Culture
ESPN used fake names to secure Emmys for 'College GameDay' stars
In March 2023, Shelley Smith, who worked 26 years as an on-air reporter for ESPN, received a call from Stephanie Druley, then the network’s head of studio and event production. Druley said she wanted to talk about something “serious” that needed to stay between the two of them, Smith recalled. She then told Smith that Smith needed to return two sports Emmy statuettes that she had been given more than a decade earlier.
That request was one of many ESPN made of some of its biggest stars last year after the National Academy of Television Arts & Sciences (NATAS), the organization that administers the Emmys, uncovered a scheme that the network used to acquire more than 30 of the coveted statuettes for on-air talent ineligible to receive them. Since at least 2010, ESPN inserted fake names in Emmy entries, then took the awards won by some of those imaginary individuals, had them re-engraved and gave them to on-air personalities.
Kirk Herbstreit, Lee Corso, Chris Fowler, Desmond Howard and Samantha Ponder, among others, were given the ill-gotten Emmys, according to a source briefed on the matter, who was granted anonymity because the individual is not authorized to discuss it publicly. There is no evidence that the on-air individuals were aware the Emmys given to them were improperly obtained.
“I think it was really crummy what they did to me and others,” said Smith, who worked at ESPN from 1997 until her contract expired last July.
The fraud was discovered by NATAS, which prompted an investigation by that organization and later by ESPN. Those probes resulted in sanctions beyond the return of the trophies. While it is not known who orchestrated the scheme, Craig Lazarus, vice president and executive producer of original content and features, and Lee Fitting, a senior vice president of production who oversaw “College GameDay” and other properties, were among the ESPN employees NATAS ruled ineligible from future participation in the Emmys.
In a statement, ESPN said: “Some members of our team were clearly wrong in submitting certain names that may go back to 1997 in Emmy categories where they were not eligible for recognition or statuettes. This was a misguided attempt to recognize on-air individuals who were important members of our production team. Once current leadership was made aware, we apologized to NATAS for violating guidelines and worked closely with them to completely overhaul our submission process to safeguard against anything like this happening again.
“We brought in outside counsel to conduct a full and thorough investigation and individuals found to be responsible were disciplined by ESPN.”
Adam Sharp, of NATAS, said in an email: “NATAS identified a number of fictitious credits submitted by ESPN to multiple Sports Emmys competitions. When brought to the attention of ESPN senior management, the network took steps to take responsibility for the actions of its personnel, to investigate thoroughly, and to course correct. These steps have included the return by ESPN of statuettes issued to fictitious individuals and commitments to implement further internal accountability and procedural changes at the network.”
An ESPN spokesperson said Lazarus declined to comment, and Lazarus didn’t respond to an email seeking comment. Fitting was let go by ESPN in August after 25 years at the company. He did not respond to voice and text messages.
The nexus of the scheme was “College GameDay,” the show that Fitting helped turn into a cultural phenomenon and a revenue machine. From 2008-18, it nabbed eight Emmys for outstanding weekly studio show. But on-air talent was, until 2023, prohibited by NATAS guidelines from being included in a credit list in that category. Hosts, analysts and reporters on “College GameDay” could win individual awards, such as outstanding host, studio analyst or emerging on-air talent, and they could win for an individual feature. But they were not eligible to take home a trophy for a win by the show. That rule was meant to prevent front-facing talent from winning two awards for the same work (termed “double-dipping” in the NATAS rulebook).
ESPN circumvented the rule by inserting fake names into the credit list it submitted to NATAS for “College GameDay.” The Athletic reviewed the credit lists for the years the show won: 2010, 2011, 2014, 2015, 2016, 2017 and 2018. In each one of those seven years, names similar to the names of on-air personalities – and with identical initials – were listed all under the title of “associate producers.”
Kirk Henry (Kirk Herbstreit), Lee Clark (Lee Corso), Dirk Howard (Desmond Howard), and Tim Richard (Tom Rinaldi) appeared in all seven years. Steven Ponder (Sam Ponder) and Gene Wilson (Gene Wojciechowski) appeared in five from 2014-18. Chris Fulton (Chris Fowler) appeared in 2010, 2011, 2014 and 2015. Shelley Saunders (Shelley Smith) appeared in the 2010 credit list. Smith was also given an Emmy for the show’s win in 2008, though it is unclear how that statuette was obtained; Shelley Saunders was not listed in the 2008 credit list viewed by The Athletic. However, networks are allowed to modify a credit list after a show is announced as a winner.
While reviewing the 2010 and 2011 credit lists, The Athletic found three additional names that could not be verified that also closely resemble the names of “College GameDay” talent: Erik Andrews (Erin Andrews) in 2011; Wendy Nickson (Wendi Nix) and Jenn Brownsmith (Jenn Brown) in 2010. Nix confirmed that she was given an Emmy around 2010 and said she had no idea it was improperly obtained; it just arrived in the mail one day. She was not contacted about returning it before or after she left ESPN in August 2023. Brown, who left ESPN in 2013, confirmed she also was given one and didn’t know it was ill-gotten. She said: “This is all news to me and kind of unfortunate because you’ve got people who believe they rightfully had one. There are rules for a reason … it’s unfortunate (those were) abused and for so many years, too.” Brown said she has not been contacted by ESPN about returning it. Andrews, who left ESPN in 2012, declined to comment through a spokesperson.
When asked why people at the network would scheme to secure trophies for on-air talent, one person involved in the ESPN Emmy submission process in recent years said: “You have to remember that those personalities are so important, and they have egos.” Smith, for one, pushed back at that and remarked how some executives lined their office shelves with statuettes. One executive interviewed during ESPN’s probe said that some company leaders were obsessed with the Emmys, using the numbers of wins each year to prove their dominance over competitors: “It’s very important to the people who go (to the ceremony) and the old-school television guys.” Additionally, many at ESPN thought the rule preventing on-air personalities from getting statuettes for a win by the show was stupid. They may have just decided to do something about it, the rules be damned.
