82nd Annual Peabody Awards announced representing the best in storytelling

The Peabody Awards Board of Jurors unveiled all 30 programs representing the most compelling and empowering stories released in broadcasting and streaming media during 2021. Of the 30 winners, PBS led with six, followed by HBO/HBO Max with four, Netflix with three, and Amazon Prime Video, Hulu, and The New York Times each with two. Additional winning networks and platforms include ABC, FX, KUSA, NBC News, NPR, Peacock, Rumble Strip, and VICE.

The Peabody Awards were founded in 1940 at Grady College and are still based in Athens today.

“Whether exposing injustice, detailing uncomfortable truths, or making us laugh uncontrollably, all of the winners demonstrated how to tell a compelling story,” said Jeffrey Jones, executive director of Peabody. “With an ongoing pandemic, political obstructionism, and senseless wars continuing to take and disrupt lives, these programs pushed past many obstacles to tell important stories that will stand the test of time. Peabody is proud to honor their incredible work.”

Chosen unanimously by a board of 19 jurors, the Peabody 30 are the best from over 1,200 entries submitted from television, streaming media, and podcasts/radio. Entertainment winners like FX’s “Reservation Dogs,” Peacock’s “We Are Lady Parts,” and HBO Max’s “Sort Of” gave audiences hilarious, artistically evocative, and complex experiences of communities historically underrepresented and stereotyped in television. Documentary winners such as Hulu’s “Summer of Soul (…Or When The Revolution Could Not Be Televised),” PBS’s “Mr. SOUL!”, and Netflix’s “High on the Hog: How African American Cuisine Transformed America” highlighted Black cultural history as pivotal to American storytelling. The nine news winners this year covered numerous pressing issues, including reporting of the January 6th insurrection, Afghanistan’s past and future, abortion access, and trans rights. PBS’s “January 6th Reporting” and The New York Times’s “Day of Rage: How Trump Supporters Took the U.S. Capitol” documented a turning point in American democracy, while local news outlets were named winners for their investigations into deadly use of the prone position in arrests (KUSA), the lack of public resources for single parents facing housing insecurity (NBC Bay Area), and the erosion of civil liberties for protesters (ABC15 Arizona).

The 30 winners of the 82nd Annual Peabody Awards were named during a multi-day virtual celebration June 6-9. Video announcements and acceptances can be viewed on the 2022 Peabody Video Acceptance Videos webpage. Celebrity presenters announced each winner via a short video which included remarks from the winners. The full list of winners and presenters is below.

Peabody previously announced Fresh Air with Terry Gross as the year’s Peabody Institutional Award winner. This distinctive honor recognizes institutions and organizations, as well as series and programs, for their enduring body of work and their iconic impact on both the media landscape and the public imagination. Dan Rather was also named winner of the Peabody Career Achievement Award. Dozhd, also known as TV Rain, the independent Russian television channel blocked by state authorities for its coverage of Russia’s invasion of Ukraine, won the Peabody Award for Journalistic Integrity. Peabody also made a special commendation in recognition of journalists killed globally in the last year.

In addition to these honorees, the 30 winners the 82nd Peabody Awards are:

