THE ERA OF FAN-POWERED MEDIA
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THE ERA OF FAN-POWERED MEDIA

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Presentation to the Broadband TV Conference, Nov 6, 2013, in the context of my work for client Theatrics.com, a collaborative storytelling platform.

Presentation to the Broadband TV Conference, Nov 6, 2013, in the context of my work for client Theatrics.com, a collaborative storytelling platform.

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    THE ERA OF FAN-POWERED MEDIA THE ERA OF FAN-POWERED MEDIA Presentation Transcript

    • FAN-­‐POWERED  MEDIA: AUDIENCE  AS  ENGAGEMENT  ENGINE 11/6/13 Nick  DeMar:no,  President  -­‐  Nick  DeMar:no  Consul:ng Business  Development,  Theatrics.com   Nick@theatrics.com @nickdemar:no  @theatrics I’m  Nick  DeMar.no,  a  consultant  in  media  &  technology,  today  represen.ng  my  client  Theatrics.com,  a  collabora.ve  storytelling  pla@orm  that   invites  fans  to  co-­‐create  content.  This  fan-­‐powered  model  for  content  leverages  many  of  the  trends  we  see  in  the  industry  –  a  kind  of  rethinking   of  what  a  “ TV  show”  actually  is  in  the  context  of  its  audience.  You  can  learn  more  about  me  and  my  consul.ng  prac.ce  at  hJp:// www.nickdemar.no.net  and  try  the  Theatrics  pla@orm  for  yourself  at  hJp://www.theatrics.com
    • THE  ERA  OF  FAN-­‐CENTRIC  MEDIA • Fans  have  the  desire  &  means  to  engage  others – – – – – – Show  is  hub  for  vast  fan  networks Shareable  and  viral  across  the  social  graph Authorized  and  unofficial  plaRorms Content  takes  many  forms  &  depth User-­‐generated  content  –  deep,  deep  engagement Deriva:ve  UGC  –  the  ul:mate  fandom • Important  lens  to  view  audience  -­‐  Fanthropology – – – – Ac:ve  (10%)  vs  Inac:ve  (90%)  Fans Fans  /  Superfans  /  Ambassadors Curators  /  Collectors  /  Producers Fan  engagement  &  content  is  part  of  the  TV  experience My  hypothesis  today  is  the  “Era  of  Fan-­‐centric  Media.”  As  the  mobile/social/networked  web  has  become  ubiquitous,  fans  now  have  both  the   means  (and  the  desire)  to  engage  with  each  other  about  the  things  they  are  passionate  about  –  especially  popular  TV  shows.  The  result  is  that   TV  shows  are  essen.ally  the  hub  of  a  vast  fan  network  which  enables  massive  sharing  and  content  interconnec.on  across  the  web.  This  is  for   both  official  web  proper.es  from  the  TV  show  and  network,  but  much  more  these  days  on  unofficial  sites.  Experts  like  Kris  Longfield   (@fanthropologist  on  TwiJer)  segment  the  audience  by  ac.ve  vs  inac.ve.  There  are  superfans  and  ambassadors,  and  they  tend  to  curate,   collect  and  produce,  depending  upon  where  on  the  spectrum  of  fan  engagement  they  fall.
