Created to fill in the gap between Lizzie Bennet and the next full-length novel adaptation, Sanditon features the return of Lizzie Bennet co-star Allison Page as Gigi Darcy, who’s spending the summer in the small coastal California town of Sanditon, working with the local community to launch a beta version of an app called Domino.

When the concept of the “Domino app” was introduced in the Lizzie Bennet narrative, it was on the surface a story device meant to explain how a particular character was successfully tracked down and brought to justice. But now, the format of the Domino app serves as a revised take on Lizzie Bennet‘s vlog-style storytelling, with the app enabling members of the Sanditon community to collaborate on videos. The first episode showcases this new approach, with Gigi sharing screen time with the town’s mayor and local ice cream shop owner.

But Domino’s reach expands past its presence on YouTube, thanks to a partnership between LBD production company Pemberley Digital and Theatrics.com. With the launch of today’s episode came the launch of Domino Beta Platform: Sanditon, where, in just the first few hours online today, over 30 new profiles (AKA “personas”) have been created, each by audience members looking to participate in the story.

People are playing in Sanditon outside of the Theatrics platform — a Twitter list created by the official Sanditon account currently lists over 300 “townspeople” beyond the official cast of the series. But the Sanditon team will be able to communicate privately with those participating on Theatrics, meaning that they’ll be able to keep the fan community abreast of upcoming plot points, allowing everyone to engage fully with the story.

Jay Bushman and Margaret Dunlap, who are co-showrunning Sanditon, were “looking to extend the opportunity for fans to engage in the story,” Theatric’s head of new business development Nick DeMartino said. The problem with that kind of fan engagement with a pre-established narrative like, say, Pride and Prejudice, is well-known.

However, Austen’s Sanditon is famously unfinished. “They wanted to continue to be respectful of the spine of the story,” he said, “But here the story’s cut off at the neck.”

The first Sanditon resident, whose video was posted this morning, features Sarah Richard-Preston, who was one of those who pledged to LBD‘s record-breaking Kickstarter campaign.

At her donor level, her character is guaranteed to be included in the main story, but there’s also potential for other personas to be included down the line, depending on how the Sanditon community develops.

According to DeMartino, Theatrics’ involvement with Sanditon is its first venture into consumer-facing platforms — prior to now, it has focused on a white label offering, giving entities like USA Network for collaborative storytelling ventures.

“What we’re trying to do here is build customers and get feedback on how the platform is working for them,” DeMartino said. The plan is to then broaden to other tool-based programs for creators interested in the platform — as well as brands.

“All brands are storytellers,” DeMartino added. “They have to be.”

The initiative is somewhat similar to the BBC’s “A History of the World in 100 Objects,” a very popular 2010 project that explored 100 objects in the British Museum in 15-minute episodes.

“82nd & Fifth is a project that speaks directly to my interest in using the Met’s collection to link historical art and culture to the real world,” Met CEO and director Thomas Campbell said in a statement. “In a sea of constant information, these two-minute, authoritative commentaries are a welcome way to get powerful and compelling content in quick doses.” The objects can be sorted on a timeline or viewed by location in Google Earth.

Each episode features a curator talking over a series of photographs, and then an interactive feature that lets viewers explore the work of art up close (rotating Antonio Rossellino’s “Madonna and Child with Angels,” for instance, or clicking through blueprints for Frank Lloyd Wright’s “Little House Living Room”).

The site is built using responsive design so that it works across devices, and there are some very basic features for sharing the episodes on social media. The Met notes this is its third major online initiative: “The Heilbrunn Timeline of Art History, launched in 2000, continues to evolve and expand, and receives more than one million visits per month. Connections (2011) offers personal perspectives on works of art from the collection by 100 Met staff members.”

The reasons always vary, from the creators getting higher-profile work to the creators simply not having any more money. Which is why it’s been exciting to see, over the last two months, a number of web series that announced plans for second seasons in 2013, ranging from independent productions to studio-sponsored shows.

Burning Love

Produced by Paramount and Ben Stiller’s Red Hour Digital for Yahoo, Burning Love was already a lot of fun — the dead-on Bachelor parody had an incredible cast, including Rob Marino, Michael Ian Black, Adam Scott, Malin Ackerman, Kristin Bell, and Ken Jeong.

