Abstract

Television and film in 2025 do not exist within a vacuum, the existence of these legacy forms of entertainment is complicated by the involvement of online communities and fanbases. I theorise in this paper that social media filter bubbles and algorithms create a useful sense of community amongst television and film fans but concurrently exacerbate or amplify toxic or unhealthy fandom elements by virtue of their various affordances and tools. This creates significant complexity in marketing such projects. 

History 

Television and film have always had fan clubs and fanbases, which, prior to the internet, often existed by means such as organised fan clubs or within the pages of various magazines. Early film and television forums online reported by  Fiesler and Dym (2020) include several of the early platforms used by fandoms to connect were UseNet, LiveJournal, and Tumblr, other more traditional forum spaces included the now defunct Television Without Pity message boards and IMDB film forums. As various platforms grew and broadened its reach, however, much of the discussion that formed around various forms of social media. The variances of these fandoms were wide, with a variety of examples 

At a peak in the early 2000s, Tumblr, a microblogging platform, became a respite for a variety of different fandoms. Fandoms such as Doctor Who, Sherlock, etc thrived within this environment. (Click and Scott, 2025)It was an early place for people to share photos and fan art and theories and the affordances of this platform also lent to personal aesthetic choice.  

The much more broadly used Facebook, provided several affordances for fans of television shows and films. The capacity to share videos with ease with friends and acquaintances proved extremely useful in terms of the proliferation of trailers, episode previews, and promotions. A new Facebook Live event was added, appealing to numerous different networks for various promotions. For instance, Game of Thrones announced their Season 7 release date via Facebook Live in through a video of melting ice (to go with the show’s “ice and fire” theme), an inexpensive stunt that garnered over half a million comments from the fan community worldwide. (Facebook, 2017). Various closed, open and private groups began to proliferate, creating large spaces where users could discuss their favourite property at length. 

Twitter, now X, also proved popular to discuss television programs, with its short direct messages, and easy sharing of memes and searching of relevant content. Reddit boards (Click, Scott, 2025) sprung up across a large number of different television programs, with communities of several million members emerging for the largest programs. The nature of some of both platforms, allows upvoting or liking of content being prioritised by the algorithm, which was effective to boosting fun and community building content. 

Troubling Edge of the Fandoms 

Unfortunately, this same capacity to unite fandoms embedded within these platforms proved to be a double edged sword when it came to discontent around communities. Massanari (2015) notes that whilst social media can surface excellent, positive content, several social media network also actively reward excessive or nasty bullying or antisocial behaviour  “through the structures of the platform itself and survives due to little accountability and a prevalence of anonymity” calling out Reddit, Twitter and 4Chan specifically   

 This has been particularly well documented in the literature in terms of the occurrences around the 2017 release of The Last Jedi (Bay, 2018) a Star Wars film which saw its diverse and female cast harassed online including via content such as creating edits of the film only including white men. This led to many of the cast members choosing to leave social media entirely for many years.  

Despite this, which, the films box office landed in the top 25 of all time – suggesting (Reysen, Packard, Plante, 2024) real world reaction was not as hostile as the internet suggested. However, over the last seven years since the film was released, the ubiquity of the internet in people’s lives has meant similar situations have often been met with hostile responses commercially.  

Outside of the algorithms of the social media platforms, and covert political intentions,  several experts are cited by Arouh (2020) as seeing unhealthy fan behaviour as a result of an unhealthy form of maladjusted nostalgia where changes made that do not align with a viewer’s nostalgic view (or nostalgic groupthink) will be likely  to cause more distress and frustration in fan groups online than any the quality of the work, arguing that this tendency combined with an algorithm that rewards it is one of the primary sources of the problem. 

Szaban (2022), too, writes extensively around “warped nostalgia”, discussing research into various factional groups within fandoms causing various infighting, often caused by a “Mandela effect” of the way a show or project is remembered, something that is particularly overcomplicated by the way in which various platforms often reward popular information that is not true, in many ways “presenting” it is the popular opinion. In very large fandoms, many splinters can emerge, causing consistent unrest for anyone who is wishing to engage with the fandom of their favourite shows or films.  