  • “Summer of Soul (…Or When The Revolution Could Not Be Televised)” (Hulu / Searchlight Pictures / Onyx Collective)
  • “Bo Burnham: Inside” (Netflix)
  • “Dopesick” (Hulu)
  • “Hacks” (HBO/HBO Max)
  • “Reservation Dogs” (FX)
  • “Sort Of” (CBC/HBO Max)
  • “The Underground Railroad” (Amazon Prime Video)
  • “We Are Lady Parts” (Peacock and Channel 4)
  • “The Wonder Years” (ABC)
  • “Exterminate All the Brutes” (HBO/HBO Max)
  • “High on the Hog: How African American Cuisine Transformed America” (Netflix)
  • “In the Same Breath” (HBO/HBO Max)
  • “Mayor” (PBS)
  • “Mr. SOUL!” (PBS)
  • “My Name is Pauli Murray” (Amazon Prime Video)
  • “Philly D.A.” (PBS)
  • “A Thousand Cuts” (PBS / GBH / FRONTLINE)
  • “Finn and the Bell” (Rumble Strip)
  • “Southlake” (NBC News)
  • “Throughline: Afghanistan: The Center of the World” (NPR)
  • “The Appointment” (ABC News)
  • “Day of Rage: How Trump Supporters Took the U.S. Capitol” (The New York Times)
  • “Escaping Eritrea” (PBS / GBH / FRONTLINE)
  • “January 6th Reporting” (PBS NewsHour)
  • “NBC Bay Area: ‘The Moms of Magnolia Street’ & ‘No Man’s Land: Fighting for Fatherhood in a Broken System’” (NBC Bay Area)
  • “Politically Charged” (ABC15 Arizona)
  • “PRONE” (KUSA)
  • “‘So They Know We Existed’: Palestinians Film War in Gaza” (The New York Times)
  • “Transnational” (VICE News Tonight)
Children’s & Youth
  • “City of Ghosts” (Netflix)

“Fresh Air with Terry Gross” wins Peabody’s Institutional Award

Peabody announced that “Fresh Air with Terry Gross,” the estimable cultural interview radio and podcast program, has won the Institutional Award. Stephen Colbert presented Terry Gross and the Fresh Air team with the honor via video. Fresh Air, which originated from WHYY in Philadelphia and broadcasts daily through NPR, is being recognized for its rich conversation for over 35 years, becoming the indispensable place for listeners to engage with many of the most beloved artists who have shaped society over the last century. Selected by the Peabody Board of Jurors, the Institutional Award recognizes institutions and organizations, as well as series and programs, for their enduring body of work and their iconic impact on both the media landscape and the public imagination.

The University of Georgia Grady College of Journalism and Mass Communication has been the home of Peabody since its founding in 1940.

“Gross possesses what musicians often call “big ears”—a habit of being deeply immersed in the play of the conversation at hand through acute listening. Her mastery of dialogue is seen in questions that unearth the rudiments and alchemy of artistry,” said Jeffrey Jones, executive director of Peabody. “Fresh Air is just that as an interview show. The mission is the soul of art, not the spectacle of celebrity.”

Terry Gross began hosting Fresh Air in 1975 and has since conducted over 13,000 interviews with a wide array of celebrities, artists, politicians, showrunners, musicians, and writers. Part conversationalist, part therapist, part oral historian, Gross leans heavily into her guests with an unassuming intimacy that often evokes unexpected and, at times, uninterrogated feelings or memories. She routinely displays genuine interest in what makes artists great, not just as creators, but also as individuals whose personal history and humanity inspire the art itself. With her distinctive style and insightful interviews, Gross and her longtime co-executive producer Danny Miller have made Fresh Air one of the top audio programs in the world.

Gross began her radio career in 1973 at public radio station WBFO in Buffalo, New York. There she hosted and produced several arts, women’s and public affairs programs, including This Is Radio, a live, three-hour magazine program that aired daily. Two years later, she joined the staff of WHYY-FM in Philadelphia as producer and host of Fresh Air, then a local, daily interview and music program. In 1985, WHYY-FM launched a weekly half-hour edition of “Fresh Air with Terry Gross,” which was distributed nationally by NPR. Since 1987, a daily, one-hour national edition of Fresh Air has been produced by WHYY-FM. The program became the first non-drive time show in public radio history to reach more than five million listeners each week in fall 2008, a presidential election season. The series previously won a 1993 Peabody Award.

Recent winners of the Institutional Award include ARRAY, The Simpsons, 60 Minutes, Sesame Street, “The Daily Show with Jon Stewart,” Kartemquin Films, “FRONTLINE,” and ITVS.