It’s the sort of fun lark you’d expect to peter out after Season 1, especially because everyone involved has plenty of other stuff going on — so, when Marino revealed that a Season 2 and 3 were in the works, it was a delightful surprise.

Season 2, in classic Bachelor tradition, will feature an unsuccessful lady from the first season as a bachelorette being courted by suitors like Michael Cera, Nick Kroll, Paul Scheer, Kumail Nanjiani and Jerry O’Connell.

Comedians In Cars Getting Coffee

Possibly the most chill web series of 2012, Jerry Seinfeld’s interests in cars, coffee and other comedians collided in this Crackle series. According to The New York Times, the 10-episode first season, which featured comedy greats including Larry David, Carl Reiner and Mel Brooks, brought more than 10 million unique visitors to Crackle, and will be followed up by 24 new episodes.

While those first 10 episodes were ad-free, the big change for season two will be trying to solve that whole “making money with it” dilemma. “This next go-round we’re going to have to figure out some sort of revenue stream, so it makes more sense,” Seinfeld told the Times. With Seinfeld’s pedigree and the first season’s success, they should have some luck with it.

Squaresville

Matt Enlow’s teen dramedy, starring Mary-Kate Wiles and Kylie Sparks, initially funded its first season with Kickstarter and later partnered with Big Frame for production support. The series has an active social media presence, including Twitter and Tumblr, but one question they’d been very quiet on was where plans for a second season stood.

Until last month, that is, when Enlow and Wiles took to YouTube to announce that a second season had in fact been shot and would be coming out early 2013.

Viewcounts for Squaresville‘s first season ranged in the solid five figures, but more importantly the show took home three trophies from the IAWTV Awards earlier this month: Best Writing, Best Ensemble Cast, and Best Comedy Series. Season 2, therefore, should attract some attention.

Video Game High School

Season 1 of Brandon Laatsch and Freddie Wong’s video game comedy series not only helped launch the Rocket Jump platform, but racked up 31.5 million views in its first month online.

For the second season, the VGHS team has turned once again to Kickstarter, using their first season campaign as a model and asking for $636,010, the exact cost of the first season (which Wong recently revealed in infographic form).

The second season format, according to Kickstarter, will be six “TV-length” episodes with a total runtime of 160-180 minutes. Most intriguingly, they’re offering “stretch” goals should they exceed their funding, including — at the $1,000,000 level — a limited theatrical distribution.

It’s not so much that 2013 is the year of the second season, but more the year of more web series becoming sustainable. And each success story is a positive sign for the web video space.

Created by Scotty Iseri (who longtime web video fans ought to remember as Scotty of Scotty Got An Office Job), The Digits features Pavi (Sara Castilleja) and a cast of puppets using music to make math rock. And despite being online only a few months, the project has already received an IAWTV nomination for Best Educational Web Series.

Iseri first began developing Digits two years ago, after winning a fellowship from the Center for Asian American Media, and initially tried to pitch the project to various children’s entertainment entities. After many passed on the project, though, Iseri decided to take a different approach: “I started looking at it as a start-up, as opposed to a media property.”

He thus went out in search of investment, raising money from a wide variety of sources, including friends, family and the Oregon Governor’s Office of Film and Television — making Digits the first new media property to receive state incentives.

The difficulty in pitching, Iseri found, was the fact that Digits was “a thing that doesn’t really exist yet” — in app form, Digits blends video content with number games, encouraging viewer/players to engage directly with the content. (Pavi gets prety stern with you if you don’t play along.)

“I was inspired by watching my nieces and nephews play with their devices, apps like Dora the Explorer and Sesame Street. They expect their stories to play back with them,” he said. “Gamified narrative is how I’d describe it.”

Launched last September for Android and last week for iOS devices, the Digits app comes with the first installment of the series available for free; subsequent “appisodes” cost $2.99 each.

The reason for launching first on Android, Iseri said, was due to the differences in approval processes. “Android allows us to iterate very quickly — we were able to look at reviews and problems and address them quickly,” he said.

In addition, the official Digits YouTube channel is regularly updated with new video content — both new math-related adventures, as well as response videos to viewer questions.

Traffic so far is low, with the channel almost at 6,000 total views, but a recent episode featured a cameo by Huffington Post science correspondent Cara Santa Maria, and plans are in the works for more guest appearances, including Dr. Hannah Critchlow of the BBC’s Naked Scientists.

