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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.

fannish next of kin?

I'm writing an article about digital lives after death, and I'm looking to speak to someone who has personal experience with the AO3's Fannish Next of Kin feature (specifically as the FNoK for someone who's passed away). If you'd be up for (briefly!) talking to me and potentially being quoted (anonymously/pseudonymously fine), please message me where I can get in touch/reply in the comments. I'd love to have an actual first-hand perspective on this feature rather than just talking about how it works.

Boosting this here! And I will note that if I can't find anyone to speak with who fits the description above, I'd definitely be up for talking to someone who has formally chosen an FNoK for their own works!

Eeee, I had so much fun recording an episode of @fansplaining today! (It will hopefully be out in the next couple weeks.) We talked through absolutely oodles of data that I've been collecting about F/F compared to M/M and F/M (ratings, tropes, etc) -- which is good, because it'll force me to finally post some of it soon instead of endlessly going down further data rabbit holes. XD

PLEASE NOTE when Toast says they'll be on "in the next couple of weeks," what they actually mean is next Tuesday, February 7th for patrons and Wednesday, February 8th for everyone else. 🥰

Do you have any advice, guides, or opinions on how write a good rec list?

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WELL! This is Elizabeth, and as the longtime co-curator of "The Rec Center" newsletter (with @hellotailor) I do have *a lot* of thoughts about rec lists. 😊 I'm delighted you asked, because as I'm sure both Flourish & I have mentioned on the podcast, rec-list-making is way less prominent now than it has been in previous fandom eras, and I think that's a shame. Reccing can be a great critical tool, and rec lists make a fanwork space richer—not least because they can move readers beyond the mostly quantitative metrics of the AO3.

I'll put the rest of this under the cut:

Hi Fansplaining! I’ve been a patron for a long time, but I’ve never listened to as many special episodes as I wanted to because listening to them on Patreon.com was such a pain. I am kind of embarrassed to report that just yesterday I discovered I could set up the RSS feed for these episodes on my podcast app, and now I am enjoying the Glass Onion episode without having to worry about a website reloading and losing my place! Anyway, just writing in in case there are other patrons who are unaware that this knowledge could be shared with, or in case this could be a helpful plug for your Patreon.

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Thank you again, queersintherain!!

(We read this ask on today's episode—"Ask Fansplaining Anything: Part 15"—but we wanted to publish it here as well.)

If you're a current patron, you can absolutely listen to our 28 special episodes via RSS feed. And if you're not a patron yet...28 special episodes await! Just $3/month! With more to come soon! That's https://patreon.com/fansplaining 🥰

Episode 190: Ask Fansplaining Anything: Part 15

In the latest (fifteenth!) installment of “Ask Fansplaining Anything,” Flourish and Elizabeth tackle a new collection of listener letters. Topics discussed include defining “canon” in RPF fandoms, the sad fate of fandoms on Twitter, and what to do about non-fandom friends who judge your fannish activities. Plus: a query about the hypothetical legality of physically printed fanfiction in libraries, with an answer from *actual lawyer* and copyright expert @earlgreytea68.

“I have always had the view that not everything should have a fandom in that sort of ‘cosplay and fanfic and making 10,000 memes and having giant fights on the internet’ way. If it already exists, you have to deal with it. And if you want it, there’s some things that are more likely than others to develop such a fandom. But the whole idea that that is the marker of success is not right. And I think part of the way that it gets to feel like the marker of success to some people—not to the money people, who are just crunching numbers. But to a lot of the people who we hear from, to actors, directors, you know, to some people who are doing producing, is because having sort of seen behind the curtain, those are the visible people. It feels good when someone walks up to you wearing cosplay of the character that you—you know, you remember that person, right? And you remember the million people who tweeted angrily at you.” 

@flourish discussing the failings of Hollywood’s “fan-first” strategy around franchise-building in our latest episode, “No Cultural Impact.” Click through to listen or read a full transcript!

Episode 189: “No Cultural Impact”

In Episode 189, “No Cultural Impact,” Flourish and Elizabeth look at the entertainment industry’s “fan-first” strategy for franchise-building, and the already-massive box-office success of Avatar 2: The Way of Water, part of a property that, as people continue to say on social media, no one remembers or cares about. Are fan activities, memes, or online chatter necessarily good indicators of franchise success? And when Hollywood privileges a certain idea of “fandom” in their strategic plans, does that actually serve fans—or viewers in general?

In their latest special episode, Flourish and Elizabeth discuss Rian Johnson’s Glass Onion, follow-up to the 2019 surprise hit (and Flourish’s absolute all-time never-liked-anything-better favorite film!!!) Knives Out. Topics discussed include the film as a commentary on sequels, the mystery genre versus true crime stories, and how much their perceptions of the film changed—for the better—when they watched it a second time. 

Special episodes are only available to Patreon supporters. Pledge $3 a month (or more!) to listen or read a full transcript. 🔎

Please note the incredible picture Flourish took for our show notes with very little prodding:

In their latest special episode, Flourish and Elizabeth discuss Rian Johnson’s Glass Onion, follow-up to the 2019 surprise hit (and Flourish’s absolute all-time never-liked-anything-better favorite film!!!) Knives Out. Topics discussed include the film as a commentary on sequels, the mystery genre versus true crime stories, and how much their perceptions of the film changed—for the better—when they watched it a second time. 

