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The Spot
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 | This article possibly contains original research. (September 2007) |
The Spot, or thespot.com, was the first episodic online story (1995–1997), and covered bandwidth and production costs by offering paid advertising banners on the web pages and product placement within the journal entries. The site earned one of the original Webby Awards.[1]
Key Information
Overview
[edit]The Spot was likened to "Melrose Place-on-the-Web" and featured a rotating cast of actors playing trendy and hip twenty somethings who rented rooms in a fabled southern California beach house called “The Spot”, in Santa Monica, California.[2] Some of the actors depicted online were also writers and behind-the-scenes production staffers on the site, while some later appeared in independent films or in broadcast television series as on-screen performers.
The characters, called "Spotmates", would keep near-daily online diaries (similar to what later came to be called blogs), respond to emails, and post images of their current activities. In addition the site boasted short videos, as well as photos relating to the diary entries. The fanbase on the site, which called themselves "Spotfans", interacted on a daily basis with the Spotmates and each other, discussing the newsworthy events.
The Spot engaged the audience by allowing them to become part of the storyline and give advice to characters—sometimes succeeding in changing how characters responded to the in-story situations. Viewers were encouraged to post on the message boards (the "Spotboard"), send e-mail to the various characters offering them insight, advice and even arguments to their posted life dilemmas and dramas based on loosely orchestrated story arcs and different character viewpoints of the same storyline. The audience opinion was used by the writers to affect storyline directions, allowing the writing staff a maneuverability not possible in traditional media outlets.
History
[edit]The site was started in June 1995 by Scott Zakarin, who at the time was an aspiring filmmaker from New York who had been directing television commercials for advertising agency Fattal and Collins. He convinced his employer to back the idea of an interactive fiction site, and the result was the most successful interactive fiction site to date. The site received over 100,000 hits a day, a tremendous response for its time.[3]
In the spring of 1996, buoyed by intense media interest in the project, Zakarin sold his interest to minority investors, who sought venture capitalist backing to create an online network called American Cybercast, a spin-off from Fattal & Collins. Fattal & Collins asked their vice president, Sheri Herman to bring in venture capital as The Spot was not being monetized and draining Company resources. In a matter of weeks, Herman brought in Intel who led additional investors into an initial 7 million dollar round of financing. The new investors wanted a larger number of webisodes created under the umbrella name American Cybercast.
Zakarin was later fired by American Cybercast over creative differences concerning the original site, and the production continued under different head writers/management.
The Spot continued producing original content through the late spring and early summer of 1997, when American Cybercast fell into bankruptcy as the site's drawing power was diluted somewhat by a wave of imitators, some professional and some amateur. The company's resources were also drained by three parallel "online soaps" (Eon-4, The Pyramid and Quick Fix) introduced by the company to exploit the success of The Spot. Each of those additional webisodics, like the Spot before them, attracted a significant following. But none of them could generate sufficient advertising or product placement revenue to sustain them financially. The Spot closed its initial production run the night of June 30/July 1, 1997, although it remained available online with archives of the 1995–97 episodes, and kept its live message boards open, for about two years after the last original episode went live. The Spot also spawned a number of fan-related online message board communities. At least one of those sites (elgonquin.com) remains online with archived entries available for view, 15 years after The Spot itself ceased its initial original production run, although its message board was closed and taken offline early in 2009. Some of The Spot's original creative team are also active today online, including original cofounder Scott Zakarin through his Iron Sink Media family of websites and multimedia series which continue in production and air online through ironsink.com.
With no involvement from Zakarin or the original creative team, The Spot was brought back to life for a relaunch in 2004 by Stewart St. John, the original 1995–97 series' final executive producer, and Todd Fisher. It enjoyed some initial success in its relaunch and included a wireless aspect that was exclusive to Sprint, but has since gone dark once again. St. John and Fisher remain active in other film and online projects through their Stewdiomedia firm. Yet another re-launch was attempted in 2011 with the original introductory splashscreen and three episodes featuring unknown performers, stating the premise that the original Spot house was to be repurchased and re-opened as a combination residence and production center for a revived online webisodic, to be mounted by a young cast of creative professionals. The relaunch was copyrighted by CyberOasis, Inc., the firm which purchased the intellectual property of the Spot site after it ceased original production. There have been no additional episodes produced of the 2011 relaunch and placed online beyond the first three, and the status of the site itself remains nearly dormant though still visible online.
