A public radio station in Connecticut is crowdfunding a new radio drama that reimagines Orson Welles' famous 1938 'War of the Worlds' broadcast through the lens of modern-day fake news. The project, dubbed 'Studio 91.1,' represents the second initiative from WSHU and seeks to preserve classic radio drama techniques while collaborating with contemporary creators, voice actors, and screenwriters to make the format relevant to new audiences.
What makes this campaign distinctive is that the station itself—not a separate cultural organization or municipality—is directly appealing to listeners for production funding. This approach leverages WSHU's existing listener community as a built-in support base, while positioning the station as an active stakeholder in crowdfunding rather than a passive broadcaster.
Highlights
- Reinterprets a historical radio classic ('War of the Worlds') through a contemporary lens (fake news and misinformation)
- A regional public broadcaster directly solicits support from its audience rather than relying on traditional funding channels
- A legacy media institution partners with new-generation creators to sustain and evolve its cultural heritage
Why this campaign attracts support
Editorial analysis based on publicly available information. It is not a confirmed account of why backers chose to give.
The project attracts support by skillfully linking a powerful existing cultural asset—the legendary 1938 broadcast—to a pressing present-day concern: the spread of false information. Rather than simple nostalgia, the campaign creates a compelling narrative around 'why this story matters now,' making it easy for supporters to connect emotionally. The station's established listener community provides a strong foundation for fundraising. In Japan, where municipalities, universities, and nonprofits typically serve as intermediaries for media projects, this model—where the broadcaster itself becomes the primary fundraiser—offers a fresh perspective. Success in adapting this approach elsewhere depends on making existing audiences visible, framing participation as contribution, and translating the story's relevance into local contexts rather than importing the original's cultural baggage intact.
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A note from the editors
This case shows an overseas public broadcaster creatively reimagining its cultural assets through a contemporary social issue and crowdfunding production costs. While specific funding targets and achievement metrics aren't publicly available, the notable element is the structure itself: the broadcaster directly engages listeners rather than working through intermediaries. In Japan, where municipalities, universities, and nonprofits often play middleman roles, a media outlet acting as the sole fundraiser offers valuable lessons. The storytelling approach—connecting historical content to current social problems—is also transferable to other sectors and project types.