Not So Awesome

Not So Awesome

A record of events while working for That Guy With The Glasses

Version 1.0, April 2nd, 2018
Version 2.0, April 7th, 2018

There are many different grievances that need to be shared, but the following points are what we feel are the most grievous and should be known by the public above all others. This is for record/organization and to help clarify and inform. This is not about defamation or destruction, but about clearing the air and correcting misconceptions.

For an abridged, simplified account of all grievances, please refer to the condensed version here: https://docs.google.com/document/d/1d7UTXkL5HqywUqNMXwL5nVG4R84Hr1GX7Phagi15mUo/edit?usp=sharing

FOREWORD

        Thank you for taking the time to read the contents of this document. Within its many pages are lengthy stories from a number of contributors airing their grievances about the way they and others were handled by working professionally with Channel Awesome and the management, namely Mike Michaud, Doug Walker, and Rob Walker. Although the descriptions are vast, this very likely does not cover every possible story of mismanagement over the course of the last ten years. There are other content creators, both those who were previously partnered with Channel Awesome, and those who continue to be partnered with Channel Awesome, who have not contributed their stories to this document, though many of their stories can be found in other places if you look hard enough.

        There are numerous reasons why any of us would want to share these stories with you. The biggest one is simply a strong common belief that the public deserves the right to know about the dealings within this company. When much of this was finally becoming greatly public in the middle of March 2018, many people wanted answers to many different questions, and while it seemed like our Twitter feeds were containing all of these answers, Twitter is not an especially easy-to-read format, especially when it branches and splinters when new people join the conversation. The number one reason to create this document is to give the audience one solid place to be able to read all of these stories, updated directly by former content producers so that you have the most accurate information directly from us.

        Many may wonder what the ultimate goal of releasing the document is. That goal may be different for each contributor. Some may wish to simply get this information off their chest after having held onto it for many years. Others may want the management of Channel Awesome to answer for their many egregious behaviors over the last decade.

One goal many contributors share is the hope that Channel Awesome would both acknowledge and apologize for their behaviors, both on a public and personal level with the former and current producers. However, we do not necessarily expect that apology, as nice as that may be. Perhaps the best we can hope for is acknowledgement of any sort, good or bad. If that’s not possible, then certainly, we all hope that by telling our stories, we are able to protect other innocent people from having to experience anything like this in the future. Whether that be in the form of a contributor or a fan, none of us want anyone else to go through the kind of treatment we went through over ten long years, some behavior being much worse than others. We believe that, whether you’re working with Channel Awesome or another similar entertainment entity, there will be people in this world who do not actually care about who you are and are more than willing to say whatever they need to say and do whatever it takes to use you for your gifts and your talents to boost themselves without giving you a second thought. We hope that other people considering partnering with an entertainment group will take our stories as a cautionary tale and use our stories to protect themselves as they join the vast world of content creation.

As a personal note, I often regret not speaking up about things I witnessed any sooner than I did. Perhaps now is too little, too late. But if we can help you make heads or tails of this now--today--then maybe the time is right for us to do the right thing and tell you what we’ve been through. Thank you for taking the time to read our stories about our times at Channel Awesome, and the management of Mike, Doug, and Rob. We wish all of you nothing but the best, and to use our pages to reach your own logical conclusions for yourselves.

  • Kaylyn Saucedo (MarzGurl), April 2, 2018

CONTENTS

Allison Pregler (Obscurus Lupa)        5

Kaylyn Saucedo (MarzGurl)        23

Holly Brown (Admin)        30

Lewis Lovhaug (Linkara)        33

William DuFresne (Suede)        38

Jacob Chapman (JesuOtaku)        39

Benjamin Daniel (Benzaie)        39

Jon Burkhardt (ChaosD1)        40

Dr. Gonzo (Nerd to the Third Power)        42

Leon Thomas (Renegade Cut)        48

Sean Fausz (Epic Fail)        49

Beth Elderkin        50

Cferra (Wiki)        52

Topher Ames (Fool Fantastic)        52

Animerica        55

Tom White        59

Lindsay Ellis (Nostalgia Chick)        64

Anonymous I        66

Anonymous II        68

Iron Liz        69

Leslie Rice        72

Fan Document        73

Conclusion        73


Allison Pregler (Obscurus Lupa)

  • We were not employed by CA, CA simply embeds videos on their site. Outside of the anniversary movies, no contracts were involved. The only people paid are the people involved with the Chicago crew.
  • The biggest of their numerous problems is Mike Michaud, the site’s CEO. There were two other CEOs when they started, Mike Ellis and Bhargav Dronamraju, both of whom are no longer with the site. The name Greg occasionally appears in this document. This is Mike Michaud’s brother, who handles the scheduling of producer videos.
  • Mike owns the IP of the Nostalgia Critic character and is a majority shareholder in the company.
  • On two separate occasions, women were confronted angrily by either Mike Ellis or Mike Michaud being blamed for something a guy they knew did. One of those instances resulted in the producer leaving (See Lindsay Ellis section).

