Jenkins’s convergence culture presents a valid argument on the influence of the internet on the changes in fans’ interaction and the relationship between the fan base and the television industry. As noted in his work, the internet initially provided a greater platform for media consumption as corporations could easily contribute to the commodification culture and control the events in the media marketplace (Jenkins, 2006, p.133). This paper supports the argument that the industry’s dependency on committed consumers to market the products of fandom has reduced its control over the marketplace, as suggested in Convergence Culture. The transformation of the nature of fandom from what was once considered as “underground” in old media has significantly influenced the relationship between media marketers and producers, and the active consumers (Pearson, 2010). The focus of Jenkin’s argument on the fans’ active contribution on the television industry through their loyal viewership of shows like Star Trek is regarded by Pearson (2010) as relevant in new media as it contributes to the industry’s understanding of how the convergence culture operates. Therefore, it may be crucial for the media industry in the post-internet era to put their loyal consumers on the forefront during the production of the objects of fandom due to the transformed relationship between television producers, marketers and consumers in the digital economy.
The increased interaction between fans in media and their influence on the strategies by television producers, as suggested by Jenkins (2006), may be due to the widespread, easily-accessible medium of fan interaction that is characteristic of new media. Hilmes, Newcomb & Meehan (2012) mention that the argument by Jenkins paints a picture of the influence of the internet on fandom in new media as it enabled consumers to share their emotions on particular objects on a wider scale and make information on the objects easily accessible. Therefore, it would be valid to argue that new media has transformed the landscape of television from what that was regarded as more underground to a medium that has normalized consumer interactions. The comparison between the web culture in new media and printed fan communications in old media by Jenkins (2006) provides an understanding of the significance of the web as a medium of enhanced consumer communication. Due to the improved fan interaction, the television producers and marketers rely on their consumers more than they did in the pre-internet era for their products to gain recognition and dominance in the highly competitive media marketplace (Jenkins, 2006, p.133). Based on the present analysis, Jenkins’s argument in Convergence Culture is useful in the development of media strategies that will ensure an improved contact with consumers beyond the domain of the television itself and into the broader and more profitable online environment.
Although Jenkins is optimistic about the influence of web culture on the enhanced possibilities in the domain of fandom, it should be emphasized that fans are consumers first before playing the role of marketers. Therefore, new media strategies should aim at expanding and improving the quality of fan interaction while considering the fan’s influence on the work of television producers. Citing Jenkins’ work whereby the “unanticipated” and “unauthorized” methods of fans are regarded as the fodder for the media industry, Wang et al. (2020) argue that the increased opportunities for fans to engage with the media production in the new media culture increases the possibilities for them to be exploited by the industry as free labour. According to Wang et al. (2020), the reconfigured relationship between the loyal consumers and media producers in convergence culture and the power discrepancy between both parties calls for the need of strategies that will eliminate the chances of fans’ exploitation in the digital media era. The joint effort between television producers and marketers has been enhanced by the use of web pages for advertising purposes, thus increasing the media industry’s access to their audience and active consumers. This paper contends that television producers should rely on fans’ feedback on through their online engagement solely for the production of content that fits the consumers’ desires rather than using the fans’ opinions for marketing purposes. By actively engaging consumers and giving them what they desire, television producers will view fans as consumers first without exploiting them as marketing and advertising tools.