Old fandom—in the context of this article, fandom from before the rise of microblogging platforms like Tumblr and Twitter—was a very different place by virtue of being hosted on journaling platforms like LiveJournal or individual domains like GeoCities. The structure
The above video clip shows my interaction with EVE performer Nina Samuels, who demands I approach the ring before chastising me for my lack of respect, reminding me that she is a media star. Yet my (auto)ethnographic research on fan
The reception the Lexa Pledge has received suggests ambivalence about the impact of #BuryYourGays. Showrunners are now more aware of television’s tendency to kill queer characters, but they are wary of a blanket commitment to avoiding the trope. Their reluctance
Supernatural, hands down, from the time I started working with this type of data, has just continued to be so huge, not only with the show, but we see the characters trend, and we see the actors around the show
If you look at how AO3 is built, consent is also at the core of its infrastructure. The concept of Archive Warnings, how it’s implemented, and the content of these warnings are all about consent. Warnings are all about allowing
The internal struggle for the control of the television text is clear in the case of The 100. In this regard, fans participating in the ‘LGBT Fans Deserve Better’ campaign used social media to denounce the distorted and harmful representation
Participatory fans on Tumblr adopt specialized fandom tags, which are unlikely to be used by Tumblr members who do not identify with a particular fandom or subsection of fandom. Such tags are not merely composed of the name the fandom
If I had written an essay in 2006 about “the future of fandom,” I might have imagined a possible future that looked very much like AO3—except I would have considered it far out of reach. The idea that a community
Shops like the Who Shop and Alien Entertainment use their authority as merchants to help shape the fandom, and to reinforce the feelings of alterity within fan subcultural communities through discourses of historicity and activity. Importantly, both discourses are reflective
The basic issue with monetizing fan fiction is that organic, noncommercial communities that create transformative remixes cannot be moved into the commercial sector without being fundamentally altered and diminished. The market changes what it swallows. Tushnet, Rebecca. “All of This