Characters
[edit]The characters were chiefly "played" by models, with their diaries written by Zakarin, his assistant Laurie (Shiers) Plaksin, staff writer Dennis Dortch, and staff writer/ombudsman Jeff Gouda and Melanie Hall.
The initial (1995–97) cast featured;
- Tara Hartwick – Laurie Plaksin
- Michelle – Kristin Herold
- Jeff Benton – Tim Abell
- Lon Oliver – Armando Valdes-Kennedy
- Carrie Seaver – Kristen Dolan
- Chase, Becker – Jeff Gouda
- Caldwell, Emily – Melanie Hall
- Wulf – Rich Tackenberg
- Fedex Kim – Lynn Elliot
References
[edit]- ^ Geirland, John; Kedar, Eva Sonesh (1999). Digital Babylon: How the Geeks, the Suits, and the Ponytails Fought to Bring Hollywood to the Internet. Arcade Publishing. ISBN 9781559704830.
- ^ Marcus, Jon (October 2, 2012). "'Personalized TV': Why I Made a Gay Web Series". The Huffington Post. Retrieved March 23, 2016.
- ^ Geirland, John; Kedar, Eva Sonesh (1999). Digital Babylon: How the Geeks, the Suits, and the Ponytails Fought to Bring Hollywood to the Internet. Arcade Publishing. ISBN 9781559704830.
Sources
[edit]- The Spot's stain spreads at archive.today (archived 2013-01-20), CNET News, January 14, 1997
- Death marks The Spot at archive.today (archived 2013-01-21), CNET News, July 1, 1997
- Webisodics: A Brief History Getting Hooked, July 16, 1998
- Hittin' the Spot Wired 3.11, page 68
Further reading
[edit]- Digital Babylon: How the Geeks, the Suits, and the Ponytails Fought to Bring Hollywood to the Internet, John Geirland, Eva Sonesh-Keder Roman (Arcade Publishing, 1999. ISBN 1-55970-483-7)
External links
[edit]
- TheSpot.com (Archive)
The Spot
View on Grokipediafrom Grokipedia
The Spot was the pioneering episodic online narrative launched in 1995 on thespot.com, marking the first serialized story distributed exclusively via the World Wide Web.[1] It centered on the daily lives of a group of trendy twenty-somethings sharing a rambling Santa Monica beach house, blending elements of drama, romance, and contemporary lifestyle in a format accessible only through early internet browsers.[2] Often dubbed "Melrose Place-on-the-Web," the series evoked the soapy intrigue of television prime-time dramas while adapting them to the nascent digital medium, attracting a young adult audience eager for relatable tales of ambition, relationships, and coastal California escapades.[1] Viewers could interact via email, chat rooms, and bulletin boards, potentially influencing the plot developments.[1]
To sustain its production and cover escalating bandwidth demands in the dial-up era, The Spot relied on an innovative funding model centered on paid advertising banners integrated into its web pages and strategic product placements woven into the storyline.[3] For instance, brands like K-Swiss and Honda sponsored episodes through $15,000 monthly placements, such as featuring a character signing a contract on a Honda vehicle hood, allowing seamless commercial tie-ins without disrupting the narrative flow.[3] This approach not only offset costs estimated at around $1 million annually but also positioned the series as a trailblazer in monetizing online content creation.[1]
The core appeal of The Spot lay in its daily updates of journal-style entries, accompanied by photos and brief videos, which fostered a sense of immediacy and community among viewers.[2] Targeted at young adults navigating post-college life, it combined escapist entertainment with aspirational vibes of beachside freedom and interpersonal drama, drawing over 35,000 daily visitors at its peak and inspiring early experiments in web-based interactivity, such as message boards for fan discussions.[3]
Concept and Premise
Key Themes and Setting
The Spot revolves around primary themes of youthful relationships, beach lifestyle, interpersonal drama, and early internet-era escapism, capturing the lives of young adults navigating romance, conflicts, and daily adventures in a shared living environment.[4] These elements draw viewers into a narrative that emphasizes emotional entanglements and light escapism, reflecting the transitional freedoms of post-college life amid the emerging digital age. The central setting is a virtual Santa Monica beach house, depicted as a communal hub through text-based diary entries, short video clips, photographs, and character bios that evoke a vibrant, sun-soaked space of shared rooms and casual gatherings.[5][6] This portrayal fosters immersion by simulating an interactive, lived-in world where viewers could follow multiple perspectives on events, blurring lines between fiction and fan participation.[4] The tone blends light-hearted humor with dramatic tension, incorporating romance, petty conflicts, and witty banter that mirrors 1990s Gen-X culture's mix of irony, social experimentation, and laid-back rebellion.[4] The beach house setting plays a pivotal role in this immersion, symbolizing aspirations for communal freedom and unstructured social bonds, much like the era's idealized coastal escapes from urban constraints.[5] Character interactions, such as romantic tensions or group debates, often unfold within this space to heighten relational drama.[4]Production and Development