    • THE  INFLUENCE  OF  FANS • Fan  content  is  fragmented – Many  pla@orms,  owners,  metrics – Engagement  metrics  is  a  start – Quan.ta.ve  vs.  Qualita.ve – Superfans  as  Influencers • Mone.za.on  is  fragmented – Many  players  seeking  to  exploit  the  fans • Unified  measurement  is  a  pain  point Whereas  once  we  were  an  “audience”  that  was  passively  consuming  what  others  provided,  we  now  have  a  very  different  engagement  model   with  fans  who  demand  the  chance  to  leave  their  mark  on  the  story  universes  they  love,  not  only  via  opportuni.es  enabled  by  the  distributors   and  creators,  but  en.rely  on  their  own.  There  are  many  pla@orms  out  there  seeking  to  tap  into  this  frenzy  of  fan-­‐engagement  demand,  and  as  a   result,  there  are  many  different  touchpoints  and  ways  of  measuring  this  engagement.  We  see  major  pla@orms  offering  “Engagement  Rates”  and   other  metrics  (hJp://simplymeasured.com/blog/2013/08/14/facebook-­‐metrics-­‐defined-­‐engagement-­‐rate/)  but  the  places  that  need  to  be   measured,  and  therefore  the  mone.za.on  opportuni.es  are  fragmented  and  frequently  unmeasured.  This  is  a  pain  point  that  somebody  will   solve,  and  when  they  do,  fan  engagement  will  enter  the  mainstream.
    • THE  JOURNEY  OF  A  FAN  –  WALKING  DEAD AMC’s  Walking  Dead  is  an  iconic  show,  now  in  its  fihh  season.  I’d  like  to  use  the  show  as  an  example  of  the  fan’s  journey  of  engagement  in  the   story  world  created  by  a  contemporary  (and  very  popular)  television  series.  Note:  the  image  I’ve  selected  is  not  on  a  TV  set,  but  a  computer   screen.  So  from  the  outset,  the  linear  TV  series  is  now  rou.nely  being  consumed  across  a  variety  of  screens.  And  it’s  digital.  This  is  our  star.ng   point  for  fan  engagement.  (For  a  deeper  dive  into  the  marke.ng  world  of  Walking  Dead,  check  out  this  panel  from  the  PGA’s  “Produced  by”   Conference  hJp://youtu.be/de5hfc7JSs0  ..  Thanks  to  Nicholas  DeWolff.
    •  OFFICIAL:  WEBSITE Every  program  and  network  now  has  a  website,  and  like  this  one  from  AMC,  shows  can  be  streamed  in  their  en.rety  on  whatever  device  is  used   to  access  the  Internet.  In  addi.on,  the  site  offers  the  kind  of  bonus  materials  we  used  to  see  on  DVDs  –  video  extras,  etc....
    • OH  YES,  AND  SHOPPING  TOO ...  And  of  course,  swag  and  products,  including  the  DVDs  of  prior  seasons,  game  and  much  more.  The  most  successful  mul.-­‐season  shows  offer   a  wide  range  of  merchandise.  I’m  a  fan  of  Sons  of  Anarchy  and  their  story  is  a  full  retail  experience,  for  example.  
    • AMC  BLOG  (  AND  FAN  COMMENTS) Like  most  websites,  the  official  AMC  site  offes  a  blog  with  produc.on  .dbits  and  the  like,  and  fan  comments.  Fans  use  this  forum  to  express   their  opinions,  and  also  to  give  direct  feedback  to  the  produc.on  team  and  the  network.  Once  was  a  .me  when  TV  did  not  like  fans  who  talked   back.  Now  they  enable  it.  
    • FAN  FICTION  SITES Popular  fic.onal  worlds  like  Walking  Dead  s.mulate  fans  to  create  their  own  fic.onal  extensions  that  are  inspired  by  the  story  world.  Fans   create  their  own  characters  who  co-­‐inhabit  the  world  with  characters  from  the  ‘canon’  as  well  as  to  spin  out  subplots,  back  stories  and  much   more.  hJp://www.fanfic.on.net/tv/Walking-­‐Dead/  
    • FAN  FICTION  SITE Hdere’s  a  fan  fic.on  site  completely  devoted  to  The  Walking  Dead:  hJp://www.walkingdeadfanfic.on.com/
    • FAN  FICTION  -­‐  WATTPAD WaJpad  is  a  publishing  pla@orm  in  which  authors  connect  with  their  readers  and  in  some  cases  co  create.  Here’s  how  one  author/fan  of  TWD   uses  the  pla@orm.  hJp://www.waJpad.com/story/4180042-­‐something-­‐to-­‐live-­‐for-­‐the-­‐walking-­‐dead-­‐fanfic.on
    • WALKING  DEAD  FAN  LOCATION  BLOG There  are  many  fan-­‐created  blogs,  too  numerous  to  include  in  this  presenta.on.  I  like  this  one,  completely  devoted  to  the  loca.ons  used  in  the   TV  series.  hJp://walkingdeadloca.ons.com/  You  can  see  in  the  menu  that  the  authors  of  the  blog  solicit  help  from  readers  to  help  build  the   database  of  loca.ons  which  other  fans  can  then  access  on  the  site,  as  well  as  links  to  many  many  other  fan-­‐type  sites.  
