1. Introduction
[1.1] In 1996, the first issue of Beau Smith's Wynonna Earp comic book series was released. It spun the tale of Wynonna Earp, descendant of legendary gunslinger, Wyatt Earp. Like her famous ancestor, Wynonna carries on the family tradition of working in law enforcement, but her adversaries are not typical outlaws like those that Wyatt faced down at the O.K. Corral. Instead of simply trying to tamp down a law-breaking contingent of the population, Wynonna also has to grapple with demonic forces. Though the comic book series had a relatively short run in the 1990s, additional iterations were developed throughout the early 2000s, and the Syfy television network acquired the rights to Wynonna's story in 2015. In spring 2016, the Wynonna Earp television series (2016–) made its debut.
[1.2] Emily Andras, creator of Syfy's Lost Girl (2010–16), operates as creator and showrunner of the series, which ended its first season with an average audience of 556,000 viewers (Goldberg 2016). Though the belief that we're in an era of "Peak TV," in which the sheer number of television shows limits one's ability to watch everything, has significantly lowered most ratings expectations, the viewership of Wynonna Earp's first season was still such that the show was considered to be on the bubble. However, it garnered a fair amount of critical acclaim, so much so that ratings site Rotten Tomatoes identified Wynonna Earp as Syfy's highest-rated show in 2016 (2016). Developing almost immediately within that small cluster of viewers was a vocal community of fans known as Earpers.
[1.3] Though it's commonplace for fans to reach out to the creators of their favorite shows, such communication is notoriously fraught. It's easy enough to construe this communication of ideas and desires as mutually beneficial, but the extent to and methods via which industrial creators demonstrate interest in fan perspectives cannot be entirely extricated from economic and labor concerns. As Julie Levin Russo reminds us, "Bargains are being struck between established and emerging sites of cultural power…we need to bear in mind the stakes and conditions of framing visibility in the corporate media's terms" (2014, 458). That is to say, it's risky to choose, as a fan or a fandom, to become intertwined with corporate interests. And the fact that a particular fan desire, such as increased on-screen racial diversity, is ostensibly met by a given show does not necessarily eliminate the possibility of commodification and misrepresentation.
[1.4] This article will primarily analyze a set of choices made by those in charge of the Wynonna Earp television series and its online communications, which have led to the development of an industry–fan relationship that, at least at the time of writing, is generally regarded as positive and productive. On one hand, many of the steps that the Wynonna Earp cast and crew have taken during this process, such as live-tweeting episodes, have become old hat in today's networked media universe. However, what noticeably sets Wynonna Earp apart is the perceived level of transparency, thoughtfulness, and care associated with its interactions. Key components that bolster this perception include having a responsive cast and crew that readily engage fans and fan creations, an official social media account that takes the opportunity to connect with fans on a personal level, and having someone at the helm like Emily Andras, who both conveys a keen sense of awareness of fan investment and an appreciation of all that fans are capable of.
[1.5] Sarah Banet-Weiser argues that authenticity is intently sought in contemporary culture, saying we seek "anything that feels authentic, just as we lament more and more that it is a world of inauthenticity, that we are governed by superficiality" and we're pressed with "the looming sense that we are not real enough, that our world is becoming more and more inauthentic" (2012, 3). Applied to the relationship between Earpers, the cast, and the crew, one can begin to see how the projection of authenticity, especially contrasted against the distant sterile ways in which some other shows interact digitally, would stand out. Thus, rather than arguing whether Wynonna Earp's fan engagement choices are truly authentic, I argue that they are constructed in such a way—rooted in emotional connection—that they're perceived to be authentic. That perception is then reciprocated with significant fan labor (which is also then reciprocated with additional labor from the show side). To be clear, I am not arguing that these actions are inauthentic. Aside from being incredibly difficult to prove authenticity in any concrete fashion, I am a fan of the show myself, and I acknowledge that this likely colors my own perception to some degree. Furthermore, I believe that the veracity of this authenticity is ultimately beside the point. Instead, what matters most, and what might be instructive for other industry creators as they craft their own relationships with fans, is that these interactions are perceived to be authentic, genuine, and real.