Creation and Launch
Scott Zakarin, an aspiring filmmaker and copywriter at the advertising agency Fattal & Collins, conceptualized The Spot in 1995 as an interactive online serial inspired by his experiences in AOL chat rooms and a desire to blend elements of shows like Melrose Place with real-time audience engagement.[7] Working alongside collaborators Troy Bolotnick and Rich Tackenberg, Zakarin pitched the idea to agency president Russell Collins, envisioning a multimedia narrative centered on young adults in a Santa Monica beach house that would evolve based on viewer input.[7] The series launched on June 7, 1995, at thespot.com, with initial episodes released as daily diary entries—typically three pages of text accompanied by color photos—allowing users to click on characters for additional backstory, past episodes, and interactive elements like email and chat rooms.[8][9] The early team comprised a mix of agency employees and performers working pro bono through Prophecy Entertainment, a subdivision of Fattal & Collins; key members included writers and actors such as Laurie Plaksin, who portrayed central character Tara Hartwick and contributed to scripting, alongside Kristin Herold as Michelle, Tim Abell as Jeff Benton, Armando Valdes-Kennedy as Lon Oliver, and Kristen Dolan.[9][10] Technical support came from agency staff leveraging existing equipment to produce content.[8] Strategically, the project targeted the nascent web audience by employing simple HTML formatting and text-heavy, low-bandwidth elements to ensure quick loading and broad accessibility on dial-up connections, prioritizing interactivity over high-production visuals to foster rapid user adoption.[9][8]Technical Innovations
The Spot pioneered the use of rudimentary web technologies to deliver serialized content in the mid-1990s, when internet access was predominantly via dial-up modems operating at speeds of 28.8 kbps or slower. Developers at Fattal & Collins employed HTML to structure text-based diaries and narrative entries, enabling quick loading times essential for user retention on limited connections. JPEG images were selected for their efficient compression, allowing high-quality photographs of characters and settings to be displayed without excessive wait times, while short video clips—typically under 30 seconds—were optimized by reducing resolution and frame rates to fit within bandwidth constraints.[11] To manage bandwidth effectively, the production team implemented strategies such as minimizing file sizes through image compression and limiting multimedia elements, which prevented server overloads despite attracting over 100,000 daily hits at its peak—a remarkable feat for the era's infrastructure. These optimizations ensured that pages loaded in seconds rather than minutes, maintaining accessibility for the average user on consumer-grade hardware. Funding for these technical enhancements was partially supported through integrated advertising, which helped offset development costs without compromising content delivery.[12][11][13] A key interactive innovation was the Spotboard, an early message board system that allowed fans to post comments, suggestions, and feedback directly influencing storylines, such as character decisions or plot developments. This feature, built using basic CGI scripting on the server side, represented one of the first instances of user-generated content shaping an online narrative in real time, fostering a sense of community among viewers.[11][12] The integration of multimedia elements, including embedded JPEG photos and QuickTime video clips within HTML pages, created a proto-vlog experience that blended static text with dynamic visuals, predating modern video blogging by nearly a decade. This approach not only enhanced immersion but also demonstrated scalable multimedia delivery on nascent web platforms, setting a precedent for future online storytelling formats.[11]Content and Storytelling
Format and Features
The Spot employed an episodic structure characterized by daily updates delivered through online diaries, photographs, and short video segments, which collectively formed serialized story arcs chronicling the lives of its fictional housemates.[14] These updates were accessible via a "Fresh Spot" menu on the website, allowing users to follow ongoing narratives in real time, while a "Backtrack" feature provided archives of previous entries organized by character and date.[14] This format simulated the immediacy of personal journaling, blending elements of traditional soap opera serialization with the nascent capabilities of web delivery.