Finally, the globalization of media fandom is also driven by consumers’ mobilization and coordination of intellectual capacities to mediate foreign cultural texts. Utilizing their own resources and skills, members of the fandom are willing to and capable of carrying out mediated copying and distribution. The work involved, such as copying, translating, editing, encoding, distributing and managing, is spread between voluntary participants who are closely connected via online communications. The availability of relevant free software is crucial in their work process. The final product of the fans’ labour is distributed via globally connected peer-to-peer file sharing networks. An important issue here is that the fans themselves carry out previously commercially organized mediation processes non-commercially. Their activity blurs the existing distinction between production and consumption and problematize the boundary of cultural business (Green and Jenkins, 2009; Jenkins, 2006). These participatory consumers ‘co-create’ consumer values in mediated cultural texts and share control over the text with the industries to a certain degree (Banks and Deuze, 2009; Cova and Daili, 2009; Deuze, 2007). This phenomenon can also be conceptualized within the framework of ‘free labour’ that sees consumers’ voluntary, unpaid labour as essential to the economic logic of the knowledge/information-driven society (Gill and Pratt, 2008; Terranova, 2004). However, what is more interesting about fan-translation and distribution is that it represents a new model of cultural work that cannot simply be imitated by the industries’ commercial operation. Driven by fans’ love for the chosen medium, the work is unpaid, self-organized and decentralized. It can be done on a 24/7 basis, utilizing enthusiastic fans who regard it as a hobby, not work, and operate from different time zones. The time and space condensation achieved by fan activities aptly demonstrates the noticeable gap between the globalization of participatory media fandom and that of cultural industries’ distribution business.