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Fansplaining

@fansplaining

The podcast by, for, and about fandom, hosted by Flourish Klink & Elizabeth Minkel. For episodes, articles, projects, and more, please visit fansplaining.com.
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In our latest article, Amanda-Rae Prescott dives into the history of racism in period drama fandoms, and connects it to Bridgerton's massive global fandom today:

Bridgerton fandom is far from the only example of racism around period drama television. There’s a continual tug of war between audiences who want to see BIPOC in historical fiction stories where racial trauma doesn’t exist, and people who only want white supremacist narratives catered to. They don’t just want to deny BIPOC fans the same level of escapism white fans have enjoyed for years—they want to put an end to any BIPOC actors appearing in period dramas, full stop. Racists weaponize outdated, inaccurate, or politically distorted history to attack characters and casting. Rather than a reference to era-specific set design or correct dates of important events in scripts, the concept of “historical accuracy” has become a very specific dog-whistle. 

Read or listen to an audio version via the link above!

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Our March piece is live! 💕 We're thrilled to welcome back Amanda-Rae Prescott—first a guest on our 2020 "Race and Fandom" eps—with this deep dive into one of her areas of expertise, racism within period drama fandom, with a focus on Bridgerton in particular:

These diversely cast works changed the narrative, forcing future creatives to reverse past casting discrimination, and consider how fiction can be used to teach audiences about these hidden histories. The goal of racist discourse in period drama fandoms is to return period drama to only showing whitewashed propaganda. Some may hide behind critiquing “modern writing” or “actors being not up to par,” but these are dog-whistles for their true opinion: that they only want to see white actors—and white history—on screen. 

Read the piece or listen to Amanda-Rae reading an audio version via the link above!

So excited to get this out into the world! Amanda-Rae has exhaustive knowledge of this space, and it was a real pleasure to work with her on this piece (as depressing as the subject is).

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Our March piece is live! 💕 We're thrilled to welcome back Amanda-Rae Prescott—first a guest on our 2020 "Race and Fandom" eps—with this deep dive into one of her areas of expertise, racism within period drama fandom, with a focus on Bridgerton in particular:

These diversely cast works changed the narrative, forcing future creatives to reverse past casting discrimination, and consider how fiction can be used to teach audiences about these hidden histories. The goal of racist discourse in period drama fandoms is to return period drama to only showing whitewashed propaganda. Some may hide behind critiquing “modern writing” or “actors being not up to par,” but these are dog-whistles for their true opinion: that they only want to see white actors—and white history—on screen. 

Read the piece or listen to Amanda-Rae reading an audio version via the link above!

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Get ready: our March piece goes live tomorrow! 💓 We're very excited to publish Amanda-Rae Prescott on fandom's enduring racism around Bridgerton and the broader period-drama landscape. 

Amanda-Rae was also a guest in our "Race and Fandom" episode series back in 2020! Listen or read a transcript via the link above!

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This garbled thematic arc is one of the clearest signs that Marvel doesn’t know what Sam Wilson should represent as Captain America, a mantle so explicitly politicized that Cap’s debut comic depicted him punching Hitler in the face. Pitting Sam against a more ambiguous selection of modern-day villains, this movie avoids making such a straightforward statement, pitching itself as a political thriller with little relevance to real-world politics. ... Theoretically, this milquetoast approach makes Sam Wilson accessible to a broad mainstream audience—but if we can’t tell what Captain America stands for, why should we care? 

In our latest article, @hellotailor dives into the new Captain America movie, Brave New World, and the way it fails both its characters and MCU fans. Read or listen to an audio version: "Sam Wilson Deserved Better Than Brave New World."

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Our February piece is live—and it's the return of @hellotailor to Fansplaining! ✨ This time, she's writing about Captain America: Brave New World, aka Sam Wilson's first film as Captain America, which fails both Sam as a character and Marvel fans:

Basically, the ideal audience here is a diehard Marvel fan who remembers the origin story of a tertiary character in The Incredible Hulk, but doesn’t care that Sam Wilson has inconsistent motives. We’re expected to be invested in lore without thinking too deeply about themes and emotions, which strikes me as a wild misunderstanding of why people fell in love with the MCU in the first place. 

This kind of downward trajectory—all the lore with none of the continuity—is plaguing a lot of big franchise fandoms right now. But this piece also digs into the specific ways the film fails as a "political thriller" in its deeply muddled attempts to address wrongful incarceration and the structures of an unjust state. "If we can’t tell what Captain America stands for," Gav writes, "why should we care? 

Read the piece or listen to a full audio version via the link above!