[15] Interactivity was a core mechanic, enabling fans to vote on plot points and suggest twists through dedicated message boards known as the "Spot Board," which functioned like threaded Usenet discussions and directly influenced storyline developments and character arcs.[14] Additional engagement came via IRC chat rooms for real-time conversations and "Spot Mail," a form-based system for emailing characters, fostering a sense of audience-driven narrative evolution.[14] This participatory approach blurred the lines between viewers and creators, making users active contributors to the unfolding drama.[15] The series integrated multimedia elements, combining text-based journals that offered intimate, first-person perspectives with still images capturing everyday house scenes and occasional video clips depicting key interactions among the residents.[14] Audio components and imagemaps further enhanced immersion, with plans to incorporate emerging technologies like VRML for virtual exploration of the setting.[14] Character bios and a shared house calendar rounded out the presentation, providing contextual depth without overwhelming the episodic flow.[15] Unique features included subtle product placements woven into the narratives, such as branded items appearing naturally in house scenes and journal entries, which helped underwrite production costs through advertiser partnerships.[16][13] Subscriber engagement was bolstered by email newsletters via the Spot Mail system, delivering personalized updates and exclusive content to foster loyalty among the growing online audience.[14] These elements not only monetized the platform but also reinforced the site's innovative fusion of entertainment and commerce in the early web era.[16]Characters and Storylines
The Spot featured a core ensemble of young adults sharing a fictional Santa Monica beach house, with diary entries revealing their personal lives, relationships, and conflicts. The central protagonist, Tara Hartwick, was portrayed as a 23-year-old film student aspiring to become a director, driven by her passion for storytelling amid the chaos of communal living.[9] Her backstory involved creating the website to document her roommates' experiences, positioning her as the group's spark plug and maternal figure, though her sharp wit and short temper often fueled house drama.[8] Over the series, Tara's arc evolved from optimistic chronicler to a figure grappling with personal ambitions clashing against interpersonal tensions, culminating in her mysterious disappearance in 1996, which left fans speculating about her fate and mirrored real production changes.[7] Michelle, the receptionist roommate, sought escape from her mundane desk job through dreams of glamour and excitement, often entangled in romantic pursuits that highlighted her vulnerability.[9] Her motivations centered on finding validation beyond her daily routine, leading to flirtations and rivalries with housemates like Jeff Benton and Lon Oliver, which evolved into complex emotional dependencies as she navigated betrayals and unrequited affections.[17] Jeff Benton, the brooding aspiring writer, served as a primary love interest with deep insecurities, penning cryptic diary entries that masked his desire for mystery and connection.[9] His arc involved oscillating romances, including a tumultuous relationship with aspiring singer Tomeiko Pierce, marked by jealousy and conflicts that tested his emotional stability.[7] Supporting characters added layers to the household dynamics, including Lon Oliver, the confident aspiring actor who concealed a sensitive side behind ambition, often mediating or complicating romantic entanglements with Michelle.[8] Carrie Seaver, portrayed as trusting yet prone to trouble, provided comic relief through her optimistic but naive involvement in group events, evolving from peripheral observer to key supporter in crises.[7] Tomeiko Pierce contributed to the romantic web with her identity-seeking journey, her dynamic with Jeff exemplifying the series' exploration of fleeting connections.[7] The house dog, Spotnik, occasionally "authored" whimsical entries, blending humor with the human narratives.[17] Major storylines unfolded in serialized diary format, emphasizing interpersonal drama influenced by fan feedback through emails and forums.[7] Romances dominated early episodes, such as Michelle's pursuits by Jeff and Lon, evolving into triangles fraught with jealousy and career-induced strains, like Lon's audition conflicts disrupting group harmony.[8] Tara's career struggles intertwined with these, as her directorial aspirations clashed with roommate distractions.[7] Other arcs included lavish beach parties devolving into confessions and rivalries, and Lon's discovery of an attic diary hinting at hidden secrets, which fan input helped shape into broader mysteries.[17] The diary entries, though presented as authentic character voices, were actually crafted by creator Scott Zakarin and his team of writers, drawing from actors' improvisations to maintain immersion while incorporating interactive elements like fan-voted plot twists.[9] This approach allowed evolutions in character motivations, such as Jeff's shift from aloof writer to more vulnerable partner, to reflect both scripted arcs and audience engagement.[8]History and Evolution