The Career Achievement Award will be announced on May 19, and the 30 winners of the Peabody Awards will be named during a multi-day virtual celebration from June 6-9.

Dan Rather, TV Rain honored with Peabody Awards

Peabody announced that Dan Rather, the award-winning journalist whose career has spanned six decades, has won the Peabody Career Achievement Award.  Dolly Parton presented Rather with the honor via video.

The University of Georgia Grady College of Journalism and Mass Communication has been the home of Peabody since its founding in 1940.

Rather, who has interviewed every president since Eisenhower, was the CBS national evening news anchor from 1981-2006. Rather is being recognized for his commitment to helping Americans understand the events of the nation and the world for over six decades. Selected by the Peabody Board of Jurors, this honor is reserved for individuals whose work and commitment to broadcasting and digital media have left an indelible mark on the field and in American culture. Rather joins Carol Burnett, Rita Moreno, Cicely Tyson, and Sam Pollard as winners of the Peabody Career Achievement Award.

“Dan Rather’s remarkable career—from local news reporter and international correspondent to network anchor—is a textbook example not just of what quality reporting looks like, but how journalists serve democracy well,” said Jeffrey Jones, executive director of the Peabody Awards. “Spanning over six decades, Rather helped viewers understand and interpret some of the most traumatic historical events in our nation’s history, from the Kennedy assassination and the Vietnam War to 9/11 and more. We are happy to call attention to and celebrate his life’s work.”

It was also announced today that TV Rain (known in Russian as Dozhd) was recognized with the Peabody Journalistic Integrity Award, which honors the sustained achievement of the highest professional standards of journalism, as well as personal integrity in reporting the news in challenging times. TV Rain was Russia’s last independent television channel before it was shut down in March 2022 for its criticism of President Vladimir Putin and the Russian invasion of Ukraine. Its final broadcast was a blatant protest, with the entire staff walking off the set as the anchors said “no war.”

The Peabody Board of Jurors also made a special commendation to the journalists and filmmakers from around the world, including Peabody-winning documentarian Brent Renaud, who have risked their lives and died covering the violence and humanitarian crises in Ukraine. “We honor these courageous storytellers killed in their line of duty to bring the truth to the world, not just in Ukraine, but in India, Mexico, the Philippines, and globally,” noted Jones.

Dan Rather began his career in print and radio in Houston before landing a job at KHOU-TV, Houston’s local CBS’s affiliate, in 1960. He went on to become a national network correspondent and later CBS’s White House correspondent. Rather became the CBS evening news anchor in 1981, holding the position until 2006. During his time on air at CBS, Rather reported on and guided the nation through Kennedy’s assassination, the war in Vietnam, the Civil Rights Movement, Watergate, the Cold War, and 9/11. After leaving CBS, he hosted Dan Rather Reports for HDNet and The Big Interview on AXS TV. Rather currently serves as President and CEO of News and Guts, an independent production company that he founded to make high-quality, non-fiction content across traditional and digital platforms. Over the course of his career, Rather has won multiple Peabody Awards and numerous Emmy Awards.

Natalya Sindeyeva founded TV Rain in 2010 as an independent television channel. After the channel was banned from cable in 2014, it moved to an online broadcast. TV Rain has reported on the Russia-Ukraine conflict since its beginning, prompting the Russian justice ministry to declare it a “foreign agent” in 2021. TV Rain continued to report on the activities of the Kremlin, until the Russian telecommunications regulator Roskomnadzor blocked access to the channel because of its critical reporting on the Russian invasion of Ukraine. For its final broadcast, the entire TV Rain staff gathered on air at the news desk before walking off set, with the anchors saying “no war” as they exited. The broadcast then cut to a performance of Swan Lake, in reference to when Russian news channels played the ballet during the August 1991 Russian coup after they were banned from live coverage of the event.

The 30 winners of the 82nd Annual Peabody Awards will be named during a multi-day virtual celebration from June 6th through June 9th.

