You may have heard by now, the first two episodes of Wage Slaves went live today.

(If you haven’t, please check them out.)

Initially I was only going to post the pilot episode first. But after much hemming and hawing, and a few second and third opinions, I felt that the first two episodes work together as a piece, so I posted the second one as well.

Feel free to watch them one at a time, or back-to-back, or even out of order — it’s really amazing, the freedom we enjoy on the web-coms.

I want to take a moment to issue some obligatory thanks and hallelujahs. First off, to the death-defyingly awesome cast, who sacrificed their weekends throughout the summer of 2008 and nearly sweated to death in my sweltering apartment with the windows shut and the fans off, raising the temperature to about 200 degrees. They were (mostly) stoic and (almost always) without complaint, and whatever works about the show can probably be attributed to them (whatever doesn’t work is entirely my fault and no one else’s).

Extra special thanks to my co-producer, Lara Kobrin, who kept working tirelessly long after the rest of the cast got to go home and gripe about their A-hole director.

Ehren Ebbage put his entire album Ten Cent Souvenir at my mercy, including the instrumental versions, and I abused the privilege by packing the show with his music. I couldn’t help myself — I love it too much! To hear more, visit his website and buy the album from iTunes. You won’t be sorry.

Shannon Buck provided the incredible artwork adorning the walls of the Rose City Coffeehouse. Her paintings are ever-present in the background, but deserve to be featured in their own show. I’d have bought them outright if I had the money. Click here to see more of her work.

Michael McRae of Cooper’s Coffee selflessly let us borrow a bunch of equipment, starting with the coffee urn and cash register, right up to the gigantic espresso machine without which we couldn’t have transformed a house into a coffee shop. There aren’t thanks enough to give.

Tavis Sarmento held a boom mic almost every day of the shoot, often for 10 or more hours, and never once uttered a complaint (in my earshot, anyway). In addition, I adore his paranoid customer Tom in Episode 1 and have much more I’d like to do with him in Season 2. I dearly want to fly Tavis back to Portland for the next shoot.

Scott Hart handled the sound recording and provided immeasurable guidance on such technical matters as gels for the lights, how to remember to turn your refrigerator back on when the shoot is done (hint: keys), and above all else, what the hell a C-47 is (ain’t tellin’).

There are many others who helped with the production in numerous ways, small and large — including Cynthia Lopez, Scott Spradling, Levi Buchanan (who loaned me his camera after mine died mid-way through filming the pilot), Esteban Ortiz, Serenity Ibsen (who photographed the logo of the coffee cup with the ball and chain), Matt Knapp, and Lin Sorensen (without whose counsel the scripts would never have gotten past their first drafts) — and probably others I’m forgetting.

This website was designed and maintained by Amy Goodman, who does an amazing job of making it better than I could have imagined.

There, I’m done gushing. Except to thank YOU, Dear Viewer, for checking us out. And please come back every Tuesday through August for another new episode!