Early Success and Popularity
Launched on June 7, 1995, The Spot experienced rapid audience growth, attracting 70,000 hits on its premiere day—far surpassing the anticipated 1,500—due to its innovative format as the web's first interactive soap opera.[7] Within months, the site achieved approximately 35,000 to 40,000 daily unique visitors by mid-1996, fueled by the novelty of serialized online drama that allowed users to engage directly with characters through email feedback and plot suggestions.[7] This buildup was amplified by word-of-mouth in early internet communities, where fans shared episodes and discussed storylines on platforms like the site's Spotboard bulletin board, fostering a sense of participation among a global audience spanning locations from Oslo to Pasadena.[17] By early 1996, The Spot reached its peak traffic, drawing approximately 160,000 hits per day and solidifying its status as a web phenomenon.[17] Media coverage played a pivotal role in this surge, with features in outlets such as Variety, which highlighted its potential as a new entertainment medium shortly after launch, and Wired, which later captured the excitement around its interactive appeal.[18] The series also garnered accolades, including the Cool Site of the Day's Web Site of the Year award, which drew additional visitors eager to experience the daily-updated diaries of its Santa Monica housemates.[4] Fan communities flourished around the Spotboard, where users debated character arcs and submitted ideas that occasionally influenced episodes, creating a vibrant ecosystem that sustained engagement.[17] Despite this success, The Spot faced significant challenges, including server strains from the unexpectedly high traffic volumes that required frequent upgrades to maintain accessibility.[7] The production team also grappled with the pressure of delivering constant content updates—new diary entries and multimedia elements several times a week—to keep pace with audience expectations, a demand that strained resources amid monthly operating costs exceeding $70,000.[7] These technical hurdles were addressed through iterative improvements in hosting infrastructure, though they underscored the limitations of early web technology.[18]Decline and Later Attempts
In 1996, The Spot was sold to American Cybercast, a newly formed online entertainment network backed by investors including Creative Artists Agency and Intel, which aimed to expand it into a broader "episodic entertainment network."[19] This acquisition introduced bureaucratic challenges and creative conflicts between the original creators and new management, exacerbating financial strains amid a surge of imitator sites that saturated the nascent webisodic market—over 60 copycat productions emerged by mid-1996. Production ceased entirely in early 1997 following American Cybercast's Chapter 11 bankruptcy filing in January, after layoffs in November 1996.[19] The end was driven by escalating production costs, which reached approximately $100,000 per month, coupled with high bandwidth expenses in an era of limited internet infrastructure, and waning advertiser interest despite initial sponsorships from brands like Hugo Boss and Honda.[19] Market saturation from imitators further diluted audience attention and revenue potential, rendering the text-based format unsustainable as broadband-enabled video content began to dominate online entertainment. Revival efforts began in 2004 with a video-based relaunch by Cyber Oasys, featuring short daily episodes (1-5 minutes) of seven twentysomethings in a Santa Monica beach house, accessible via the original thespot.com domain and integrated with Sprint PCS Vision for mobile updates, allowing audience input to shape storylines.[20] This iteration, produced by original team members Stewart St. John and Todd Fisher starting around 2003, blended web and mobile formats but proved short-lived due to insufficient viewer engagement in a maturing online media landscape.[21] A subsequent attempt in 2011 involved the premiere of California Heaven, a web series by St. John and Fisher that continued the legacy by transitioning characters from the revived The Spot into new storylines about a wealthy Malibu family, released three times weekly on stjohn-fisher.com with re-edited footage and supernatural elements.[21] Produced on a low budget with cast multitasking as crew, it aimed to leverage emerging web platforms but ended quickly amid limited distribution and audience draw. Following the 1997 closure, The Spot's archives have been preserved through the Internet Archive's Wayback Machine, capturing snapshots of the original site from 1996 onward for public access. Fan-maintained sites and forums, such as those on soap opera enthusiast platforms, continue to host discussions, storyline summaries, and archival content to sustain community interest.[22]Impact and Legacy