    • UNOFFICIAL  RECAP  BLOG Recap  sites  are  also  endemic  on  the  web  –  the  audience  interested  in  reading  summaries  of  recently  aired  episodes  may  include  folks  who  don’t   want  but  want  to  know  more,  but  typically,  they  are  viewers  who  have  already  watched  the  episode,  but  want  to  make  sure  they  got  everything.   Unlike  short  tweets  or  comments,  the  recap  blogs,  which  include  many  mainstream  publica.ons  like  Entertainment  Weekly,  offer  a  voice,  a   point  of  view,  indeed,  a  review  of  sorts,  ohen  on  a  very  granular  level.  We  live  in  an  age  where,  indeed,  everyone  is  a  cri.c.  
    • OFFICIAL:  SECOND  SCREEN  APP Throughout  this  conference  weve  discussed  the  rise  and  evolu.on  of  so-­‐called  Second  Screen  apps,  and  AMC  offer  one  for  The  Walking  Dead  as   it  does  for  most  of  its  programming.  The  audio  of  an  episode  being  played  (live,  DVR,  DVD)  is  detected  by  the  tablet  or  other  mobile  device   running  the  app  and  generate  ancillary  content  in  real  .me  for  the  user.  Many  commercial  broadcasters  like  this  approach  because  it  provides   content  for  their  superfans,  and  encourages  fans  to  sit  through  the  commercials  or  otherwise  experience  marke.ng  messages  that  generate   revenue.  Synchronized  content  is  also  being  delivered  via  broad-­‐based  second  screen  apps  like  Zeebox.
    • COMPANION  APP  –  U.K. Second  screen  apps  are  typically  created  by  the  distributors,  and  so  we  see  en.rely  new  companion  apps  for  The  Walking  Dead  for  interna.onal   markets  where  the  show  is  seen  on  other  channels.  Here’s  one  created  for  the  UK  broadcast  on  FX  Network  (owned  by  Fox),  and  created  by  Red   Bee,  a  digital  agency,  hJp://www.redbeemedia.com/work/walking-­‐dead-­‐companion-­‐app
    • OFFICIAL:  FACEBOOK  PAGE AMC  builds  and  operates  a  slew  of  des.na.ons  on  popular  social  media  pla@orms,  like  this  one  on  Facebook  hJps://www.facebook.com/ TheWalkingDeadAMC.
    • FAN-­‐CREATED  FACEBOOK  PAGES   But  there  are  many  more  Walking  Dead  fan-­‐created  sites,  just  run  a  search  on  Facebook.  Here’s  one  devoted  to  “memes”  which  has  aJracted   134,000  “Likes”.  hJps://www.facebook.com/walkingdeadmemes  The  fan-­‐powered  meme  phenomenon  is  all  over  the  web  for  shows  like   Walking  Dead;  indeed,  this  creator  has  a  chat  room,  website  and  Tumblr  blog  extending  their  interest  in  TWD  meme.  A  meme  is  an  idea  that   spreads  organically  through  the  culture,  ohen  sa.rical  or  outrageous.  A  more  formal  defini.on  is  here  at  Wikipedia:  hJp://en.wikipedia.org/ wiki/Meme
    • UNOFFICIAL  FACEBOOK  PAGES This  is  just  one  page  of  my  Google  search  for  “Unofficial  Walking  Dead  Facebook  pages”.  There  are  351,000  results!