“I’m trying to find science and math-positive people. I also wanted to find women, because we want to show that it doesn’t matter if you’re an alien or a robot — there’s something really awesome about being smart,” Iseri said.

And it’s at a key time in a child’s life that Digits is trying to spread that message. “There are a lot of apps and educational shows out there for young kids, but not a lot out there for 4th, 5th graders,” Iseri said. “And we’re targeting that age group because that’s when math gets hard — it’s also developmentally when kids decide who they are and what they like. It’s important to me to show that age group that math can be fun and beautiful.”

The Chris Gethard Show, a weekly hour-long series running on public access channel Manhattan Neighborhood Network and live-streamed through Justin.tv, ran for 12 straight hours this Election Day, from 12 PM to 12 AM EST. All day, Gethard and the eclectic bunch behind “the most bizarre and often saddest talk show in New York City” kept themselves busy with live music, comedy, stunts and audience interaction, including a 15 minute stretch where the show was co-hosted by a slightly unhinged heckler named Don, as well as a dance party when the election was called in favor of President Obama. A far cry from CNN’s coverage, but right in line with TCGS‘s established blend of awkward stunts and wild improv.

Gethard, a comedian, author, and established fixture of the New York alternative comedy scene, began hosting TCGS in 2009 as a live stage show at the Upright Citizen’s Brigade Theater in New York, where it accumulated a cult following and some press attention after Gethard successfully used Twitter to book Sean “Puffy/Puff Daddy/P. Diddy” Combs as a guest.

However, once Combs finally did appear on the show (it took a year to schedule a date), Gethard felt that TCGS had peaked in its current format. “It’s hard to top using the Internet to get P. Diddy on your show,” Gethard said via phone.

Thus, when a friend connected Gethard with MNN, a New York public access channel, in June 2011, it became an opportunity to stretch beyond the stage — and New York City, for that matter, thanks to the MNN studio’s ability to live-stream its content.

New York public access is supported by local cable companies as a public service — MNN 4′s only rules for what you can’t do are:

Advertise or sell products or services; use copyrighted material; show animals or humans being injured or killed; slander anyone; or show hardcore pornography, such as penetration or any genital contact. Any shows with adult content or language must be aired after 11:00 P.M.

The lack of restrictions give Gethard and his team plenty of freedom, and the live-streaming opened the series up to a new worldwide audience — however, leaving UCB meant that the show struggled to regain the loyal audience it had found there. “We lost our UCB following, but we rebuilt that. Now people everywehre can see some of the weirder alt comedy stuff happening here in New York,” he said.

Gethard cites the October 27, 2011 episode, “The Great American Presidential Debate and Halloween Spooktacular,” as the turning point for TCGS 2.0, due to a surprise twist in a pre-planned bit.

The afore-mentioned write-in Presidential candidate, comedian Connor Ratliff, was running for President on the campaign “I am 35 years old and legally qualified to be President,” and had issued a challenge to any and all Presidential candidates to debate him on TCGS. He anticipated that no one would even bother replying — thus leaving him alone on stage.

However, he did get two responses: One, from the Romney campaign (which declined the invitation), the other from Jimmy “The Rent Is Too Damn High” McMillian, a New York local legend who campaigns for every elected office, and whose political aspirations went viral in 2010. McMillian wanted to debate. So TCGS made it happen. According to Gethard, “It twisted our arm into doing something a little more elaborate and more high concept.”

Other notable TCGS episodes:

• “The Night of Zero Laughs,” featuring a wide range of panelists from 30 Rock, UCB, College Humor and other New York comedy establishments trying not to laugh at call-in jokes and each other.
• “Ruin This Show,” in which Gethard challenged the call-in and studio audience to disrupt the show at all costs. (Gethard referred to this episode as his least-favorite. “We just sh– the bed real hard on that one,” he said.)
• “Smash Cut to the Future”, in which Gethard travels to the future to defeat a robot army.

All episodes (save the 12-hour election special) are archived on iTunes and Blip, where Gethard says most of the viewing takes place, with episodes getting 35,000-50,000 views. “Uploading an hour-long episode very week isn’t cheap — Blip was best built for us to deal with that, with a lot of infrastructure and control. Also, they really got a kick out of what we were doing and helped us out a lot in terms of promotion.”

