Fandoms: The Loud Partners

Fandoms have often helped to keep TV franchises going. It was through fan work that properties like Star Trek, Sense8, Firefly and more were able to continue beyond their initial runs. Fandoms have also continually brought interest to older shows. See how fans continue to drive interest in properties like The Golden Girls. That said, in the streaming age, fandoms are now much more valuable.

There are so many streaming services competing for viewers’ attention, and many people have complained about a lack of adequate promotion for streaming releases. Viewers’ attention is therefore often skewed in favour of shows that already have marketability. For example, they have a big star or creator attached or are part of a recognisable franchise. The only way to ensure a lesser-known property is renewed is through popular support.

In 2016, Stranger Things became one of Netflix’s biggest properties thanks to word of mouth and social media. Enabling it to gain a huge audience. Since then, media companies have recognised the huge potential of social media to provide them with viewers. A 2025 Deloitte report said 56% of surveyed young people were more likely to watch something if it was discussed on social media. 53% favored recommendations from social media over other forms of marketing. Meaning social media is a site of great interest for companies seeking to engage younger audiences with their projects. Especially since it’s a great way to tap into fan labour.

Labour & Visibility

Some argue that fans creating things for their favourite show is not labour. It is just something done for fun. However, the mindset doesn’t change the fact that fans are using their time to create things that ultimately act as marketing. Which benefits companies by helping them retain and grow their potential customer base. It also betrays a lack of value placed on the work that fans create. Industry workers are rightly paid to write reviews, create art, videos, spinoff stories and more and organise screenings for influencers who will advertise projects. Why should fans doing the same thing through social media not be considered actual work?

It also can’t be discounted that many marginalised audiences (people of colour, women and queer people) contribute greatly to the success of industry projects through various means. Providing different perspectives and a wealth of creations that amplify and enrich the experiences of many projects. Despite the industry itself consistently failing to fairly represent these audiences across the creative process. 

Fandoms help aid the development of both creative people and the creative industry. But, as is the case with unpaid internships, the industry will happily accept the work of those wanting to contribute to it without compensating them for their labour. Which is unacceptable.

Never Do It for Free

Especially when media companies are looking to influence people through social media investment, fans should be entitled to some kind of recompense for helping to promote a project. Though that brings up the argument of authenticity. After all, many people trust fans on social media because they think of them as authentic. Something that can be damaged if people believe creators are only promoting something for a company’s attention.

One base-level industry practice should be for fans to be able to monetise their content without interference from streaming companies. Allowing them to earn something for their efforts. Additionally, if a production is renewed or proven to be successful through ratings, merchandising, etc., things like official creator endorsements, a stake in profits, wider publicisation of work, etc., should be considered for fans who helped drive interest in the property. Another idea could be to have an industry body, funded by profits from streaming giants operating in a given country, that pays fans based on the level of effort they put into fostering fan communities.

These are merely suggestions, but whatever the case, fans deserve some form of payment. The industry isn’t shy about profiting from their work, so they shouldn’t be either.

The post Fans As Workers: The Unpaid Work of Keeping Cult TV Alive appeared first on Big Picture Film Club.

What Did the Writers Win in the Agreement?

This was a negotiation with a particularly hostile partner (ahem, AMTP), but the WGA made sure they didn’t leave the table with nothing. Let’s look at some of the main pain points;

Most MBA minimums have gone up by 5% and will increase by another 4% in 2024 and another 3.5% in 2025. There is now also an increased health and pension contribution rate and brand new regulations on AI. Studios can no longer pass off AI-generated work as copyrighted literary material since it will not be considered source material under the MBA. If the writer and their company are in agreement, the writer can choose to use AI assistance, but the company can’t require the writer to do so, and the resulting work can’t undermine the writer’s credit. Foreign streaming residuals are going to have a 76% increase over 3 years, which is a huge bump up from the pennies writers were being given before. Plus, residuals are finally going to be calculated for streaming services as well.

I could spend this entire piece talking about the MBA, but I’ll stop here for both our sakes. You can read the full agreement or its summary on their site.

Other Strikes

The Writers’ Strike has started a pretty beautiful butterfly effect throughout the film industry. The sheer courage and willpower of so many creatives banding together has inspired other film industry professionals to demand better terms. Most notably the Screen Actors Guild—American Federation of Television and Radio Artists (SAG-AFTRA) started striking soon after the WGA, which ground the industry to a halt. SAG-AFRTRA also won better terms, many of which reflected the same concerns as the WGA. These include higher minimums, streaming bonuses and restrictions on the use of AI. Most Hollywood productions may have stopped for months, but it was worth it.

What Next?

Some unfortunate direct consequences of the strike include thousands of workers losing their jobs and the majority of big-budget American film productions stagnating. But needless to say; far more screenwriters will soon have something resembling decent working conditions. And in the long term, the writers’ strike has opened up an era of worker solidarity that Hollywood hasn’t seen in decades. Creatives are beginning to demand what they deserve from their labour, and it’ll be a lot harder for millionaire film executives to profit off the backs of writers who are barely scraping by.

And what do we, the general public, get out of it? Well; a writer who can afford to live is inherently a better writer, and better writers make better movies. If we want good art, we as a society need to continue to push for fair working conditions across all industries. And art aside, it’s just the decent thing to do.

Also Read: WGA Strike and the Future of Television

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