Cultural Influence
The Spot pioneered the web series format as the first ad-supported episodic online narrative, launching in 1995 and generating revenue through banner advertisements from sponsors such as Toyota and K-Swiss to cover its substantial production costs.[6] This model demonstrated the viability of monetized digital storytelling, influencing the development of ad-driven content on platforms like YouTube, where vlogs and serialized videos now dominate user-generated entertainment. By blending text-based episodes with integrated photos, videos, and character diaries—precursors to modern blogging—The Spot established a template for web soaps that emphasized personal, ongoing narratives over one-off web content.[11] A key aspect of its innovation was interactivity, which served as an early blueprint for fan-driven storytelling and foreshadowed the participatory engagement seen in contemporary social media entertainment. Viewers could email characters directly, influencing plot developments in real time; as promotional materials noted, "If you say, Tara, don’t do that, she just might listen," highlighting how audience input shaped the narrative in ways traditional television could not. This fostered intense fan involvement, with daily diary updates drawing hundreds of thousands of visitors and eliciting responses such as organized online protests against story decisions, thereby amplifying community dynamics in digital media.[12] The series embodied the optimism of 1990s internet culture, capturing the era's enthusiasm for the web as a democratizing force that transformed passive consumption into active participation and shifted online experiences from static pages to dynamic, evolving content. Its success, attracting up to 160,000 daily hits at its peak, reflected broader hopes for the internet as a venue for innovative creative expression beyond Hollywood's constraints. In media history, The Spot's legacy endures as a foundational example in the evolution of digital storytelling, frequently cited alongside later phenomena like LonelyGirl15 for demonstrating how online formats could build viral, audience-co-created narratives. It inspired a surge of approximately 60 similar "cybersoaps" by mid-1996, accelerating the proliferation of episodic web programming and underscoring the medium's potential to redefine youth-oriented entertainment. The series was revived in 2003 by its executive producer Stewart St. John with a new cast for online and mobile audiences, further extending its format to emerging digital platforms.Awards and Recognition
In 1996, The Spot received the inaugural Webby Award for Cool Site of the Year, honoring its pioneering role in delivering episodic drama through an interactive online platform.[7] This recognition, sponsored by InfiNet and often regarded as the precursor to modern Webby categories, highlighted the series' innovative blend of storytelling and user engagement in the nascent web environment.[4] The series also garnered nominations and honorable mentions in early internet awards circuits, including Infoseek's Cool Site designations, which celebrated standout digital content amid the mid-1990s web boom.[23] Tech media outlets like the Los Angeles Times and Variety covered The Spot as a landmark project, emphasizing its role in pushing boundaries for narrative delivery beyond traditional television.[7][23] Contemporary reviews in the 1990s praised The Spot for its accessibility to a broad audience via dial-up connections and its high level of viewer engagement through email interactions and character diaries, setting it apart from static web pages of the era.[13] Retrospective analyses have underscored its historical significance as the first webisodic serial, crediting it with influencing the evolution of online narrative forms.[24] Following its conclusion in 1997, The Spot has been honored through inclusion in digital media archives and scholarly examinations of internet history, such as studies on the origins of web television and interactive storytelling.[6] Academic works, including those in the Journal of Cinema and Media Studies, reference it as a foundational example of transmedia experimentation in the pre-broadband age.[25]References
- Spot is changing how organizations monitor and operate their sites. Improve team safety and efficiency with agile mobile robot solutions from Boston ...Spot Arm · Spot Payloads · Stretch · Extras
- Feb 11, 2015 · Spot is a four-legged robot designed for indoor and outdoor operation. It is electrically powered and hydraulically actuated.
- Nov 1, 2022 · Spot was Boston Dynamics' first commercial robot, groundbreaking in the creation of a multi-purpose autonomous robot that would soon grow.