In the documentary, Trekkies, an Star Trek/Paramount executive mentioned that Star Trek: The Next Generation is unique
because it has an “Open Script Submission” policy. This allowed fans the chance
to guide Star Trek’s fate in a superlatively creative way. According to Trek
Today[i]—a
(very) up-to-date fan site comprised of blog entries, paraphernalia
advertisements, and episode summaries—the policy was cancelled in 2001 due to
“legal reasons.” Before that, fans could submit two unsolicited scripts before
needing an agent’s backing. The article also stated that nearly 99% of scripts
were rejected. After watching the informative and compassionate documentary and
witnessing the hoards of fervent fanatics committed to furthering the image of
and discussion on the show, the collective enthusiasm is unsurprising. Jenkins’
article highlights the show’s themes of acceptance, gender representation, and
feminist embodiment; these insights help explain how fan communities find catharsis
in their opportunities to extend and influence the show’s universe.
In the wake of Star Trek’s “open script
policy,” it’s easy to see how television continues to value and consider the
voices of the fans from online sites such as Television Without Pity, as Andejevic
examines in “Watching Television Without Pity.” The author also combats the
age-old notion that TV is conducive to passivity; conversely, TV not only ignites
erudite conversation but demands “intelligent” (35) viewer participation in myriad
ways. A show will not flourish unless fans can aggressively consume it and
assert their own opinions (after all, why were shows like Arrested Development and Family
Guy resurrected and why was Felicity
doomed after Keri cut her hair?). As Andrejevic acutely observes, shared-control
bridges the “production-consumption divide” (33).
As social media becomes increasing integrated
into our daily practices, have site like Twitter supplanted groups like TWoP by
providing an even more immediate and universal medium for criticism and
feedback? It’s evident that reality shows utilize Twitter activity surrounding
the show to provide concurrent or extended narratives for the show. For
example, some shows even broadcast fan tweets at the bottom of the screen as
the show airs. Scanning tweets of a particular trending topic nicely and succinctly
survey the consumers’ opinions. Since Twitter gives users—and presumably
creative executives—the ability to assess the buzz surrounding a show, I wonder
how TV moguls pay heed to what is expressed via Twitter. On the other hand, is
a terse Tweet as esteemed as a loyal fan’s comprehensive examination/critique of
a show? Does Twitter’s universality, accessibility, and sheer scale as a media
platform dilute the voices of the fans? Do
more restricted and specific fan site still provide an invaluable service for
television?
No comments:
Post a Comment