  • Frequently if a guy spoke up it was ignored, if a woman spoke up they were labeled troublemakers. Mike would frequently try to bully them. Most of the women felt very uncomfortable talking to him; it was a repeating pattern that he would be more aggressive toward someone speaking up if they were a woman. At least 3 of us were kicked off the site for that very reason, when male producers who did the same thing are still on the site.
  • More details in Sean and Holly’s sections, but CA was aware of sexual harassment from Mike Ellis for at least two years and did nothing. When he was finally let go it was for other legal reasons. They were also aware of a prominent producer who was grooming female fans and coercing them into sex and failed to take action for years.
  • All communication was done via a Skype group chat with all of the producers. We did not communicate through email, and Michaud would disappear for long periods of time. No one wanted to talk to us.

  • The people we were told to talk to were Michaud, Rob, and Holly (HR). When Holly was fired, it was just those two. Mike was so against being involved with or doing anything that he eventually became “silent CEO,” which meant it was just Rob, who also didn’t want the job. Any time we came to him with complaints, he would call us children behind our backs.
  • Doug is not considered anything but talent, yet frequently is part of business calls and the like (including ones highlighted here). He also is occasionally part of company decisions. He is more involved with business than he likes to let on, and is also involved as a human being and face of the company.
  • They were so unaware of anything going on with the site that Rob thought someone asking for an interview was a producer.
  • Communication was the WORST. They would never tell us anything, it was like pulling teeth to get answers from anyone. Frequently we would find out things after the fact and have to come to them to find out what was happening.
  • Blistered Thumbs producers were never told the site was shutting down. They found out when they saw the announcement on the front page. Several producers were let go without being informed.
  • When I joined the site, I was given a list of rules to follow (mostly common sense things, like don’t post hate speech, etc). The section saying where to find the company policy was labeled “coming soon”:

  • At a later point in time, when I’m creating Radu Reviews, I’m randomly told I need to ask them permission to do new shows (They had a rule in place for events such as filming a new show with your friend as the host, for example, but not anything like what I was doing). So I ask Rob for permission, and he seems to have no idea why I’m asking.
  • Years later, Phelan is astounded to find out this list exists, because no one who came onto the site before me got these rules or were told about them.
  • The rules were arbitrarily enforced and usually if they wanted an excuse to get rid of someone anyway. At one point they sent a written reprimand to Welshy that was meant for Sad Panda because they couldn’t tell the difference between them.
  • Phelan received a reprimand for tweeting a joke making fun of the Demo Reel twist by saying he was going to reveal Phelous was Sub-Zero the whole time. He was told to apologize to Doug personally.
  • Doug knew nothing tech-wise to the point of endless frustration. He didn’t know how to record commentaries; he would just have people in Chicago sit close to the camera and record it on the on-board mic. When he had to record the Moulin Rouge commentary over skype, he asked me to sit in and record it. I was not part of the Moulin Rouge crossover, he just wanted me to press record and sit there. Phelan called him up and explained, step by step, how to use MP3 Skype Recorder, which requires a simple press of a button to use. He ended up calling Nash and having him record it.
  • During my earlier days on the site, we would have to fight to get slots for the day, but especially during the holidays. Doug proceeds to hog the slots with his lazy Disneycember vlogs.
  • They considered conventions a waste of time, despite their contradictory belief that they should do all their advertising locally. They hated that we went to MAGfest because of a bad experience Doug had there once, despite the fact we all paid to go there on our own dimes.
  • They never wanted to pay anyone. One of the DVDs they held a cover contest for fans where they asked for “Drew Struzan style” artwork for $100 (plus a link to their Deviantart on the cover). They were shamed into upping the price to $300. Skitch did the soundtracks for the anniversary movies for next to nothing, and Michaud was furious when he tried selling the music because he was under the belief it belonged to them.
  • Every decision felt self-motivated and uncaring toward other producers. It was The Doug Show.