NATAS strengthened its credit verification process in 2022, and sometime in that year ESPN was asked to verify certain names. The network eventually admitted they were bogus. In its 2022 transparency report, NATAS referenced the scheme: During credit vetting, Sports Administration identified one network’s use of fabricated identities in association with one or more submissions. The matter was referred to counsel and remains pending.
Fake names appeared in ESPN’s Emmy submission for “College GameDay” as recently as 2020 – a year the show did not win – but were not in the 2022 entry. (The Athletic does not have access to the show’s 2021 credit list.)
“College GameDay” on-air-personalities may not have been the only ones to have been given statuettes they were ineligible to receive. In November 2023, Linda Cohn, a “SportsCenter” anchor since 1992, posted a photo on Instagram of four Emmy awards and wrote: “My Fab 4. The latest delivered today. Still grateful.” In the foreground of the photo is an Emmy for outstanding daily studio show from 2023. Because of the rule change, Cohn was eligible to receive that award. She is listed under “host” in the credit list and that word is engraved on the statuette’s base. As for the three Emmys in the background of the photo, one reads:
STUDIO SHOWS
ESPN SPORTSCENTER
LINDA COHN
The two others read:
OUTSTANDING STUDIO SHOW – DAILY
“SPORTSCENTER”
ESPN
LINDA COHN
Under NATAS rules, Cohn was ineligible to receive a statuette as an on-air personality for any “SportsCenter” wins in the category of daily studio show before 2023, and NATAS confirmed Cohn has won only one Emmy. Cohn referred all questions to an ESPN spokesperson.
According to a recent version of the Emmys rulebook, credit fabrication can result in a disqualification and the required return of trophies. According to NATAS, 37 ill-gotten trophies have been returned thus far. Smith gave back the 2008 award but not the one from 2010, which she had gifted to a relative. Wojciechowski, who exited ESPN last summer, declined an interview request. Rinaldi, who left ESPN for Fox in 2020, was contacted on Wednesday but said he did not have time to talk. He then didn’t respond to multiple text messages.
Fitting, Lazarus and Drew Gallagher, a coordinating producer on “College GameDay,” were ruled ineligible from future Emmy participation. Druley was not ruled ineligible for future Emmys; she won a 2023 Emmy as an executive producer for “Monday Night Football.” But she was replaced on an Emmy steering committee by another ESPN executive.
Gallagher and Druley declined to comment through an ESPN spokesperson.
The names of Lazarus, Fitting and Gallagher were absent from the credit lists published in the program for the 44th Annual Sports Emmys ceremony, held on May 22, 2023 in New York. A year earlier, Lazarus’ name had appeared in various show credits, as an executive producer eight times and as a supervising producer once. Fitting was listed as an executive producer nominee six times. Drew Gallagher was listed as a coordinating producer twice. One year later, they were not listed at all.
“College GameDay’s” credit list for the 2023 awards also did not include credits for executive producers, senior coordinating producers or coordinating producers. “Among the sanctions resulting from the investigation was a one-year disqualification from statuette eligibility for the senior leadership of ‘College GameDay,’” NATAS said in an email.
Shortly after Smith’s call with Druley last March, a courier arrived at her California home, wrapped the 2008 statuette in a white plastic bag and took it away. But Smith still has the Emmy she won in 2018 for a story for the program “E:60.”
“I was happy to win the (2018) one,” Smith said. “But the other times (the trophy) would just show up and I wouldn’t even know I was supposed to get one.”
(Illustration: John Bradford / The Athletic, photos: Cooper Neill, Ronald Martinez, Michael Buckner / Getty Images; headshot photos: Getty Images)
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
Hillary Clinton to return to New Hampshire | Fox News Video
How hunters are helping to feed those in need throughout New Jersey
Reckoning over César Chávez’s legacy deepens in New Mexico amid swift erasure plans
ND State Fair completes 2026 grandstand lineup with EDM artist Zedd, ‘Turn Up ND!’
Thousands head to Columbus for 23rd annual Home Improvement Show at Ohio Expo Center
Florida High School Football Rankings: Top 25 teams – Oct. 21
How old is Bo Nix? What to know about Oregon quarterback ahead of 2024 NFL Draft
Cleary's 21 help Le Moyne down Central Connecticut State 69-64 in OT
99th annual Pony Swim held in Virginia
Indiana Members Credit Union announced as new anchor tenant at Bottleworks District
Video: Will ICE Change Under Its New Leader?
DHS shutdown breakthrough comes at cost for Republicans as funding fights nears end
Rubio joins crucial G7 talks as Iran war set to dominate second day
A surprise resignation could open the door for an independent to win a Montana Senate seat
Video: Savannah Guthrie Says She Believes Her Mother Was Taken for Ransom
-
Detroit, MI1 week agoDrummer Brian Pastoria, longtime Detroit music advocate, dies at 68
-
Science1 week agoHow a Melting Glacier in Antarctica Could Affect Tens of Millions Around the Globe
-
Movie Reviews1 week ago‘Youth’ Twitter review: Ken Karunaas impresses audiences; Suraj Venjaramoodu adds charm; music wins praise | – The Times of India
-
Science1 week agoI had to man up and get a mammogram
-
Sports6 days agoIOC addresses execution of 19-year-old Iranian wrestler Saleh Mohammadi
-
New Mexico5 days agoClovis shooting leaves one dead, four injured
-
Business1 week agoDisney’s new CEO says his focus is on storytelling and creativity
-
Texas1 week agoHow to buy Houston vs. Texas A&M 2026 March Madness tickets