What kind of ratings does the show get on public access? Gethard has no idea, because MNN 4 doesn’t track them. But while public access seems like a quaint throwback to a time before YouTube, Gethard likes being on public access, as it hearkens back to the kind of programming he grew up with.

“It’s a part of the past I miss — I miss regional television, stuff that had a lot of heart but not much production quality,” he said. “We think of [TCGS] as a public access television show that we can expand beyond what people think of public access. It can be low budget and silly and crazy at times, but that doesn’t have to be a bad thing.”

Lizzie Bennet, a reinterpretation of Pride and Prejudice created by Hank Green and Bernie Su, updates Jane Austen’s often-adapted classic novel for the social media age: The series, which began as a vlog created by Lizzie (Ashley Clements), modern-day grad student, now spans across at least three YouTube channels and multiple Twitter, Tumblr and Facebook accounts.

Since April 2012, Lizzie has been uploading video diaries about her mother’s obsession with marital status, her sister Jane’s romantic drama, and William Darcy, the snobby friend of Jane’s crush. The vlog approach has kept Darcy literally out of the frame until this Thursday, when he (Daniel Gordh, whose casting had been kept secret) burst into Lizzie’s office to admit that his “heart has overwhelmed his judgment.”

The episode, “Are you Kidding Me?”, recreated one of Pride and Prejudice‘s most memorable scenes (Darcy’s surprise proposal) and racked up over 100,000 views in its first 24 hours online; its release was surrounded by hundreds of #darcyday Tweets and Tumblr posts from the show’s primarily young female audience, who had “all the feels”:

I have never been this exited about a video before in my life #DarcyDay

— That french girl. ∆ (@Perriiineee) November 1, 2012

I just keep rewatching #darcyday. @hankgreen and @realkgreen picked the perfect Darcy.

— Kat High (@zoeythekat91) November 3, 2012

@elizabethdz Is it possible to have a #DarcyDay hangover? Is that a thing? Like I was drunk on my emotions, and now I’m not anymore … ?

— Elly (@elissacameron) November 3, 2012

It was this level of fan engagement that not only made #darcyday a landmark one for the series, but helped it recently secure a deal with DECA for infrastructure and financial support.

“This is something that doesn’t come around that often — it’s high-quality, it’s of the platform, it’s scalable. We just pursued them until they did a deal,” DECA CEO Michael Wayne said via phone. DECA is now a co-owner of the series — as well as future adaptations using the same format. (Jane Austen wrote more than one book, you know.)

“They’re able to take over responsibilities like payroll — we can now focus on the actual show,” Su said via phone.

“What they do is very much in line with what we do — they’re very excited by content that’s made for and watched by women,” Green added. Green, Su and the writing staff retain 100 percent creative control over the show.

Lizzie Bennet‘s roots were relatively humble: Green, one half of the the popular Vlogbrothers team, got the inspiration for the series from his wife, a devout Pride and Prejudice fan who exposed her husband to the multitude of previous adaptations. “I had the idea that it would be cool to convert a piece that was in the public domain into a video blog, but it was just an idea. I didn’t have any way to execute it. I’m a very different kind of content creator,” Green said.

Su, however, had previous experience creating narrative content, including the award-winning series Compulsions. So when Green and Su met for the first time, Green mentioned the idea, and Su became interested — the two of them spent a year developing the concept before the first episode finally made it onto YouTube.

Initial production on Lizzie Bennet was funded out of pocket by Green: A few months into the series’ run, the show got to the point where the ad revenue from one month would pay for the next month of production, but according to Green, his initial investment was not recouped until they signed with DECA.

That investment has paid off: “Are you Kidding Me!” is (as of writing) at almost 200,000 views, but more importantly at almost 6,000 comments; Green said that episodes of the series get more comments than the Vlogbrothers did.

The show’s extensive transmedia components, covering characters and action happening off screen (Darcy has been tweeting off-screen for months), deserves a large portion of the credit for this engagement. “You don’t need to watch every episode or follow all the Twitters, but it adds to the experience. And it creates evangelistic fans, which is fantastic,” Green said.

In addition, the entire cast and crew uses social media to interact with fans, with Su and Green actively discussing the making of the show as it goes, going so far as to calm panicked fans and reblog fan fiction featuring them. “There’s always a fear that [the behind-the-scenes content] will kill the magic — but that’s like saying a rainbow is less beautiful because you understand refraction,” Green said.