Special episodes are only available to Patreon supporters. Pledge $3 a month (or more!) to listen or read a full transcript. 🔎

Episode 188: The Year in Fandom 2022

Continuing an end-of-year tradition, Flourish and Elizabeth review five big fandom-related trends they followed in 2022. Topics discussed include clashing norms between fans on different platforms, the increasing precariousness of the streaming space, brands doubling down on fandom—and anti-fandom—in high-profile celebrity stories, and yes, of course, the collapse of Twitter. Plus: they read a letter from an artist in response to the previous episode on AI and fanworks.

"Entertainment" and modern AI-fandom interactions

There's a 1985* sci-fi short story I once read by M.A. Foster called “Entertainment” that predicts what will happen in an increasingly AI-generated art world.  I can't find any excerpts or summaries of it online, but what I recall is:

In the future, humans can prompt machines to create any art -- e.g., "What would a collaboration between early-era Peter Gabriel and late-era Beethoven look like, with a music video directed by Werner Herzog?"  (That's a made up example, but someone originally gave me the story because Peter Gabriel and early Genesis are actually referred to in the text, and I was at the height of my fandom. XD )  An AI then comes up with a bunch of different examples, and the human who gave the prompt chooses the one(s) they like best.  They then release the creation to the broader world, and people make micropayments to stream it.  Everyone competes for attention, hoping to go viral or at least make a decent living.

(There's a dystopian aspect, where if you don't make enough money and your balance drops below zero, you disappear back into the human factory to get remade.  Also, people don't have sex in person -- they pay each other for the rights to their likeness, and they have sex with simulated versions of one another.  All of which is rather interesting, but not as directly relevant to the point I'm making here.)

M.A. Foster did an impressive job foreseeing a bunch of aspects of modern AI and online culture (especially keeping in mind that there was no Web or social media or digital streaming or online micropayments at the time this was written).   And it’s becoming easy to imagine that we may reach a point where many of the story’s predictions about art come true, as well.  

[Accessibility] has to be something that everyone keeps in the forefront of their mind, because like I said, [disability] affects everybody. If it doesn’t affect you now, don’t worry, it will one day, when you get old and your body falls apart. So it’s something that people just need to care more about, and putting captions in and alt text and stuff like that is something that takes an extra minute or two out of your day, but to make it seem like it’s the end of the world to request that and that I’m ruining everybody’s fun, oh no! Like, OK, deal with it. Cope. How much fun am I missing out on in my daily life because I can’t do X, Y, Z? Oh, you didn’t get to do this thing. Too bad. 

— Valerie Gristch in our “Disability and Fandom” double episode. Click through to listen to her entire interview or read a full transcript.

I thought [recent horror films leaning into actual diagnoses and conditions] would be really cool, because you know, there’s a lot about the disabled experience that really lends itself to horror, whether it’s the body horror of physical disability, reality not quite matching perception, the ostracization that comes with living in an ableist society. Most of these have…not really hit the mark. A lot of times what you end up with, though, is either a wildly inaccurate picture of the actual disability, which is actually worse than just saying there’s a crazy person that escaped from a mental asylum and wants to drill teenagers with a literal drill, or something more inspirational of ‘Aww, the disability was a superpower the whole time.’ And that kinda sucks, because that’s not really how it works. 

— Dr. Paul D. C. Bones in our “Disability and Fandom” double episode. Click through to listen to his whole segment or read a full transcript.

Even though I’ve made AMVs/fanvids in the past, they’re often inaccessible to me [as a deaf person] when made by other people—not always, because I can look up the lyrics, but if the vid artist doesn’t note the song information then I’m out of luck. (And if the lyrics just aren't available online, then...) Sharing TikToks is the same problem unless they’re hard captioned. I’ve defaulted to blocking posters of fancams on Twitter, because in my experience, they never list this information and it’s just a waste of my time and bandwidth. They could post a gif for the same effect without being as annoying.

— miscellanium on our “Disability and Fandom” double episode. Click through to listen to their whole segment or read a full transcript.

Episode 187: Artificial Fandom Intelligence

In Episode 187, “Artificial Fandom Intelligence,” Elizabeth and Flourish respond to a listener's letter about AI tools like ChatGPT and Lensa, which are currently sparking anxiety in fandom and across the broader web. What are the realities of this technology, now and in the coming months and years? Are we looking at a future where any fan can plug in a few terms and receive a halfway-decent computer-generated piece of fanfic or fanart? 

As an autistic, mentally ill woman, I notice the rampant ableism in fandom, and this is a topic that is barely talked about. It is especially visible in the fandom I’m in for She-Ra and the Princesses of Power, and it was especially bad in the first year after the show ended. ... It was a very, very sobering experience, because this always just reminded me that for these people, I’m not really human, and I deserve to be abused, according to them, and I should not have relationships and should not have a place in the queer community.