Similar to the practice of media corporations attempting to control the messages within their content, and the projected ideas/values that the company itself can stand for; regular, everyday consumers, and fan community spheres, are incredibly important to the overall promotion, and success of these sharable media services, as the interactivity, and sense of unified consumption, allows for new levels of direct communications through modern media technologies, and increased opportunities for spreadability in the economic marketplace in its entirety.
Successful marketing brands understand this product space, inhabited not only by the media content itself, and creator’s promotional ideas/message behind its creation, but also the rapidly established, communal hub in which these supportive populations, and dedicated fans themselves, are allowed to inhabit, and share with these intersections of mass/popular culture.
Fan-made artistic models, and services, have become almost an entirely new, and distinct modern, media marketplace, as these regionalized populations, connected ultimately through shared interests, and fantasies, are allowed to directly interact with one another, as well as content creator’s themselves, through this stitching together of various, already created, scenarios, plot devices, and interactions between recognizable, previously established characters, and situations, allowing for the open interpretations, and almost entire restructuring, of the media content itself by its most avid, dedicated, section of its fanbase.
This allows for artists/writers/content producers to, not only pinpoint which specific aspects of their created contents are resonating most with audiences, and creating these fan-made, media spheres, but also for this new market of shared, promotable content, throughout the most invested populations of personalized consumers.
Once again, as discussed by Jenkins, Ford, and Green (2013):
“Fandom nurtures writers and artists, putting the deepest emphasis on that material which most clearly reflects the community’s core values” (p. 203).
In this way, fandom communities, and audience-created contents, result in the stimulation of more-regionalized market spheres, as writers/producers are more directly able to observe which aspects of their media productions are most successful within these, again, supportive populations, who are, in turn, given the opportunity to make contributions to the overall media environment in which their desired, artistic content occupies.