The result is packed VidCon panels, over 100,000 YouTube subscribers, and nearly 10 million total views on the main Lizzie Bennet channel.

Socially Awkward Darcy is now a meme. (Via @missnoriginal on Twitter.)

I’ll be completely honest — the last narrative web series I saw build anything close to this intense a fanbase was The Guild. Lizzie Bennet fans are rewatching, reblogging, GIF-making, meme-generating superfans — the show has a hold on its fans on a level rare not just for a web series, but for media of any kind.

Launched last May by noted producer Jon Avnet and writer/director Rodrigo Garcia and produced as part of the YouTube made for web initiative, WIGS features both episodic and stand-alone stories targeted directly at women over 25, each revolving around an eponymous character struggling with everything from a son discovering his mother is a prostitute, to a young woman’s night of speed-dating, to a female soldier investigating another soldier’s claim of rape. 

Avnet and Garcia were long-time collaborators prior to the YouTube opportunity (Avnet produced Garcia’s 1999 film Things You Can Tell Just By Looking At Her), and the pair had been interested in developing serious content for women on the web for a while: “It was clear back then, three or four years ago, that women over 25 was an unserved demographic on the internet,” Garcia said in a joint phone interview with Avnet. “It was a no-brainer.” 

Although that audience isn’t as native to web content as, say, a 18-year-old video game fan, WIGS has managed to attract viewers: While it goes up and down on Deadline’s weekly YouTube channel charts, WIGS is consistently present, as it’s quickly found an audience, racking up over 15 million views and over 75,000 subscribers — in just three months.  

One reason for that is perhaps the most obvious: The short films and miniseries which make up the WIGS channel have frankly one of the most jaw-dropping talent pools I’ve ever seen working in online video: Jennifer Garner, Julia Stiles,  America Ferrera, Stephen Moyer, Dakota Fanning, Michael C. Hall, Jennifer Beals, Maura Tierney, Jason Isaacs, Rosanna Arquette, Allison Janney, Alfred Molina, Jena Malone, Alison Pill, and a whole bunch more. ”We had the value of these actors who have these followings,” Avnet said.  

But in addition, there are heavy-hitters behind the camera, with an emphasis on female writers and directors including award-winning Betty Thomas and Lesli Linka Glatter. While in 2011, only five percent of Hollywood films were directed by women, “Half of [WIGS'] directors are women,” Avnet said. “That was very important for us to do.”  

“You’re not going to get notes — that’s something we offer our collaborators, and that’s something that’s gotten us the people we’ve worked with.  There are limitations, but you will shoot what you pitch us — not the bastardized version,” Garcia said.  

When asked what kind of notes they give each other, Avnet laughed. “Why did we decide to do [the equivalent of] six movies in five and a half months? We ask ourselves that all the time.” 

The amount of content generated, though, meant that not only did WIGS give established filmmakers and actors a chance to do what they want, but relative unknowns were also given an opportunity to emerge. 

“One of the things that we want to do is use this platform to discover new talent, so that we’re not just bringing people to this, but also finding people.” Garcia mentioned as one example the actor Caitlyn Gerard, who played the lead in Jan alongside Stephen Moyer and Virginia Madsen.  

Jan, like many other WIGS series, is long enough to be edited together as a feature film, but while Garcia says that while cross-platforms opportunities could definitely rise up in the future, right now the plan is to stick with YouTube. “Could deals be made to play elsewhere? Yes, because so much stuff is moving from platform to platform, but right now we want them to have their life on WIGS.” 

The first cycle of YouTube-funded episodes have wrapped production and post-production. But according to Garcia, “it wouldn’t be impossible to start up again soon.”

While it might be the future of content for those who already have the community to back it up, lower-profile projects seeking cash for their work are also managing to make an impact. Here are some samples of the sort of projects currently seeking funds on the Kickstarter scene, including a video game/fiction hybrid, a documentary about Calvin & Hobbes and a Soviet satire.

Sierra Zulu
The pitch: Austrian “art tech philosophy group” Monochrom seeks funds for a black sci-fi action comedy with political overtones — it’s a bit hard to explain, but here’s the plot summary:

A ragtag UN peacekeeping force operates a small camp guarding the no-man’s-land between Austria and the tiny agrarian microstate Soviet Unterzoegersdorf, the last existing bastion of the defunct Soviet Union. When an explosion occurs deep inside Soviet territory, the team is dragged into a bizarre conspiracy of industrial espionage, media madness and political intrigue. The knowledge economy? It’s about to get blown sky high…

The talent: Attached to appear in the film are Star Trek alumni Robert Picardo and Max Grodénchick, Buffy the Vampire Slayer‘s Amber Benson, Steve Wozniak and The Yes Men.

