Online Fandom Communities as Sites for Critical Transmedia Literacy Development

Introduction

Today’s society is saturated by media, yet many adults lack the foundational media literacy competencies needed to navigate this complex environment (Rasi et al., 2019). While knowledge of media practices is crucial for citizens to access, discern, and produce information (Valtonen et al., 2019), most U.S. adults have not received formal media literacy education in high school, according to Media Literacy Now (2022). Simultaneously, the phenomenon of "Peak TV," characterized by an overabundance of high-quality shows, combined with the rise of streaming platforms, has shifted audience behavior from weekly schedules to binge-watching (Koblin, 2022; Loofbourow, 2023; Maas, 2023). This shift has fostered the growth of online communities as strong, informal learning environments (Jenkins, 2009; Plant, 2004; Szymkowiak et al., 2021).

This study focuses on TV media fandom, defined as communities centered around a particular piece of media (Bury, 2017), as a site for informal learning. These communities encourage a participatory culture that emphasizes collaboration, sharing, mentorship, and active content creation rather than passive consumption (Jenkins, 2006; Jenkins et al., 2013). Such environments embody the principles of connected learning by being interest-driven, peer-supported, and academically-oriented, bridging the gap between formal and informal education (Ito et al., 2013).

Alongside participatory culture and connected learning, transmedia literacy is central to this investigation. A systematic literacy review by González-Martinez et al. (2018) identified four main elements of transmedia literacy: 1) transmediality, 2) prosumption, 3) collaboration/interaction, and 4) critical thinking. Transmedia literacy is an emerging area of interest defined by a set of skills, including the ability to jump between different media, not only consume but produce media (prosumption), collaborate on shared transmedia projects, and critically discern, weigh, evaluate, and improve one’s own and others’ products (Scolari, 2018).

The purpose of this study, therefore, was to investigate how adults might be acquiring these critical media literacy skills while participating in online media fandom communities. All of these concepts serve as the conceptual framework for analyzing fan participation and answering the study’s research question: What kinds of transmedia literacy skills, if any, are adult TV media fans developing while participating in online media fandom communities?

Methodology

A case study design was used to investigate the complex social phenomenon of adult transmedia literacy skill acquisition within online media fandom communities. The case boundaries were established by the platform (Reddit), the topic (the long-running sitcom Friends), and the content (the top 100 posts from the Friends subreddit in 2024). Data were collected and analyzed using three data sources:

1. Multimedia Artifacts: A sample of 20 randomly selected posts from the top 100 were analyzed using a rubric based on González-Martínez et al.’s (2018) four transmedia literacy skill dimensions. Each skill was scored on a scale of 0 (None) to 3 (High).

2. Comment Threads: Another sample of 20 randomly selected posts was analyzed using McMillan’s (2013) Speech-Act Inventory list, which consisted of 16 categories informed by public discourse theories, including deliberative theory, argumentation theory, and civil discourse.

3. Redditor Interviews: Eight volunteer Friends subreddit members were recruited for semi-structured interviews to understand their motivations, self-perception of transmedia literacy skills, and levels of participation.

Findings

The overall analysis of the multimedia artifacts revealed a mean total transmedia literacy score of 6.55 (SD = 2.05) out of a possible 12, which suggests that participation in the fandom supported low-to-mid levels of transmedia literacy development.

Table 1.

Transmedia Literacy Skill and Average Point Score Rating (N = 20)

Note: Artifacts received a score of 1 for low, a 2 for mid-level, or a 3 for high transmediality. A score of zero was assigned if there were no signs of transmediality.

Transmediality

Multimedia artifacts for transmediality scored an average of 1.60 (SD = 0.74). Main themes showed that participants consistently extended the Friends narrative across various media. For example, comment threads highlighted the interconnectedness of actors’ other cinematic work, such as guest appearances by actors in other cinematic genres, bridging the fictional world with the real world and the broader media landscape.

Prosumption

The lowest-scoring skill with 1.35 (SD = 0.59) was prosumption. This low score was explained by the interview data, which showed 100% of interviewees not considering themselves as prosumers. Instead of creators, interviewees described their role not as producers but as "admirers of others’ art" and "active commenters," instead, suggesting they acted as curators rather than original producers. This demonstrates a pattern of low-threshold participation, which is consistent with the Power Law of Participation (Mayfield, 2006).

Collaboration/Interaction

The third transmedia literacy skill, collaboration/interaction, scored 1.55 (SD = 0.75). While interaction was present, in-depth collaboration was limited. Participation reinforced participatory culture, thriving in active fan engagement, such as commenters collectively attempting to answer an original poster’s questions within the discussion thread. Suggestions in the comment threads ranged from humorous to serious or realistic.

Critical Thinking

Critical thinking emerged as the most developed transmedia literacy skill with the highest score of 2.05 (SD = 1.02). Participants actively engaged in analytical practices, with 55% of the multimedia artifacts receiving a "high" score of 3. Evidence demonstrated participants encouraging debates and analyzing in-show details, connecting them to real-world context. The observed practice of intellectual engagement and deliberative reasoning aligns with prior research highlighting that fan communities can serve as robust spaces for critical thinking, moving beyond mere entertainment (González-Martínez et al., 2018; Nussbaum et al., 2021).

Discussion

The findings indicate that adult participation in a TV media fandom community supports the development of transmedia literacy, particularly in analytical and critical thinking practices (Ito et al., 2013; Jenkins, 2012; Scolari, 2018). The uneven development of transmedia literacy skills (with high critical thinking versus low prosumption) presents interesting insights for educators and instructional designers interested in informal learning environments and adult digital literacy.