The Peabody Awards announce winners for Digital and Interactive Storytelling

The Peabody Awards Interactive Board of Jurors unveiled 12 winning digital and interactive projects alongside four special awardees that have achieved outstanding feats in storytelling across interactive, immersive and new media categories. The distinguished “Legacy class” of winners whose mediums altogether span virtual and augmented reality, gaming, interactive journalism, social video, interactive documentary, transmedia storytelling, and more, demonstrate the depth of these digital formats and emphasize the foundational standards for future award recipients.

“To recognize the present and future of storytelling in digital spaces, Peabody has taken the unusual step of looking backwards, recognizing landmark pioneering projects that have shaped and defined powerful stories in interactive and immersive media forms,” said Dr. Jeffrey Jones, executive director of Peabody. “We are honored to highlight these legacy projects and their creators, all of which signal the type of meaningful stories we will be recognizing each year going forward.”

The Peabody Awards were founded at the University of Georgia Grady College of Journalism 1940. This is the inaugural year for the Digital and Interactive Storytelling award category.

View more details about these honorees on the Peabody Interactive and Digital Storytelling website

Unanimously selected by the novel board of jurors, the legacy winners celebrate innovators who have long paved the way in diversifying storytelling experiences and communities, including four special awards. Phil Yu was named winner of the Trailblazer Award for his “Angry Asian Man” blog, a groundbreaking work at the forefront of amplifying Asian American voices in media and combating cultural stereotypes. Known as the “Godmother of Virtual Reality,” Nonny de la Peña received the Field Builder Award for her contributions to advancements in VR and immersive journalism, inspiring new modes of interactive storytelling that are now widely adopted. Peña and Yu’s awards were presented by Alejandro González Iñárritu and Daniel Dae Kim respectively.

The computer program ELIZA, developed in 1964-66, was honored with the Foundational Award for elevating software as a tool not just for business or science, but also for emotional interactions, empathy, and connection. Forensic Architecture received an Institutional Award for its evidentiary techniques known as “counter-forensics” to advance justice and to expose state, military, police, and corporate crimes of magnitude.

“By honoring these legacy projects and creative innovators, we celebrate dynamic stories that push the limit of what we know storytelling to be across all mediums,” said Diana Williams, chairwoman of the new Peabody Interactive Board. “And we also continue to uphold the Peabody’s mission of supporting visionaries who tell stories that illuminate the world around us and can perhaps evoke societal change.”

All winning projects are now featured on the Peabody Awards’ interactive website, for audiences to explore firsthand and to learn about their historical impact. Designed to honor and respect Peabody recipients within their medium, and created with accessibility in mind, audiences can view, share and engage with these legacy projects and the site’s exclusive content.

The formalization of the new awards category follows a tradition of past Peabody honorees recognized for their digital innovation and storytelling, including “Snow Fall: The Avalanche at Tunnel Creek (2012), “A Short History of the Highrise” (2013), and “That Dragon Cancer” (2016). Legacy winners were identified and handpicked by the Board as projects released prior to 2019. Any projects headed or led by jurors were removed from consideration. The bodies of work and profiles of the Peabody Interactive Board of Jurors is available on the Peabody website.

The first entry submission window for recent projects is slated to open late June 2022. Entry guidelines and eligibility rules will be available on the Peabody website beginning in May.

The full list of legacy winners is below (listed by the four special awards, followed by 12 projects in alphabetical order):

Peabody Award Legacy Winners for Digital & Interactive:
Phil Yu — Trailblazer Award

Like many people of color coming up in the 1980s and ‘90s, Phil Yu had grown accustomed to not seeing himself in mass media. But unlike many, Yu also got angry, and then he found a way to channel it. Angry Asian Man is a blog whose name is an ironic play on the model minority trope and asks: Why aren’t Asians allowed or expected to be angry? With the message as important as the delivery and consumption medium, Phil continues to shine a light on Asian American issues beyond his blog and into podcasts and publishing. Mainstream media is listening now.

