Fantagonism

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Fans can have strong responses to both narrative and production events effecting their favorite television shows. A wall used to mourn Ianto Jones after he is killed off Tortchwood:Children of the Earth. 50,000 pounds of peanuts mailed to CBS's New York office to show support of Jericho when it was canceled (Elber 2007). Hate and threats directed to writers, producers, actors, and their families protesting the importance of Castiel in Supernatural. These reactions are tied to fans' emotional investment and connections they have created by expanding past what is seen on screen. A sense of justification for the actions taken stem from the broken promise of shared production in a participatory culture. Where diegesis is the narrative world seen by audiences, Matt Hill's hyperdiegesis is “the creation of a vast and detailed narrative space, only a fraction of which is ever directly seen or encountered within the text, but which nonetheless appears to operate according to principles of internal logic and extension” (2002: 137). This vast world is built throughout the series by accumulating and reiterating details. Mentions of people (The Federation in Star Trek), places (Maps included in Lord of the Rings books) , and events (“Vatican cameos!” in Sherlock Holmes) suggest an entire world with history that may be explored by the primary text in future installments or through fan productions. It provides a coherent world and the rules of operations by which it works, rules that fans must abide by when they choose to explore the world themselves. Though a show's hyperdiegesis needs to remain consistent to maintain the trust of it's audience, Hill believes that producers must “play with their own established rules and norms... in order to preserve audience interest” (2004:511). Similar to hyperdiegesis, Henry Jenkin's (1992) meta-text also expands on information given

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