Pop Quiz Hotshot/Indiegogo

  • August 2013. CA uses Indiegogo to crowdfund $90K for their pop culture game show (Retro Pop Culture Challenge--later Pop Quiz Hotshot!), a comic review show (Awesome Comics), and another game show revolved around video games (The Gaming Gauntlet). 40-something episodes were promised of Pop Quiz Hotshot.
  • CA films at least a dozen versions of the pilot and test episodes. Some of them include the same questions/contestants. The refilming is due to the studio not being sound-dampened. Because of this, they film Nostalgia Critic episodes in the office where it is smaller and there’s less echo.
  • They tried to rig the questions so the contestant would win, but accidentally switched the cards so it went in Doug’s favor. Doug splits the prize, a $100 gift card.
  • They had to be told to have prizes by Holly.
  • The game show was Michaud’s idea, and no one else wanted to do it.
  • The Indiegogo rewards are 6+ months late.
  • March 2015, a year and a half since the show was promised. After Indiegogo threatens to investigate, Michaud forces Doug and Rob to release the first episode of Pop Quiz Hotshot, which they are all embarrassed about.


  • After 12 episodes, the show is canceled because that legally covers them as an “effort” to fulfill their Indiegogo goals.
  • Awesome Comics begins production, using the old game show set, in March 2016 and ends March 2017. The Gaming Gauntlet never materializes.

The Anniversaries

  • CA paid for travel/lodge and meals when they were during filming hours, otherwise we were on our own. They had to be told to have water on set. We were not paid for our time, nor did we make any revenue from the DVDs.


  • We were paid in exposure and a free trip with our friends. When we pointed out that exposure didn’t mean anything after the first time, we were told we didn’t have to go to them. Mike in particular liked to state how great it was that they embedded (NOT hosted) our videos and never asked for a cut of our revenue. (Traffic on TGWTG/CA generated by other producers gave them ad revenue, so it would be ridiculous to ask for a cut of the money on our videos)
  • This was the only thing they asked us to sign contracts for, which covered such things as injury liability, etc. The contract also stated that any crossovers we filmed during the production would go to them to help recoup costs. So we were asked to work for our privilege to be there, which not only went into what little time we had between filming to rest, but into our work hours at home editing them. And the anniversaries themselves took time out of our normal work, meaning it also cost us money that way. We were allowed to keep commentary tracks we did for our videos, but those got very little views.

Suburban Knights

  • Doug’s style of directing is to tell us to do it more like him. If we pointed out we wouldn’t deliver a line like that, he’d tell us “We’ll try it both ways!” so he could use the take of us doing it his way. “We’ll try it both ways!” became a running joke.
  • It was embarrassing when we were filming in the park and Doug would start giving directions to passersby like they were part of the production.
  • As it was done with Kickassia, they only have one camera with Rob at the helm. This is a larger production and with two teams, so Lindsay and Ed have a closed door meeting with them to convince them to use more than one camera. They borrow Todd’s (it was the same model) and one of my SD cards. Ed, who was there to play a Cloak, is recruited to cameraman, and Liz, Lewis’s guest, is asked to play a Cloak.
  • Because of this, she never signed a contract. When filming a stunt with Orlando, her knee is bashed in, and they coerce her into signing a contract that says they aren’t liable. She doesn’t want to do it because it would give them ownership of whatever she’d filmed there.


  • 4 people total were injured during the movie and no safety precautions were ever put in place. Liz and Bennett were both hurt during stunts with Orlando, and Orlando himself landed on his neck wrong. This was included in the “blooper” reel. Elisa was taped to the wall in a cross position, and because she was there for so long she nearly passed out (edited after a correction from Elisa).
  • The weather was cold and some people like Ben had pretty flimsy costumes, so the higher ups were worried about us. We had a meeting where they asked us if we wanted to make it an improvised mockumentary and shoot it indoors, but we unanimously voted to keep going. There was a sense of camaraderie there that was completely absent from To Boldly Flee.