Szaban notes that other behaviours noted by researchers within fandoms are the usae of religious terminology aka “canon” and “non canon”, and a similarity between the veracity of various religious groups and purports that such organizations of fans could be seen as a replacement of organised religion, particularly in very secular countries. Similar to religion, many behaviours are modulated amongst the majority but may become intense and vociferous within the margins of the believers.  

Gushwan (2012) notes that fanbases on the internet for television and film, depending on the property, can at times span vast geographic regions, which is to say many fans would never meet so many likeminded types in their everyday life, something that is a blessing and a curse that can create a great deal of education and expansion for fans but in its worst formation can create an   “an insular and reactionary mindset, exhibited primarily as a form of aggressive defensive hostility against perceived outsiders”, effectively creating factions that would not be at all represented within any form of everyday world event or group. 

Tackling The Behaviour  

As behaviour such as the previously stated has increased, increasingly, studios, streamers and networks have looked to take a variety of different approaches to managing this. Per Vary (2024) Studios now report taking over social media accounts of potentially targeted actors and having specific strategies most of which heavily encourage ignoring the behaviour altogether – neither deleting nor responding it – under a theory that disengagement is best . 

Long (2024) notes that expensive mistakes can be made when emerging backlash and toxicity is not monitored correctly on social media and strategies around such situations are not adjusted to adapt to real world concerns. For most projects targeted to Gen X and younger, strategies for marketing these days focus on using digital platforms first and foremost to raise awareness, as well as retain goodwill for properties so there is the capacity for future sequels or critical acclaim such as awards success.  

Arouh (2020) notes that her research shows that networks, including even those as traditional as the UK’s BBC, acknowledged in her research that developing fandoms and cultivating them was imperative for business in the modern era, and ignoring them was simply not an option. 

She also notes that despite the difficulties fandoms cause online Hills (2002) makes a compelling case for fans being the “ideal consumer” due to “intense consumption” and a degree of stability not seen in other viewers. 

Belloni (2025) notes that recent political decisions in the United States, where a large degree of TV and film content is made, suggest more and more lean away from traditional forms of advertising due to various policies under the current Trump government, such as tariffs on international advertisers.  

Additionally, Arouh (2020), the industry struggles with the line between incorporating fan tastes and the fickleness of fanbases. She cites fan reaction to the final season of Game of Thrones as being normalised within the large fanbase but looking peculiar outside of it, such as disproportionate complaining about a coffee cup left in shot and petitions to have the seasons remade to their request. Indeed Warner Bros, the producer of Game of Thrones has not been able to curb a behaviour of backlash from the internet in regard to its 2022 spinoff, House of The Dragon, which has received similar “review bombing” as its predecessor (Vary, 2022) 

Poland (2016) disputes some of the strategies used by the networks. “ ignoring a troll on Twitter, Facebook, or a blog today can mean multiple comments on any given post and increased levels of harassment; abusers may begin responding to everything a woman says.” Poland also notes that ignoring the behaviour of trolls can be seen as validation for their behaviour, noting no long term strategy of it working, and points out that the most vitriolic harassment within fandoms resists behaviour such as blocking by the victim due to the fact that users can simply create new accounts.  

Wei (2024) notes that it is almost unavoidable, even amongst older audiences, to be able to avoid online audiences when it comes to promotion of films via the internet, especially focusing on the proliferation of short form media. She notes that using a diversity of platforms can help in a variety of responses that do not become a closed loop.  

Long (2024) notes that expensive mistakes can be made when emerging backlash and toxicity is not monitored correctly on social media and strategies around such situations are not adjusted to adapt to real world concerns. For most projects targeted to Gen X and younger, strategies for marketing these days focus on using digital platforms first and foremost to raise awareness, as well as retain goodwill for properties so there is the capacity for future sequels or critical acclaim such as awards success.  

Arouh (2020) notes that her research shows that networks, including even those as traditional as the UK’s BBC, acknowledged in her research that developing fandoms and cultivating them was imperative for business in the modern era.  

She also notes that despite the difficulties fandoms cause online Hills (2002) makes a compelling case for fans being the “ideal consumer” due to “intense consumption” and a degree of stability not seen in other viewers. 