    • OFFICIAL:  TWITTER  ACCOUNT @WalkingDead_AMC  is  the  official  TwiJer  account  from  the  network.  But  the  fan-­‐powered  use  of  this  popular  micro-­‐blogging  site  is  massive.  
    • OFFICIAL:  TWITTER  MARKETING For  instance,  AMC  released  a  series  of  hashtags  like  this  one:  #oneleggedhershal  which  were  picked  up  and  used  by  fans.  Hashtags  enable   anyone  to  foster  searchability  on  TwiJer  (and  now  across  the  web)  by  inven.ng  tags  that  others  use  in  their  posts.  
    • OFFICIAL:  TWITTER  MARKETING This  AdWeek  story  details  another  hashtag-­‐driven  marke.ng  campaign  in  France.  hJp://www.adweek.com/adfreak/zombies-­‐swarm-­‐around-­‐ infected-­‐hashtag-­‐clever-­‐campaign-­‐walking-­‐dead-­‐147702
    • OFFICIAL:  INSTAGRAM Other  official  TWD  social  pla@orm  sites  include  this  one  on  Instagram  hJp://instagram.com/amcthewalkingdead.  Naturally,  there  are  many   more  unofficial  sites.  
    • OFFICIAL:  TUMBLR Here’s  the  official  Tumblr  blog  for  the  series.  hJp://walkingdeadamc.tumblr.com/  (  launched  during  Season  4  in  the  US)
    • TUMBLR:  UNOFFICIAL Tumblr  has  thousands  of  Walking  Dead  fan  blogs.  Being  Tumblr,  many  of  these  are  naughty.  
    • UNOFFICIAL:  PINTEREST Here’s  a  fan  site  on  Pinterest.
    • CASUAL  GAMES  –  IOS  &  ANDROID There  are  official  and  unofficial  casual  games  available  to  consumers  side-­‐by-­‐side  on  both  the  iOS  and  Android  app  stores.  
    • WALKING  DEAD  -­‐  GAMES There  are  official  licensed  console  games  as  well,  like  this  ad  for  the  Ac.vision  release  for  the  X-­‐Box.  
    • FAN-­‐MADE  GAME  MOVIES  (MACHINIMA) Fans  use  the  built-­‐in  video-­‐out  capture  capabili.es  of  the  game  engines  to  create  their  own  “movies”  set  inside  the  story  world.  They  can  add   their  own  dialog  and  sub.tles,  edit  scenes  to  go  places  that  the  series  never  went.  This  “machinima’  phenomenon  I  massive  on  YouTube,  where   this  example  was  found,  and  spawned  an  eponymous  network  as  well  (Machinima.com).  Note,  this  single  Walking  Dead  machinima  video  has   amassed  1.14  million  view  and  17,000  “likes”..  And  of  course,  many  comments  in  the  thread  below  the  video.
    • OFFICIAL:  YOUTUBE  CHANNEL AMC  offers  video  clips  on  its  official  YouTube  Channel.
    • FAN-­‐CREATED  YOUTUBE  CHANNELS But    fans  have  created  their  own  channels  that  riff  on  The  Walking  Dead,  ohen,  like  this  one,  blatantly  ripping  off  the  video  of  the  show  to   create  “mash-­‐ups”  that  are,  in  essence,  fully  viewable  deriva.ve  works.  Once  upon  a  .me,  AMC  fought  fan  mash-­‐up  and  expropria.on  (in  the   first  season  of  Mad  Men).  Now,  they  and  other  broadcasters  understand  that  this  of  fan  crea.vity  spreads  the  value  of  the  core  brand  very   effec.vely.    This  channel  replaces  dialog  with  “bad  lip  reading”  –  essen.ally  new  dialog.  This  single  video  example  has  12  million  views,   exceeding  the  primary  show’s  ra.ng.