To Boldly Flee (2012)

  • I point to To Boldly Flee as the tipping point between “maybe they’ll change” and “this is never going to get better.” Completely different experience reading the script vs Suburban Knights. This felt long, self-indulgent, sexist, and mean. Scenes that were just quoting other movies verbatim were embarrassing. The excessive scenes with Zod and Turrell were infuriating and ate up time that could’ve focused on the producers and not more of Doug’s shtick.
  • I never received a To Boldly Flee DVD. Neither did many fans who bought them, because they messed up the orders and it was never fixed.
  • The crossovers to recoup costs were not required, and during To Boldly Flee things were so absurdly overscheduled that we were too exhausted/annoyed to make them. During a meeting, Michaud/Doug try and guilt us into making crossovers to cover costs such as effects. (Phelan was half of the effects team, so this was equivalent of asking him to pay himself.) We make a stand and tell them no, eventually coming to an agreement that we can make two crossovers and keep one. I threw out the script of the crossover I was planning with Brad.
  • The scripts weren’t given out until the 11th hour because Doug and Rob were fighting over it the whole time. We barely had time to read it, and most people didn’t.
  • We only had about a week to film this 4 hour movie, and that’s only because Holly begged them for an extra day. Every day Doug scheduled two days worth of work, because he assumed having proper equipment/crew would make things go faster.
  • No one was informed that Doug was killing off the Nostalgia Critic, most of us found out only if we read the scripts. Todd and I found out earlier because Doug called us to ask if they could conclude the love triangle storyline we’d set up in our videos and then mentioned it offhandedly.
  • Doug asked if he could use the joke where Todd was stalking me in the movie, and his version of that was apparently me being a “cold, heartless vacuum” for turning down my stalker. I go on a date with him by the end.
  • Other than that, we were never asked for our input on the movie scripts. There was a scene in the script where it implies Mechakara is raping her off screen, and she and Lewis had to fight with them on set to say they wouldn’t do it as scripted.  It’s still in the movie, but slightly different. Doug did not understand that it came off as offensive.

  • Lindsay was also uncomfortable with the fight scene she and I had, and she pointed this out when we were on set. Doug had no idea what to do so his response was just to make us do it.
  • Much of the dialogue included lines about the age of reviewers ending and made it seem like we were retiring because Doug was, which really hurt all of our feelings. It seemed to be throwing us under the bus.
  • We were always behind schedule, and Doug and Rob would always stop the shoot for pointless arguments. For instance, there was a scene where Robotodd and I are talking to Nostalgia Critic, and when we were done with the shot Todd went to take his costume off, which took a few people to do. When I’m sitting next to Jillian, I notice they’re shooting the other half of that scene with the camera pointed directly at where we were supposed to be standing, so we point that out to them. They start to argue again for ten minutes when there are only two options: get me and Todd back or change the camera angle.
  • Jillian was there to keep them on schedule, and every time she brought up the time she would be ignored, so we were always way behind. They asked her to choreograph a complex lightsaber fight scene, which she did, but they ended up sending her to the hotel due to exhaustion and not using her fight.
  • Whenever anything happened like bad continuity, Rob would just say “Oh well, plot hole!”
  • One day the camera crew had to go home early for personal reasons, so they told Doug early in the day that would be the case. He forgot to tell anyone, so at the end of the day we didn’t have enough cars to take everyone back to the hotel/dinner. Phelan, Julien, and I got left behind while everyone else went to Applebee’s.
  • Ed, who was a cameraman and credited as DP (he asked them not to), pointed out during a scene with Brad they were breaking the 180 rule. Cue 10 minute argument. Ed furiously says they either want it to look right or look wrong. He vows never to work with them again.
  • There was a scene with a bunch of the cast passed out on top of each other on the floor, so they called a bunch of them into the basement to film it and kept them there even when they weren’t shooting. Eventually someone asks Ed if they’re even on camera, and he says no. They had Phelan’s foot in one shot.
  • One day was an 18 hour shoot, and the next day after 3 hours sleep we were asked to film the big party scene (they asked us to film 2 different endings despite being overscheduled and exhausted). Once that is over, they want to film a green screen bit with Phelan. Phelan points out he can film it at home, which would save them time they didn’t have, and after waiting forever they say yes. We’re driven to the hotel to sleep and our heads barely hit the pillow when my phone rings. They want Phelan to shoot the green screen part. He is the angriest I’ve ever seen him. We make it to the lobby, where Rob is waiting to drive us back, and make it halfway down the road while explaining the situation, before Rob makes an “executive decision” to drive us back to the hotel.
  • They never asked him to film the green screen bit and it’s not in the film.
  • Not a single person wasn’t miserable, except Doug, who had no idea how badly it had went. He thought this was a grandiose sendoff that everyone was happy with, just completely in his own world. They had to have a private meeting with him to tell him the state of things.
  • Once shooting was done for what we knew was the last anniversary movie, they weren’t even planning on having a wrap party. We had an unplanned one. Doug was late. He gives us personalized goodbye letters.
  • They assumed Phelan would do the 3D effects for the flying houses and such, and Phelan pointed out to them he’s not a 3D animator. After the movie was done filming, they do a contest to find 3D animators.
  • When Noah left the site, Phelan got the rest of his effects load. A separate team of FX folks was created in Chicago as well. They had little to no communication with Phelan.
  • When Phelan finished an effect and sent it to Doug, Doug responds with “LOVE IT LOVE IT LOVE IT LOVE IT LOVE IT.” Later, they ask Welshy to try and stealthily find out if Phelan was “half-assing” the effects because I guess they wanted more debris in the shot. Welshy just directly goes to Phelan and tells him what they said. Phelan’s feelings are hurt. All they had to do was tell him they wanted more debris instead of sneaking around.