Conclusion 

To conclude, the issue of toxic fandom behaviour in online spaces is a tricky one to combat because of the commercial benefits of intense fandom to various organizations and parties and the persistent lure of such communities to various people across the world who wish to share their enthusiasm for something they love. In addition, sociological behaviours around nostalgia and group interactions mean it is unlikely the issue is combatted simply by removing such interactions and marketing from various forms of social media. It is very likely that the issue will continue as an ongoing concern   

Reference List 

Arouh, M. (2020). Toxic Fans: Distinctions and Ambivalence. Ex-centric Narratives: Journal of Anglophone Literature, Culture and Media, 0(4), 67-82. https://doi.org/10.26262/exna.v0i4.7917 

Bay, M. (2018). Weaponizing the haters: The Last Jedi and the strategic politicization of pop culture through social media manipulation. First Monday. https://doi.org/10.5210/fm.v23i11.9388 

Belloni, Matt. (Host). (15 April 2025). The Trump Tariff Pain Index [Audio podcast episode]. The Town. https://podcasts.apple.com/au/podcast/the-trump-tariff-pain-index-who-suffers-the-most/id1612131897?i=1000703519594 

Click, Melissa A and Scott, Suzanne. (2025) The Routledge Companion to Media Fandom: 2^nd Edition. Routledge. https://doi.org/10.4324/9781003373025  

Fiesler, C., & Dym, B. (2020). Moving Across Lands: Online Platform Migration in Fandom Communities. Proceedings of the ACM on Human-Computer Interaction, 4(CSCW1), 1–25. https://doi.org/10.1145/3392847 

Guschwan, M. (2012). Fandom, brandom and the limits of participatory culture. Journal of Consumer Culture, 12(1), 19-40. https://doi.org/10.1177/1469540512438154 

HBO [@GameofThrones]. (2017). GoT FB Live: Fear The Winter. Facebook. Retrieved 13 April 2025, from https://www.facebook.com/GameOfThrones/videos/10154555882782734 

Hills, Matthew (2002).  Fan Cultures. Routledge. 

Massanari, A. (2015). #Gamergate and The Fappening: How Reddit’s algorithm, governance, and culture support toxic technocultures. New Media & Society, 19(3), 329-346. https://doi.org/10.1177/1461444815608807 

Poland, B. (2016). Haters : Harassment, abuse, and violence online. Potomac Books, Incorporated. https://ebookcentral.proquest.com/lib/curtin/detail.action?pq-origsite=primo&docID=4690661# 

Reysen, S., Packard, G. A., & Plante, C. N. (2024). Sexism and Racism Negatively Predict Preference for Diverse Characters in Star Wars Fans. Psychology of Popular Media, 13(2), 256–261. https://doi.org/10.1037/ppm0000462 

Szaban, Thomas. (2022). Warped Nostalgia in Online Fandoms. Proquest Science and Engineering Collection. 2022(1). https://www.proquest.com/dissertations-theses/warped-nostalgia-online-fandoms/docview/2652170070/se-2 

Vary, A (2024) Toxic Fandom: How Hollywood Is Battling Fans Who Are ‘Just Out for Blood’ — From Social Media Boot Camps to Superfan Focus Groups. Variety. https://variety.com/2024/tv/news/star-wars-lord-of-the-rings-bridgerton-toxic-fans-hollywood-response-1236166736/ 

Wei, Y. (2024). A Study on User Comments on Douyin: Analysis of Film Promotion Strategies on Chinese Social Media. SHS Web of Conferences, 199, 2008-. 

https://doi.org/10.1051/shsconf/202419902008

Bibliography 

Afifah, N., Daud, I., & Mulyadina, M. (2022). Viewer behavior on social media: Viral marketing of a movie trailer in Indonesia. Gadjah Mada International Journal of Business, 24(2), 178–197. https://search.informit.org/doi/10.3316/informit.491811608796507 

Arouh, M. (2020). Toxic Fans: Distinctions and Ambivalence. Ex-centric Narratives: Journal of Anglophone Literature, Culture and Media, 0(4), 67-82. https://doi.org/10.26262/exna.v0i4.7917 