View more details about these honorees on the Peabody Interactive and Digital Storytelling website

Nonny de la Peña — Field Builder Award

Nonny de la Peña has been at the forefront of emerging media throughout her career, earning the title of “Godmother of VR.” She was an important contributor during a historic period of discovery in beyond-broadcast digital media. Her example catalyzed a generation of storytellers and innovators to invest their genius towards meaning-making in emerging media forms. Significant areas of her innovation include room-scale 5DoF immersion; data visualization; flat game-engine storytelling; techniques to bring flat media documentation into immersive space, stimulating technologists to make VR headsets mobile, higher quality, and less expensive; and a platform that democratizes the immersive power of volumetric VR.

ELIZA (1964) — Foundational Award

Primary Credits: Joseph Weizenbaum, MIT Artificial Intelligence Laboratory

In 1966, Joseph Weizenbaum saw the potential in the computers of his day to create a program for the purpose not of processing information or doing scientific calculations, but for the sole intention of making a relationship. This program was ELIZA. ELIZA took the form of what we now call a chatbot. She opened the door to software as a tool not just for business or science, but also for emotional interactions, empathy, and connection.

Forensic Architecture (2010) — Institutional Award

Primary Credits: Eyal Weizman

In the 21st century, states’ and corporations’ arsenals include drones, chemical gasses, computational surveillance, sensors, and disinformation, which are launched at targets remotely through complex computer interfaces and dizzying transnational networks. In these next-level true crimes, there is no obvious smoking gun. For the last decade, Forensic Architecture has directed a spectacular coordinated response, led by architect Eyal Weizman. The group has written a new language of evidentiary techniques called “counter-forensics” to advance justice and expose state, military, police, and corporate crimes of magnitude on behalf of advocates and affected communities. Forensic Architecture has co-created an entire new academic field and emergent media practice, using digital 3D modeling for human rights investigation and documentary, to speak truth to computational power on a planetary scale.

Always in Season Island (2010)

Fields & Forms: Interactive Documentary, Game+Play, XR
Primary Credits: Jacqueline Olive
Additional Production Credits & Partners: Tell It Media, Bay Area Video Coalition

The creators of the virtual project Always in Season Island sought to confront the ongoing legacy of American racial terror following their 2019 documentary film (Always in Season) on the history of the lynching of African Americans. They recreated, in virtual life, the setting of the 1930 lynching in Marion, Indiana, when 10,000 white men, women, and children came to watch the torture and murder of two African American men. Avoiding gratuitous violence, “Always in Season Island” offered visitors tasks to complete and prompts to consider that either encouraged or stopped the lynching from occurring, ultimately pushing the conventions of the documentary form and challenging audiences to intimately examine their own capacities for both dehumanization and change.

The Beast, A.I. Transmedia Experience (2001)

Fields & Forms: Transmedia Storytelling
Primary Credits: Jordan Weisman, Sean Stewart, Pete Fenlon, and Elan Lee

Originally developed by a small team at Microsoft Games as a marketing campaign to support the 2001 film A.I.: Artificial Intelligence, “The Beast” played out over a massive network of fictional websites and other forms of media that combined to tell a sprawling tale set in the world of A.I.: Artificial Intelligence. Following clues hidden in the movie’s trailer and poster, those who found their way into the network were immersed in the storyworld and challenged with puzzles to unlock the next pieces of narrative. This mass-distributed form of storytelling, later dubbed an “Alternate Reality Game,” provided a template for a new way to tell stories over the internet and connected media.

Fatal Force: The Washington Post Police Shootings Database (2015)

Fields & Forms: Interactive Journalism
Primary Credits: Steven Rich, Julie Tate, David Fallis
Additional Production Credits & Partners: The Washington Post

Amid outrage over the 2014 police killing of Michael Brown in Ferguson, Missouri, reporter Wesley Lowery suggested that The Post count every fatal police shooting in America. We now know that American police officers shoot and kill about 1,000 people a year, and The Post has consistently made the data accessible through graphics that show with stunning clarity how victims are disproportionately Black—more than a third of unarmed people—and overwhelmingly young and male. The most salient and impactful works of data journalism fill a void and answer crucial questions that the government or private sector choose not to. With the Fatal Force database, The Post’s work over seven years is an unwavering public service in the fight for criminal justice.