    • WALKING  DEAD  -­‐  TORRENTS Every  broadcaster  lives  with  piracy  and  the  peer-­‐to-­‐peer  networks,  called  Torrents,  offer  a  way  for  fans  to  easily  find,  download,  watch  and  then,   should  they  wish,  re-­‐edit  every  episode  of  every  show  released  in  the  world.  These  viewings  are  rarely  counted,  much  less  mone.zed,  but  they   are  a  common  part  of  many  fan’s  experience,  and  enable  much  of  the  “spreadable  media,”  to  use  scholar  Henry  Jenkin’s  phrase.  hJp:// spreadablemedia.org/
    • ORIGINAL  COMIC  BOOK  BRAND,  TOO Though  my  focus  has  been  the  Walking  Dead  TV  series,  it’s  important  to  remember  that  the  show  itself  is  deriva.ve  of  a  prior  work,  namely  a   very  popular  indie  comic  book  series.  Most  of  the  brand  extensions,  fandom  explora.ons,  mashups,  engagement  experiences,  etc.  that  we  are   seeing  with  the  TV  series  can  be  seen  with  the  comic  book  fandom,  as  well,  especially  since  the  comic  book  was  around  for  five  years  before  the   broadcast  launch.  
    • LIVE  FAN  EVENTS  –  COMIC  CON Fandom  lifestyles  exist  on  a  massive  scale  across  popular  culture,  which  has  propelled  the  popularity,  and  in  turn,  the  influence,  of  fan-­‐driven   live  events  like  Comic-­‐Con  in  San  Diego.  This  and  other  events  give  marketers  eager  to  reach  and  cul.vate  superfans  of  their  proper.es  a  direct   channel  of  engagement  which  radiates  out  into  the  digital  world  and  helps  build  digital  word-­‐of-­‐mouth.  AMC  had  8  different  Walking  Dead   engagement  points  at  the  2013  ComicCon  San  Diego.
    • WALKING  DEAD  FORUMS
    • WALKING  DEAD  –  WIKIA  SITE Wikia.com  is  a  hugely  popular  website  hos.ng  300,000  fan  communi.es,  an  ad-­‐supported  site  that  harnesses  the  superfan  phenomenon  by   using  the  same  underlying  sohware  that  powers  Wikipedia.  Fans  contribute  to  gigan.c  “wiki”  sites  devoted  to  their  favorite  pop  culture   products  (TV,  movies,  games)  and  many  other  interests.  Fans  upload  s.lls,  curate  videos  from  YouTube,  document  and  extend  the  characters,   plots,  and  other  elements  of  the  story,  and  build  their  own  fan  fic.on,  roleplaying  and  other  extensions  of  their  most  beloved  entertainment   proper.es.  This  month  Wikia.com  hit  over  100  million  monthly  unique  visitors  –  and  it  is  growing  fast,  with  site  visits  up  more  than  50%  in  the   last  six  months  alone.
    • WALKING  DEAD  –  DEVIANT  ART Deviant  Art  (www.hJp://www.deviantart.com)  is  a  site  for  ar.sts  to  showcase  their  work  in  many  different  media  and  genres,  and  for  fans  to   follow  ar.sts  and  work  they  like.  A  search  on  the  site  returns  more  than  100,000  relevant  results.  
    • THE  DARK  WEB • Web  content  that  is  not  indexed • Private  and  restricted  content • Email  and  text  messaging Finally,  we  have  the  so-­‐called  “Dark  Web”  –  the  hidden  part  of  the  internet  which  is  not  indexed  by  Google  and  other  search  engines.  This   includes  databases  and  proprietary  content  that  is  hidden  behind  paywalls  and  other  authen.ca.on  schemes,  but  it  also  includes  private   messaging  like  emails  and  text  messaging  that  consumers  may  use  to  comment  and  spread  their  fandom  excitement  about  a  property.  