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Our February piece is live—and it's the return of @hellotailor to Fansplaining! ✨ This time, she's writing about Captain America: Brave New World, aka Sam Wilson's first film as Captain America, which fails both Sam as a character and Marvel fans:

Basically, the ideal audience here is a diehard Marvel fan who remembers the origin story of a tertiary character in The Incredible Hulk, but doesn’t care that Sam Wilson has inconsistent motives. We’re expected to be invested in lore without thinking too deeply about themes and emotions, which strikes me as a wild misunderstanding of why people fell in love with the MCU in the first place. 

This kind of downward trajectory—all the lore with none of the continuity—is plaguing a lot of big franchise fandoms right now. But this piece also digs into the specific ways the film fails as a "political thriller" in its deeply muddled attempts to address wrongful incarceration and the structures of an unjust state. "If we can’t tell what Captain America stands for," Gav writes, "why should we care? 

Read the piece or listen to a full audio version via the link above!

It was such a pleasure to edit @hellotailor again, and interesting to think about how her critiques about this film echo issues in my own fandom. Transformative fans are especially drawn to characters, but when they're subjected to characterization whiplash from one installment to the next, it makes it a lot harder to stick around. (Unless you ignore a whole chunk of a franchise like me!)

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Our February piece is live—and it's the return of @hellotailor to Fansplaining! ✨ This time, she's writing about Captain America: Brave New World, aka Sam Wilson's first film as Captain America, which fails both Sam as a character and Marvel fans:

Basically, the ideal audience here is a diehard Marvel fan who remembers the origin story of a tertiary character in The Incredible Hulk, but doesn’t care that Sam Wilson has inconsistent motives. We’re expected to be invested in lore without thinking too deeply about themes and emotions, which strikes me as a wild misunderstanding of why people fell in love with the MCU in the first place. 

This kind of downward trajectory—all the lore with none of the continuity—is plaguing a lot of big franchise fandoms right now. But this piece also digs into the specific ways the film fails as a "political thriller" in its deeply muddled attempts to address wrongful incarceration and the structures of an unjust state. "If we can’t tell what Captain America stands for," Gav writes, "why should we care? 

Read the piece or listen to a full audio version via the link above!

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In an attempt to get off PayPal entirely, we've swapped out our one-off donation link for a Ko-fi—so if you have a few bucks to spare but don't want to sign up as a monthly patron, please help us pay writers!

Tomorrow we've got @hellotailor with our February article (on Brave New World and MCU fandom), plus we'll have articles on racism in period drama fandom, gender and roleplaying, and the history of RPF in the next few months!

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Did you know there's a new Captain America movie out this weekend? Since I have actually broken this news to multiple fandomy people in the past week, you might not! Brave New World (with Sam Wilson as Captain America and Harrison Ford being unhappily motion-captured) is in fact the 35th installment of the Marvel Cinematic Universe in 17 years.

WIRED asked me to look back at the Captain America fandom's heyday (aka The Peak Stucky Era) and contrast it with now. That comparison is *complicated*—not least because of fandom's longtime sidelining of/racism towards Sam Wilson. But the MCU is in a very different cultural position than it was in the mid-2010s, and fandom is, too: superhero and franchise fatigue, dramatically shortened fandom life cycles, the end of the "juggernaut ship," etc. etc. Add onto that an ongoing BDS boycott of the film due to the inclusion of an Israeli character (a Mossad agent in the comics) and it makes for a very messy pop-culture picture.

Featuring interviews with fans and scholars including the great JSA Lowe, who articulated a helpful framing for these franchises right now:

She offers the linguistic term “semantic depletion” for thinking about the MCU and other big franchises that have pushed out nonstop installments in recent years. “With each iteration, something can get more watered down,” she says. “You can retcon your retcons, but at a certain point, you lose the audience’s engagement—you lose their willingness to keep entertaining these iterations.”
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Interview with Elizabeth Minkel: Fandom Journalist

On this episode of Mind the Tags, Vee and Emily interview @elizabethminkel, fandom journalist, co-host/editor of @fansplaining, and co-curator of @thereccenter. We talk about Elizabeth's travels through Buffy GeoCities of yore, what she loves and has learned about fanfiction over the years, and the trends she's observed in AI in fandom spaces. Check out some of Elizabeth's articles that we discuss here:

You can find out about Elizabeth's projects here.