The Uncanny Valley

  • For the fifth year, they asked certain producers if they could make a short film to be included in an anthology with an internet theme. They offered no payment or resources at all, only the ability to post the shorts on their own channel in exchange for giving them the DVD rights. So basically, they were asking them to make a short film for them for free and also to let them make money off of it. Phelan was asked and said no.

The Spoony Incident

  • This is brought up to try and clarify some points involving CA, not to drag up old dirt. For the record, Noah and I apologized a long time ago.
  • After Noah posts some questionable stuff on Twitter, I call him out and this leads to a breakdown due to undiagnosed bipolar disorder. He lashes out at fans and it gets nasty on both ends.
  • I received death threats at my house.
  • CA suspends Noah, the meltdown continues, so they tell him he either stops talking like that on Twitter or he must leave. He chooses to leave.
  • People assume I got him fired, Noah makes a post saying this isn’t the case, and CA says nothing. This leads to a conspiracy that the women on the site collaborated to kick him off the site.
  • CA wants to suspend me for posting about the incident and specifically about context and rape jokes (I said nothing about CA and it broke none of their rules), decide against it because Phelan is doing the effects for To Boldly Flee and they don’t want to lose him. I receive a written reprimand.
  • A new page of rules is given to some producers (not all) which includes activity on social media.

Producer Grievances

  • In 2013, everyone on the site is fed up with the terrible communication and broken promises to the point of all coming together and giving the higher ups a list of grievances.
  • This leads to a series of calls where we were divided into groups to discuss our issues with them.
  • I tell them that the way To Boldly Flee was scripted made it sound like all of us were retiring along with Doug, and the site should have been informed he was getting rid of the character since it affected all of us. Rob laughs it off by saying he was only thinking of it as a story, and my point is never addressed.
  • The To Boldly Flee DVD was put up on the site store with a release date before Mike even contacted Ed to get them made (I was there when he called him). I asked Mike why that was, and he responded that it takes two weeks to make DVDs. I point out that they could get them done earlier than that release date and that still doesn’t make sense, and it devolves into him shouting “TWO WEEKS” at me nonsensically.
  • One of the promises in their response to this list of grievances was to give us newsletters to update us on what was going on with the site. They proceeded to do 2 by email and 1 on the internal site before giving up.
  • One of these newsletters hilariously tries to tell us that the anniversaries have stopped because of the weather.

  • We all knew and respected that they stopped because they were expensive and exhausting, so it seemed nonsense to come up with such an outlandish lie. It also defeated the point of being more communicative if they weren’t going to be truthful.

The Site Revamp

  • They’ve never once updated their internal site in 10 years. To this day it’s an “Icki Sports” Joomla template. Barfiesta and Blistered Thumbs are still on the scheduling dropdowns.

  • They didn’t turn searchability off, so their internal site comes up on Google. I can still use my access info and get in, because they never changed it.

  • After years of asking to redesign TGWTG into a better looking site, they decide to revamp it as Channel Awesome. This is partially because of our request to make things more about the community and less central to Doug.
  • They release it with a banner with Doug and all his characters, and also a bee from a one second joke in his Jurassic Park 3 video. We mention that this is all about Doug again, and they say they’ll switch the banner to different producers for days of the week that they post (Lewis on Mondays, etc). We point out there’s more producers than days of the week. None of this matters because we know they won’t do it, and they don’t.
  • When Mike is looking for a site designer, the first people he asks are the ones who designed the White House web page. They quote him $50K, so he goes with a $100 template.
  • One of our requests for ages was to have a page that listed who we were and what our videos were about, instead of a massive drop down menu of just names and pages of links with no descriptions. This was promised but never delivered.
  • They did ask us for show descriptions (which they lost at one point) and for us to make trailers for our shows. We did, but they were never posted.
  • They set up an automatic scheduling system, which almost immediately breaks and was never fixed. At this point I stop posting to the site for a month, and they never notice.
  • It took them six months to remove a cut off drop shadow from the banner.
  • They brought on a MASSIVE amount of people when they set up the new site, and it was a horrible time to do it because it flooded the front page every day with producers visitors were unfamiliar with. All of our views and comments instantly tanked. Fortunately this was around when Blip/Maker went away and most of us had switched to Youtube, where we were building our audiences.