    • HOW  FAN  CENTRIC  IS  YOUR  MEDIA? • YOURS – Digital  (Mostly) – Mul.pla@orm  (Maybe) – Interac.ve  (Low  vs.  High) – Social  (Shareable) – Media  Dense  (Video) – Contextual  (Story) • THEIRS The  slides  I’ve  presented  on  The  Walking  Dead  are,  as  I’ve  tried  to  convey,  only  the  .p  of  the  iceberg  of  fan  engagement  of  this  very  popular   property.  Clearly,  the  network  has  done  much  to  generate  this  kind  of  fan  engagement.  Would  the  ra.ngs  have  been  so  high  without  the  perfect   storm  of  genre,  fanboy  excitement,  content  which  is  extreme  and  worthy  of  parody  and  mashup?  Who  knows.  Other  shows  haven’t  seen  this   level  of  fan  engagement.  But,  make  no  assump.ons.  If  your  program  seeds  the  digital  content  across  many  pla@orms  in  a  way  which  enables   interac.vity,  shareabiity,  media  density,  and  provides  story  context  for  the  engagement,  they  fans  themselves  will  do  the  rest.  
    • Always  keeping  in  mind,  of  course,  that  the  social  TV  ecosystem  is  growing  in  all  direc.ons  and  that  experiments  in  fan  powered  media  will   necessarily  evolve  as  the  tools,  pla@orms,  and  enabling  technologies  come  and  go.  This  is  the  2013  version  of  an  infographic  depic.ng  all  of  the   sectors  of  the  social  TV  ecosystem  provided  by  Trendrr  for  Adver.sing  Age.  
    • SECOND  LIFE I  want  to  close  by  focusing  upon  what  I  referred  to  as  “media  dense”  fan  engagement,  that  is  examples  of  stories,  not  necessarily  exis.ng  TV   shows,  movies  or  other  commercial  proper.es,  which  are  built  around  the  premise  that  fans  want  to  contribute  significantly  to  the  expansion  of   a  story  world.  I’ve  given  many  presenta.ons  on  this  subject,  some.mes  called  transmedia,  but  this  is  a  bit  different  –  let’s  call  it  the  Media   Density  scale.  One  of  the  best  examples  of  a  rich  engagement  pla@orm  is  Second  Life,  which  is  s.ll  going  strong,  even  though  it’s  not  the  cri.cal   darling  it  once  was.  Fans  create  avatars  inside  story  worlds,  navigate  through  virtual  environments,  engage  with  others  through  ac.on  and  type-­‐ wriJen  dialog  in  real  .me.  Many  people  are  devoted  to  this  form  of  co-­‐crea.on.  
    • LONELY  GIRL  15 In  2008,  at  the  dawn  of    YouTube’s  amazing  journey,  one  property  stood  out  as  illustra.ng  many  of  the  exci.ng  possibili.es  of  fan  co-­‐crea.on,   and  that  was  Lonely  Girl  15.  This  was  a  completely  fic.onal  story,  told  through  the  modality  of  YouTube,  i.e.,  the  direct  address  into  a  webcam   known  as  video  blogging.  The  characters  shared  their  lives  using  the  same  methods  that  the  audience  used  to  create  their  own  YouTube  videos.   This  was  audience  as  content,  and  actors  As  audience.  It  took  months  before  the  fans  learned  that  Lonely  Girl  was  en.rely  fic.onalized,  the   work  of  actors,  writers  and  an  inven.ve  talent  agency.  Meanwhile,  fans  uploaded  their  own  videos  in  reponse  to  the  “official”  videos  in  the   story.  The  line  between  “reality,”  “fic.on”  and  “hoax”  were  blurred.  