Perk of note: For a pledge of $23, you can adopt one frame of the film — only 2,980,770 are still available as of writing, though.

Current funding status: Over $5,400 of the $50,000 goal has been pledged. Deadline is July 30th.

A Drink With Dave: Season 2
The pitch: The production team behind the second season of Dave Holmes‘s low-key talk show seeks $30,000 to produce 80 more episodes. (Which breaks down as $375 an episode — good value for your dollar.)

The talent: In the first season of A Drink With Dave, Holmes interviewed comedians and web personalities including Rob Delaney, Michael Ian Black and Molly McAleer. For the second season of Dave Holmes’s informal talk show, folks like Paul F. Tompkins have been approached, but it “all depends on scheduling, so we can’t book anyone until the project is funded,” according to the project FAQ.

Perk of note: For a $100 pledge, “You introduce an episode AND tease the next episode. We’ll help you record a fun video or audio intro & tease, so that you’re a part of the show!”

Current funding status: About $7,800 of the $30,000 goal has been pledged. Deadline is July 11th.

Dear Mr. Watterson: A Calvin & Hobbes Documentary
The pitch: What began in 2007 as director Joel Schroeder’s documentary exploration of the iconic comic strip Calvin & Hobbes became a much bigger film after a 2010 Kickstarter campaign, which enabled the team to conduct interviews with some of the biggest names in the comics industry. Now, This campaign, according to the project listing, is “our KickFINISH Campaign, as that’s what we hope this’ll help us do: finish the film so that we can share it with all of you.” The funds raised will go towards scoring, music licensing, sound mixing and legal fees, hopefully leading to the film’s completion.

The talent: Those interviewed for the final film include Seth Green, FoxTrot creator Bill Amend, Bloom Country creator Berkeley Breathed, Rhymes With Orange creator Hilary Price and Knight Life creator Keith Knight.

Perk of note: For a $500 pledge, Schroeder writes, “I, Joel, the director of Dear Mr. Watterson, will write you a personal thank you note using a Calvin & Hobbes pad of paper I made in junior high school. And I’ll send it in an awesome homemade Calvin & Hobbes envelope.”

Current funding status: Over $72,000 has been raised, exceeding the $50,000 goal. Pledges are still being accepted, though; deadline is July 14th.

The Inn
The pitch: Steve Silverman, the creator of the award-winning web series Pretty, has teamed up with Buffy alum and Bandwagon creator Emma Caulfield for a new original thriller series.

The talent: Caulfield’s co-stars will include The Bannen Way‘s Mark Gantt, soap opera icon Denise Alexander, and others.

Perk of note: The person who makes the largest pledge will receive a personal phone call from Caulfield.

Current funding status: $880 of the $10,000 goal has been raised. Deadline is August 7th, though as the campaign is being run through Indiegogo, the project will receive all pledged funds, whether or not it meets that goal.

Neal Stephenson’s Clang
The pitch: Author Neal Stephenson has turned his attention from prose to video game development, and is spearheading a campaign to raise funds for a new sword-fighting simulator — one that accurately reflects the reality of swinging around steel. Clang will not only evolve into an open-source toolkit for others to develop their own sword-oriented games, but will also be the basis for a new fiction series, published through Amazon’s 47North imprint.

The talent: Stephenson’s the big name, but game companies Bungie and Valve are included in the project’s thanks. According to the project FAQ, Clang will be released on Valve’s Steam platform.

Perk of note: For a $10,000 pledge, not only do you get perks like multiple copies of Clang and your face on your own exclusive in-game character, but a “Gotlandic war knife based on a design by bladesmith Jeff Pringle (a wootz and pattern welding specialist). These are replicas of 8th century weapons… In those days, ‘war knife’ meant something akin to ‘short sword’ rather than ‘pocket knife.’”

Current funding status: Nearly $466,000 of the $500,000 goal has been pledged. Deadline is July 9th.

Any interesting projects you’re following? Tell us in the comments!