Hooray! It was a total delight chatting with the Vee and Emily on about, amongst many other things, the issues from my end-of-year piece on ~the forces affecting fic rn. (OK, maybe talking about some of that stuff was depressing, but we still had fun lol.) TL;DR: Fandom's best strategy when people try to steal our stuff is to be relentlessly annoying, so future thieves decide it's not worth it. 😅

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Actors and other creatives should be paid for their work, including public-facing activities like promotion. But for many, fandom is a space outside of  “work”; the labor you put in is for social capital, personal enrichment, or both. If you are paid for your labor, are you still a fan? Or have you crossed over to the industry side?  The social acceptability rules can vary by type of art, modes of distribution, or the specific nature of a fandom itself. The necessity of navigating the web of social politics is one of the reasons fans often don’t like intrusion from show creatives—they can feel like bulldozers. The Blake’s 7 conflict highlights the incongruity between fans and pros, partly because the shift in the actors’ attitudes felt like a betrayal. They were behaving like fans before, so why do we have to treat them like actors now?

In our latest article, Lena Barkin digs into the Slash Wars—a conflict involving Blake's 7 actors and fans in the late 80s/early 90s—whose central questions remain deeply relevant to fandom today. Read the piece or listen to an audio version!

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"In the late 70s and early 80s, American Blake’s 7 fandom was basically a big party with the actors," Lena Barkin writes. "Fans who got more involved in the participatory elements of fandom—running convention committees, printing zines—formed relationships with the actors they saw over and over again."

But this nearly non-existent fourth wall couldn't last—and by the end of the decade, the fandom was engulfed in a conflict that became known as the Slash Wars. Cons, money, the gift economy, fanfiction, and some very complicated fan/creator dynamics. See, for example, the letter that lead actor Paul Darrow, pictured above, published about a prominent fan creator and onetime friend Ann Wortham:  

Lena dives into all of this in the piece—if you're looking for some distraction this weekend, give it a read or listen to an audio version!

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"In the late 70s and early 80s, American Blake’s 7 fandom was basically a big party with the actors," Lena Barkin writes. "Fans who got more involved in the participatory elements of fandom—running convention committees, printing zines—formed relationships with the actors they saw over and over again."

But this nearly non-existent fourth wall couldn't last—and by the end of the decade, the fandom was engulfed in a conflict that became known as the Slash Wars. Cons, money, the gift economy, fanfiction, and some very complicated fan/creator dynamics. See, for example, the letter that lead actor Paul Darrow, pictured above, published about a prominent fan creator and onetime friend Ann Wortham:  

Lena dives into all of this in the piece—if you're looking for some distraction this weekend, give it a read or listen to an audio version!

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My latest for Atlas Obscura is up! I reported on Reid Byers's truly wonderful "imaginary books" collection on display at the Grolier Club in Manhattan right now—and I got to sit in on his class about how to make an imaginary collection at the Center for Book Arts!

These are physical books that were mentioned in other books, split into three categories: "lost," "unfinished," and "fictive." All three are delightful, but the fictive category has *so* many fandom favorites—Death's memoirs from Discworld, a monograph by Sherlock Holmes, Stephen Maturin’s Thoughts on the Prevention of Diseases Most Usual Among Seamen, an entire case of the in-universe books of Lord Peter Wimsey and Harriet Vane, and many more.

The collection is on display at Grolier until February 15th and it's free to the public; in March it moves to San Francisco. (You can also look at it online—but seriously, these books are incredible in 3D if you're in the area in the next few weeks.) I think fanbinding folks would be especially interested in the material aspects of this project. (And I suspect some fanbinders will have also created in-universe books from their favorite source material!)

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Our first piece of the year is live—and it's a big one! With the recent release of the classic BBC sci-fi show Blake's 7 on Blu-ray, Lena Barkin looks back at the infamous 1980s clash between fans and creators that became known as the Slash Wars:

The Slash Wars happened in the late 80s and early 90s, but their central fandom questions are still being explored today. How much interaction should there be between fans and artists? How does capitalism interact with fandom’s gift-based economy? How public should fanfiction about characters portrayed by real people be? How do we ethically engage with the media properties we love when it involves so many conflicting people, stories, and viewpoints?

For fans of fandom history—or anyone grappling with these questions in fandom today—this is a must-read. You can also listen to a full audio version via the link above. 🚀

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reblogged
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fansplaining

Our first piece of the year is live—and it's a big one! With the recent release of the classic BBC sci-fi show Blake's 7 on Blu-ray, Lena Barkin looks back at the infamous 1980s clash between fans and creators that became known as the Slash Wars:

The Slash Wars happened in the late 80s and early 90s, but their central fandom questions are still being explored today. How much interaction should there be between fans and artists? How does capitalism interact with fandom’s gift-based economy? How public should fanfiction about characters portrayed by real people be? How do we ethically engage with the media properties we love when it involves so many conflicting people, stories, and viewpoints?

For fans of fandom history—or anyone grappling with these questions in fandom today—this is a must-read. You can also listen to a full audio version via the link above. 🚀

I'm very excited to share this with the world—we've been working on it for months (kudos to Lena for doing allllll the work on my edits), and I'm so proud of how it came out. ✨

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