Bay, M. (2018). Weaponizing the haters: The Last Jedi and the strategic politicization of pop culture through social media manipulation. First Monday. https://doi.org/10.5210/fm.v23i11.9388 

Belloni, Matt. (Host). (15 April 2025). The Trump Tariff Pain Index [Audio podcast episode]. The Town. https://podcasts.apple.com/au/podcast/the-trump-tariff-pain-index-who-suffers-the-most/id1612131897?i=1000703519594 

Bernhold, Q. S., & Metzger, M. (2020). Older Adults’ Parasocial Relationships with Favorite Television Characters and Depressive Symptoms. Health Communication, 35(2), 168–179. https://doi.org/10.1080/10410236.2018.1548336 

Bielby, D. D., & Harrington, C. L. (2008). Global TV : Exporting Television and Culture in the World Market (1st ed.). New York University Press. https://doi.org/10.18574/9780814739167 

Bury, R. (2017). Technology, fandom and community in the second media age. Convergence (London, England), 23(6), 627–642. https://doi.org/10.1177/1354856516648084 

Click, Melissa A and Scott, Suzanne. (2025) The Routledge Companion to Media Fandom: 2^nd Edition. Routledge. https://doi.org/10.4324/9781003373025  

Dobson, A. S., Robards, B., & Carah, N. (Eds.). (2018). Digital intimate publics and social media. Springer International Publishing AG. https://ebookcentral.proquest.com/lib/curtin/detail.action?docID=5602003&pq-origsite=primo# 

Fiesler, C., & Dym, B. (2020). Moving Across Lands: Online Platform Migration in Fandom Communities. Proceedings of the ACM on Human-Computer Interaction, 4(CSCW1), 1–25. https://doi.org/10.1145/3392847 

Guschwan, M. (2012). Fandom, brandom and the limits of participatory culture. Journal of Consumer Culture, 12(1), 19-40. https://doi.org/10.1177/1469540512438154 

HBO [@GameofThrones]. (2017). GoT FB Live: Fear The Winter. Facebook. Retrieved 13 April 2025, from https://www.facebook.com/GameOfThrones/videos/10154555882782734 

Hills, Matthew (2002).  Fan Cultures. Routledge. 

Hu, Y., Chen, M., & Hui, S. (2023). Sentiment deviations in responses to movie trailers across social media platforms. Marketing Letters, 34(3), 463–481. https://doi.org/10.1007/s11002-022-09656-1 

Massanari, A. (2015). #Gamergate and The Fappening: How Reddit’s algorithm, governance, and culture support toxic technocultures. New Media & Society, 19(3), 329-346. https://doi.org/10.1177/1461444815608807 

Poland, B. (2016). Haters : Harassment, abuse, and violence online. Potomac Books, Incorporated. https://ebookcentral.proquest.com/lib/curtin/detail.action?pq-origsite=primo&docID=4690661# 

Reysen, S., Packard, G. A., & Plante, C. N. (2024). Sexism and Racism Negatively Predict Preference for Diverse Characters in Star Wars Fans. Psychology of Popular Media, 13(2), 256–261. https://doi.org/10.1037/ppm0000462 

Szaban, Thomas. (2022). Warped Nostalgia in Online Fandoms. Proquest Science and Engineering Collection. 2022(1). https://www.proquest.com/dissertations-theses/warped-nostalgia-online-fandoms/docview/2652170070/se-2 

Vary, A (2024) Toxic Fandom: How Hollywood Is Battling Fans Who Are ‘Just Out for Blood’ — From Social Media Boot Camps to Superfan Focus Groups. Variety. https://variety.com/2024/tv/news/star-wars-lord-of-the-rings-bridgerton-toxic-fans-hollywood-response-1236166736/ 

Varsha V. (2024) An Empirical Study on Fandom Culture in Society, 7 (1) IJLMH Page 2332 – 2342. https://doij.org/10.10000/IJLMH.116947 

Wei, Y. (2024). A Study on User Comments on Douyin: Analysis of Film Promotion Strategies on Chinese Social Media. SHS Web of Conferences, 199, 2008 https://doi.org/10.1051/shsconf/202419902008