Feminist Frequency (2013)

Fields & Forms: Social Video
Primary Credits:  Anita Sarkeesian

Following the 2009 launch of her feminist media criticism website by the same name, Anita Sarkeesian advanced our conservations about popular culture, and specifically the representation of gender in media and “geek” and gamer culture, through her Feminist Frequency YouTube channel. Her lightning rod series “Tropes vs. Women in Video Games,” exposed the persistent denigration of women in one of the most popular media forms in the world and angered parts of the largely male gamer demographic, prompting the #GamerGate scandal when she endured vicious online harassment and death threats. Through it all, she continued to tell stories in service of manifesting a better world for women, queers, and other marginalized people.

How Y’all, Youse, and You Guys Talk: NY Times Dialect Quiz (2013)

Fields & Forms: Interactive Journalism
Primary Credits: Josh Katz, Wilson Andrews
Additional Production Credits & Partners: The New York Times

The New York Times’ work “How Y’all, Youse and You Guys Talk”—or, because of its sheer ubiquity, simply the “dialect quiz”—became a cultural touchstone immediately after its launch in 2013. After answering a series of questions about the words you use, the interactive graphic returns a map that, more often than not, pinpoints where you live or grew up. What started as a personal side project of graphics editor Josh Katz was used by tens of millions of visitors over the span of a few weeks and quickly became at the time the most-viewed piece of content in New York Times history for its ability to tell individuals a personal story about themselves while also drawing a limitless set of maps of cultural geography that still delights new readers today.

Journey (2012)

Fields & Forms: Interactive Narrative
Primary Credits: Jenova Chen
Additional Production Credits & Partners: SONY Computer Entertainment, Santa Monica Studio Developer: THATGAMECOMPANY INC

Journey is quiet, abstract, and spiritual, yet riveting. As a player you are a robed figure, seemingly lost, while meeting anonymous strangers, other players searching for what they do not know. Journey shook the gaming world when it was released a decade ago, crystallizing the spirit of a burgeoning generation of indie game developers, whose tender, artisanal works recalled the wonder of the earliest days of gaming. In Journey we are encouraged to collaborate with anonymous strangers as opposed to shouting at them for competition or clout. We are asked to slow down, stop talking, and pay attention to history and the ecosystem around us.

Never Alone (Kisima Inŋitchuŋa) (2014)

Fields & Forms: Interactive Narrative
Primary Credits: Sean Vesce, Alan Gershenfeld, Gloria O’Neill
Additional Production Credits & Partners: Cook Inlet Tribal Council, Inc. E-Line Media

“Kunuuksaayuka,” a traditional Alaskan Iñupiat tale, follows a young girl, Nuna, who fights against an eternal winter storm threatening her community’s survival. For the 2014 atmospheric puzzle-platformer Kisima Inŋitchuŋa, this epic journey has been adapted by writer, storyteller, and poet Ishmael Hope (Iñupiaq and Tlingit) into an artful and accessible educational game. Throughout the game, players encounter powerful video vignettes of interviews with 40 Iñupiat Elders who share legends, cultural practices, and traditional world-views. Importantly, the project originated with Upper One Games, a for-profit subsidiary of Cook Inlet Tribal Council established in 2012 as the first Indigenous-owned commercial game company in the United States.