    • THE  LIZZIE  BENNET  DIARIES One  of  this  year’s  Emmy  winner  for  best  interac.vity  was  THE  LIZZIE  BENNET  DIARIES,  a  moderniza.on  of  the  Jane  Austen  novel  Pride  &   Prejudice.  The  crea.ve  team  placed  characters  in  front  of  webcams  as  contemporary  young  people  who  of  course,  used  YouTube,  Tumbler,   TwiJer,  Facebook  and  other  social  networks  to  expand  the  loca.on  of  the  story.  Fans  followed  and  interacted  with  content  that  was  “wriJen”   and  “posted”  by  the  story’s  characters,  which  of  course,  was  wriJen  by  the  wri.ng  staff.  The  genius  of  the  property  is  the  inven.on  of  a  new  set   of  rules  for  this  kind  of  mul.plla@orm  story.  
    • WELCOME  TO  SANDITON The  team  from  Pemberley  Digital,  the  group  behind  LIZZIE  BENNET,  launched  another  series  in  the  summer  of  2013  based  upon  the  unfinished   Jane  Austen  novel  SANDITON.  In  this  instance,  in  addi.on  to  all  of  the  various  social  pla@orms  in  the  original  format,  they  added  added  a   subplot  powered  by  the  Theatrics  pla@orm  to  allow  fans  to  create  characters  and  perform  in  the  series.  This  is  very  media  dense  fan   engagement.  As  men.oned  in  the  “fanthropology”  analysis,  only  a  frac.on  of  the  fans  actually  created  accounts,  and  only  a  smaller  group   created  and  performed  characters.  But  this  fan-­‐powered  dimension  generated  addi.onal  content  that  was  edited  by  the  team  and  integrated   into  the  professional  content  produced  in  the  original  format.  The  site  is  s.ll  live.  hJp://domino.pemberleydigital.com/sanditon
    • DIRTY  WORK Another  Emmy  winner  was“  Dirty  Work“  built  using  the  RIDES.tv  pla@orm  from  Fourth  Wall  Studios.  The  story  integrates  Video,  SMS,  phone   calls  that  directly  involve  the  viewer  in  the  story.  This  is  a  high  degree  of  engagement  by  the  story  engine,  but  not  much  in  the  way  of  fan   contribu.on.    
    • THE  S#CIAL  SECTOR  (USA  NETWORK.  PSYCH) USA  Network  worked  with  third-­‐party  pla@orms  Social  Samba  &  Theatrics  to  build  “ The  Social  Sector”  as  an  8  week  web-­‐original  game  and   interac.ve  murder  mystery  story.  Fans  could  par.cipate  in  helping  to  solve  the  crime  by  actually  uploading  video  with  their  own  theories  each   week  as  to  who  might  be  the  killer.  Thousands  of  fans  were  engaged.  The  project  can  s.ll  be  played  at  hJp://socialsector.usanetwork.com/
    • AURELIA Aurelia  is  a  steampunk  adventure  show  built  with  the  Theatrics  pla@orm  that  allows  viewers  to  become  performers.  hJp://www.theatrics.com/ aurelia/welcome  The  Theatrics  Gallery  offers  video  introduc.ons  of  Aurelia  and  other  proper.es  on  the  site.  hJp://www.theatrics.com/hub/ gallery  AURELIA  is  the  densest  example  of  fan  interac.on  because  the  performers  write  and  create  their  own  characters,  including  sets  and   costumes.  Many  of  the  par.cipants  came  from  the  so-­‐called  Live  Ac.on  Role  Playing  community,  which  offers  face-­‐to-­‐face  story-­‐based   experiences  in  which  par.cipants  become  immersed  as  characters.  This  is  a  world  that  is  going  to  impact  mainstream  media  in  a  big  way  in  the   coming  years  as  Fans  exert  their  power  and  become  more  central  to  the  storytelling  offered  by  mainstream  outlets.  
    • THANK  YOU  VERY  MUCH • Contact  me  to  learn  more  about  Theatrics’s   powerful  storytelling  pla@orm • Nick@theatrics.com 46