Twitter to see our updates, plus pictures from Instagram.
Read about us in The Bainbridge Review.
Read about us in the Hampshire College Alumni News.
Risks and challenges
If we make our initial goal of thirty thousand, we will be able to pay everyone what we paid them on season one without losing any of our own money. That being said, they will still need to prioritize this project over others and their day jobs. This is part of why we're hoping to raise more. Both cast and crew were excited enough about the project that we expect they will all work to make their schedules align with ours, but it may be difficult with only thirty grand.
This brings us to our next big hurdle. Both our DP, Daniel Gilbert and one of our leads, Sean Patrick Mulroy have to fly in for the shoot. Coordinating their schedules and making sure they were housed and fed while they were here was a large hurdle on season one and probably will be again on the second season.
Our relationships with our shooting locations are great, as of now, but that could always change and is largely out of our control. If management were to change hands, for example. There are reasons some people might object to having their business associated with our material. (While we believe it to be artistically relevant, it is, let's say, a little blue.) Or, as happened with season one, one of our primary shooting locations could be struck by lightning and burn to the ground a few weeks before the shoot. (No, seriously, that happened to us.)
If we only meet our initial goal of thirty thousand, we will most likely have to repeat our decision to combine certain roles on set. (For example, on season one the role of AD was shared among Charley Pope, the UPM, Robyn Ellis, the script supervisor and Liz Ellis, the director.) This leads to increased stress on set but hopefully will not hinder production.
If the world ends in December of this year as predicted by some interpretations of the Mayan calendar, we will most likely have to repurchase some of the studio assets, leading to increased budgetary concerns.Learn about accountability on Kickstarter
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