Notes on Blindness: Into Darkness (2016)

Fields & Forms: XR
Primary Credits:  Arnaud Colinart, Amaury Laburth, Pete Middleton, James Spinney
Additional Production Credits & Partners: Archer’s Mark, Ex Nihiloin collaboration with Audiogaming, Novelab ARTE France With the Support of CNC

Notes on Blindness: Into Darkness is a beautifully crafted landmark 360 film project that premiered in 2016 in collaboration with an acclaimed flat feature film documentary. While the feature film (Notes on Blindness) told the story of an articulate professor documenting his transition from being a sighted to an unsighted person, the immersive piece gave audiences an experience of echolocation. In effect, the tables were turned, where sighted people shifted from sympathy for someone who “lost” a sense, to a realization that they have been so dominated by eye data inputs to their brain they have become “sound blind. The experience answered the “why immersion?” question with innovative design technique, a compelling experience, an emotional journey, and transcendent aesthetics—all elements of an excellent story.

Papers, Please (2013)

Fields & Forms: Game + Play
Primary Credits: Lucas Pope
Additional Production Credits & Partners: Developer and Publisher: 3909 LLC

First released in 2013, Papers, Please puts players in a position of authority in a dystopian police state. In this strategy simulation video game, the player is in the shoes of an immigration officer stationed in a country bordered by hostile neighbors. With little time to review and process documents, the player must make fast-paced decisions to determine who can cross the border. And with each wrong decision, the consequences can be dire, resulting in life or death stakes for your family who are dependent on your earnings. Papers, Please breaks away from the traditional tropes of kill or be killed but instead focuses on the ever-present complex, intricate, and personal choices resulting from geopolitical forces.

Quipu (2015)

Fields & Forms: Interactive Documentary, Audio
Primary Credits: Maria Ignacia Court, Rosemarie Lerner
Additional Production Credits & Partners: Chaka Studios

In the 2015 web-based online documentary Quipu Project audiences click on colored-dot icons, each representing testimonies of more than 100 women from remote mountainous locations across Peru, who share their anonymous stories in voice messages after dialing a free phone number. In recording after recording, they recount being among the nearly 300,000 women (and thousands of men) brutally subjected to sterilization under the government of former president Alberto Fujimori in the 1990s. Quipu Project elegantly fused low-tech phone technology for recording with a high-tech digital interface for the user experience, brilliantly weaving together ancient and new technologies to create a powerful and poetic online collection of co-created, participatory oral histories in a movement for justice and survivor support.

Star Wars Uncut (2010)

Fields & Forms: Co-Creation
Primary Credits: Casey Pugh
Additional Production Credits & Partners: Jamie Wilkinson, Chad Pugh, Annelise Pruitt, Bryan Pugh, Aaron Valdez, KK Apple, Todd Roman, Ivan Askwith

Star Wars Uncut—a 2010 online film produced, edited, and directed by Casey Pugh—is a crowdsourced shot-for-shot re-creation of Star Wars Episode IV: A New Hope, consisting of 473 segments, 15 seconds each, created and submitted by fans from all over the globe. In 2009, Pugh created a website where fans could sign up to re-create scenes from the original Star Wars film. When there were multiple contenders, there was a vote to determine whose work made it into the final film, which would then be altered in real time. Star Wars Uncut is a great example of fanfiction involving a beloved IP, a best-in-class show of how crowdsourced content can not only entertain, but also make a familiar story delightful in a new way.

 World Without Oil (2007)

Fields & Forms: Co-Creation, Transmedia Storytelling
Primary Credits: Ken Eklund
Additional Production Credits & Partners: Electric Shadows, Independent Lens, ITVS Interactive, Writerguy official credits: http://writerguy.com/wwo/metacontact.htm 

Unfolding online in 2007, World Without Oil simulated a global oil shortage. Over the 32 days the game ran, each day played out one week of events, charting worldwide ramifications of a global oil shock. The game invited players from around the world to tell their own stories of how the oil shortage was affecting their lives, through blog posts, voice recordings, pictures, video, and other user-generated content. Collaborating on potential solutions to a global crisis, the players together helped create a fictional documentary, raising important questions of sustainability and resiliency.