The fanfic communities I grew up participating in were always overwhelmingly queer and female, as well as interested (albeit often imperfectly) in intersectionality and social justice. Fanfic then became a way of critiquing mainstream media through that lens, so I’m used to the idea of transformative works being exactly that: transformative. In that they take a source text and interrogate it for tropes and biases, with the produced output often being ways for their authors to work out those issues in their own minds (as well as being a piece of fiction).
So it’s interesting, coming from that background, to surface into modern pop culture, which is saturated with what is essentially “corporate fanfic” in the form of franchises and remakes. I think there are a lot of questions in there about who is (and isn’t) chosen to produce these works, what audiences they’re marketed for and to, and why some “fanfic” is given the stamp of legitimacy while other fanfic is not. Just why can’t Spider-Man be gay or black? And not to put too fine a point on it, there are a few things people like Joss Whedon (Marvel film fanfic), John Scalzi (Star Trek novel fanfic), Steven Moffat (Sherlock Holmes and Doctor Who TV fanfic), and Chuck Wendig (Star Wars novel fanfic) all have in common. I’ll let the reader figure out what they are. So while none of that is the fault of the people mentioned, I think it’s worth having a discussion around why them in particular and not someone else.
Today I’m over at Libromancer’s Apprentice, talking about The Angels, fanfic, and Stormbringer.