The observed variation suggests that adults tailor their levels of participation based on their personal goals and the community's norms. The preference for curating, commenting, and upvoting (low-threshold participation) over original content creation (Jenkins, 2006; Mayfield, 2006) suggests many adults prefer to engage as highly critical, yet non-producing, consumers (González-Martínez et al., 2018; Rheingold, 2012). This is a key finding for educational technology, as it highlights that informal learning platforms successfully encourage critical engagement even if they fail to motivate active creation among adult populations. Future instructional design should leverage this propensity for critical analysis.

Conclusion

This study contributes to a more nuanced understanding of adult media literacy development in informal spaces. Building upon these findings, future research should seek to replicate this study across multiple platforms and media fandoms. Furthermore, it is essential to investigate the longitudinal impact of fandom participation on the development of transmedia literacy. Researchers should also explore the underlying motivations behind different levels of participation, and finally, inquiry is warranted into the extent to which platform and community norms shape transmedia literacy patterns.

References

1. Bury, R. (2017). Technology, fandom and community in the second media age. Convergence: The International Journal of Research into New Media Technologies, 23(6), 627–642. https://doi.org/10.1177/1354856516648084
2. González-Martínez, J., Serrat-Sellabona, E., Estebanell-Minguell, M., Rostan-Sánchez, C., & Esteban-Guitart, M. (2018). About the concept of transmedia literacy in the educational field. A literature review. Comunicación y Sociedad, 0(33), 15–40. https://doi.org/10.32870/cys.v0i33.7029
3. Ito, M., Gutierrez, K., Livingstone, S., Penuel, B., Rhodes, J., Salen, K., Schor, J., Sefton-Green, J., & Watkins, S. (2013). Connected learning: An agenda for research and design. Digital Media and Learning Research Hub.
4. Jenkins, H. (2006). Convergence culture: Where old and new media collide. NYU Press. https://doi.org/10.18574/nyu/9780814743683.001.0001
5. Jenkins, H. (2009). Confronting the challenges of participatory culture: Media education for the 21st century. The MIT Press. https://directory.doabooks.org/handle/20.500.12854/78489
6. Jenkins, H. (2012). Textual poachers: Television fans and participatory culture. Taylor & Francis Group. http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=1097854
7. Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: Creating value and meaning in a networked culture. New York University Press.
8. Koblin, J. (2022, December 18). Streaming’s golden age is suddenly dimming. The New York Times. https://www.nytimes.com/2022/12/18/business/media/streaming-tv-shows-canceled.html
9. Loofbourow, L. (2023, September 27). TV is dead! Long live TV? Washington Post. https://www.washingtonpost.com/style/2023/09/27/future-of-television-peak-prestige-tv/
10. Maas, J. (2023, July 11). Peak TV has peaked: From exhausted talent to massive losses, the writers strike magnifies an industry in freefall. Variety. https://variety.com/2023/tv/features/writers-strike-tv-industry-streaming-problem-1235666463/
11. Mayfield, R. (2006, April 27). Power law of participation. Ross Mayfield’s Weblog. https://ross.typepad.com/blog/2006/04/power_law_of_pa.html
12. McMillen, S. R. (2013). Threads of Deliberation: A Textual Analysis of Online News Comments. Ohio University.
13. National survey finds most U.S. adults have not had media literacy education in high school. (2022, September 7). Media Literacy Now. https://medialiteracynow.org/nationalsurvey2022/
14. Nussbaum, M., Barahona, C., Rodriguez, F., Guentulle, V., Lopez, F., Vazquez-Uscanga, E., & Cabezas, V. (2021). Taking critical thinking, creativity and grit online. Educational Technology Research and Development, 69(1), 201–206. https://doi.org/10.1007/s11423-020-09867-1
15. Plant, R. (2004). Online communities. Technology in Society, 26(1), 51–65. https://doi.org/10.1016/j.techsoc.2003.10.005
16. Rasi, P., Vuojärvi, H., & Ruokamo, H. (2019). Media literacy for all ages. Journal of Media Literacy Education, 11(2), 1–19. https://doi.org/10.23860/JMLE-2019-11-2-1
17. Rheingold, H. (2012). Stewards of digital literacies. Knowledge Quest, 41(1), 52–55.
18. Scolari, C. A. (2018). Introduction: From media literacy to transmedia literacy. In C. A. Scolari (Ed.), Teens, media and collaborative cultures: Exploiting teens’ transmedia skills in the classroom (1st ed., pp. 12–20). Universitat Pompeu Fabra.
19. Szymkowiak, A., Melović, B., Dabić, M., Jeganathan, K., & Kundi, G. S. (2021). Information technology and Gen Z: The role of teachers, the internet, and technology in the education of young people. Technology in Society, 65, 101565. https://doi.org/10.1016/j.techsoc.2021.101565
20. Valtonen, T., Tedre, M., Mäkitalo, Ka., & Vartiainen, H. (2019). Media literacy education in the age of machine learning. Journal of Media Literacy Education, 11(2). https://doi.org/10.23860/JMLE-2019-11-2-2

Acknowledgments

This research is a cross-section of my larger dissertation research. It would not have been possible without the support and mentorship of my dissertation chair, Dr. Daniel Hoffman. Thank you to him and the rest of my dissertation committee for everything you’ve done for me that has set me up to be the scholar I am today.