Chicago Crossover (Talking Cat/Shut Up and Talk)

  • Sometime in 2013/2014 I am barely making ends meet with Blip’s ad revenue, so I start to use more midrolls in my videos. Around this time I go to Chicago to film a crossover on A Talking Cat with Doug in his studio.
  • Rob keeps interrupting to read off IMDB trivia for their Things You Didn’t Know About Ghostbusters video. No one pays us the courtesy of silence when we’re trying to film, Doug has to continually tell them to be quiet and they act like we’re not there.


  • While I’m in Chicago I film an episode of his talk show Shut Up and Talk, which was never released since I was gone before it was edited together. They would sit on these interviews for months and months.
  • Before filming, Doug offhandedly mentions one of the questions will be what I base my “funny” voice on. I tell him it’s based on nothing, it’s just me. When we begin filming, he again asks me what I base my voice on. I reiterate that it’s not based on anything, I’m just doofy sometimes. He makes fun of me for using the word “doofy” because he’s never heard it before, and doesn’t seem to believe me when I say I’m not imitating someone. The concept of comedy that is not directly ripping something off is baffling to him.
  • Outside of one or two, we do not go over the questions ahead of the interview. In the middle of the goofy questions he asks me what the hardest thing I’ve been through was and how I got through it. It’s very awkward.
  • At the end of the interview, Doug and his guests will improvise something as the credits play. I can’t do improv. I’m doing pretty badly, so Doug says, “You’ll never make it in this business!” and that’s how that ended.
  • Michaud waits until everyone leaves and I am alone on the Shut Up and Talk set to corner me and ask me why I have so many midrolls on my videos. I tell him to make enough money to live. He says my use of midrolls (and Phelan’s use) are causing people to put on adblock and affecting their revenue (their revenue was down because they killed off their flagship show and sunk a bunch of money into a useless game show). He tells me people were complaining in the comments and he left the mean ones up as a hint to me, instead of, y’know, telling me like the CEO of the company should. He also lies and tells me other producers were complaining to him, which the others confirmed was not true.
  • This is very hostile and makes me uncomfortable and upset. I go to the bathroom and cry. After I pull myself together, the only person around is Doug, so I tell him what happened and how uncomfortable I was. He says he’ll look into it.
  • Shortly after, Mike and Doug call me on Skype to tell me they’re limiting the number of midrolls we can use. I tell them I think they’re overstepping their bounds, Doug says he disagrees. No mention is ever made of Mike’s aggressive actions in Chicago.


  • Mike proceeds to give me tips on making more views, such as posting on specific days (I had been posting on Sundays for 3 years. I stopped doing a set schedule after that because I felt it didn’t matter if no one noticed). He says I don’t make enough videos, one a month (I was making 3-4 videos a month, including just completing a 2 hour retrospective. He didn’t seem to think videos outside of my main show counted.).
  • Doug tells me I should just make more videos like his TV show vlogs, because “that’s just his work ethic.”
  • I nearly quit right then and there. For at least a year, I was debating when, not if, I would leave the site.

Getting the Boot

  • Patreon comes along, a lot of folks are using it, and this seems like a great way to make money and not have all the midrolls that annoy people. I set one up, and put a link on the internal site to be added underneath my latest video.
  • It does not appear there and as usual, I have to contact them myself to find out what’s up. I ask Mike why it wasn’t there, and he tells me they won’t link to crowdfunding campaigns or e-begging. I try to explain that it’s a payment for a service, but he’s already decided what it is. He eventually stops talking to me. Later on, he apologizes for not responding, which is the only thing he’s ever apologized for.
  • Rob messages me and tells me adding Patreon along with the midrolls is a “slap in the face” to fans. I ask about them promoting their Indiegogo, and Rob says that was “executive authority.” I also point out Mike J’s Nerdquest campaign was promoted.
  • Suede makes a video weighing the pros and cons of Patreon, and they do not allow him to post it. After word gets out and people guilt them, they say we can do a bumper for Patreon on our videos. After I make one, they randomly tell us they have to be 30 seconds long. I posted my minute long video anyway because they never watch the content and don’t notice.