2013 TV in Review: The Rise of Craft-Brewed Television

Via: Tuned In

As I wrote when I put together my top 10 TV shows of 2013, this was a tough and rewarding year to make the list because there was so much good TV. But that was also true because there was so much change going on in TV this year: in the stories being told, in the people telling them, and in the means of delivering them to you. As the year winds down, I’m looking back on a few of the trends that made 2013 TV what it was: It’s been a few years now that people have predicted that technology would usher in a democratized, diverse media world of a billion channels, all on equal footing. I can’t forget that I am writing for the magazine that, with the rise of YouTube, declared “You” the Person of the Year in 2006. That future hasn’t entirely arrived. Yes, there’s more original online video every year. Being an online media outlet now means being a video producer. Some web series, like Jane Espenson’s Husbands or Felicia Day’s The Guild, could genuinely hold their own with their TV-on-TV counterparts. And there’s been some crossover between the worlds: Annoying Orange got a TV show! But there was still, by and large, a divide. On the one side, there were the interesting experiments and explosive memes of online video, and on the other, there was full-scale “real” television, made by the handful of broadcast and cable networks that could afford it. We didn’t really see the TV equivalent of “indie film” break out because the economics and logistics of the industry didn’t allow for it. In 2013, though, we started seeing more and more TV productions that came close to that. While Netflix made HBO-scale projects like House of Cards and Orange Is the New Black, online video outlet Hulu gave us offbeat international productions Moone Boy and The Wrong Mans. Sundance Channel, eschewing high-metabolic action dramas, emerged as a specialist in low-simmer dramas like Rectify, The Returned, and Top of the Lake. New,

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