2. Digital interactions
[2.1] Though it's more or less the norm in the contemporary moment, television shows and networks did not always want to have interactive digital relationships with fans. Nor were many of these industry representatives initially open to fan productions existing in the many corners of the World Wide Web. The fact that the official Wynonna Earp Twitter account often shares fan art as well as jewelry and clothing made by fans is one of many markers of how these relationships have developed over the years. In the past, such fan creations were often met with punitive responses, and it's not entirely unheard-of for similar responses to be disseminated today, which suggests that despite the apparent importance of fandom to the survival of television shows, there's still an industrial desire to maintain control and place limitations on the contributions of fandom. Nevertheless, as the internet and digital media have become more and more intertwined with daily life, many corporations, rather than trying to wrest control away from fans, have realized it could be more beneficial to bring fans into the fold and direct them toward relevant economic desires. In the world of television, such engagement has become a near-necessity. An entirely new set of occupations has cropped up in recent years to achieve this goal, and businesses like FanBridge now exist to "grow, engage, and monetize fan bases" via an assortment of tools and algorithms (FanBridge 2017). This engagement, of course, produces its own set of complications. Inasmuch as fans might feel a modicum of relief, Kristina Busse points out, "The danger to fan culture has become the co-optation and colonization of fan creations, interactions, and spaces rather than earlier fan generations' fears of litigation and cease-and-desist orders" (2015).
[2.2] Lack of understanding and/or desire to learn about standard fandom behaviors or desires can result in a range of disappointing ventures. Sometimes it's not a matter of simple disconnect between the industry and fans, but rather a disconnect between various facets of the industry. For example, in Wired TV, Denise Mann highlights the lackluster results of marketing executives attempting to entice fans with content without including writers in that process. According to Mann, this led to the development of "a jumble of uninspired brand integrations, behind-the-scenes interviews, and contests rather than compelling and immersive story expansions" (2014, 10–11). This isn't to say that fans would have no interest in those things, but rather that other, potentially more valued, approaches exist. Though it's taken for granted that the internet makes it easier for fans to convey their wishes, that does not guarantee that those wishes will be acted upon in the desired manner. Part of the disconnect here likely stems from both a misunderstanding of fans as well as a misalignment of goals. According to Digital Content Next, highlighting a 2017 PwC media report:
[2.3] Today's entertainment and media companies must be "fan-centric." And to remain competitive, they must use technology and data to attract, retain, and engage consumers. Content and distribution remain important factors in monetization and healthy survival rests on a positive user experience. Businesses built on occasional and noncommittal visitors are not likely to succeed. (Price 2017)
[2.4] Though this summary begins by directing attention to the importance of fans, it quickly collapses them in with consumers, users, and visitors, all of which can be interpreted quite differently. This collapse of terminology is not unique to this particular report, and it gestures toward the fact that though industry insiders may speak of wishing to appeal to fans, their sense of who fans are or what fans can contribute is not necessarily attuned to fan perspectives.
[2.5] Upon examining the types of contributions the Wynonna Earp team puts forth, the standard interviews can be found, but there's much more. For example, two different transmedia projects, The Road to Purgatory and Purgatory Case Files, have been developed over the course of the two seasons that have aired thus far. Both projects built on a foundation of investigation, which both was thematically relevant and actively invited fans into the narrative. Additionally, both projects encouraged fans to work cooperatively, something that Earpers, who have become known for camaraderie, were all too ready to do. If indeed a show and/or network's goal is to get fans to "circulate endorsements of television series and stars, entertainment content, and consumer products," particularly in a way that doesn't come across as a cheap ad, then thinking specifically about what might engage a particular group of fans is likely to be more effective than appealing to some broad conceptualization of what a fan is or wants (Gillan 2014, 4). Not only is such a choice likely to be more relevant to a given group of fans, but also a specialized approach conveys the desired attentiveness that helps to make fans feel more recognized and understood.
[2.6] However, as Suzanne Scott notes, "While these textual expansions and supplements are free, ancillary content develops alternate revenue streams for the industry via banner ads and embedded commercials, as well as being designed to reinforce the narrative value of the 'primary' television text" (2013, 321). With so many different outlets vying for attention in the contemporary media landscape, attaining active fan support has become a matter of survival for most shows, which Scott highlights elsewhere, arguing that the impulse is "more concerned with creating alternative revenue streams for the failing commercial model of television than it is with fostering a fan community or encouraging fan practices" (2009). Though some outlets and creators express less concern with ratings (at least publicly), having as many viewers as possible is still a fundamental part of the television industry. And it makes economic sense to utilize alternate means, such as transmedia projects and other industry-created content, even when seemingly contradictory to fan desires, to make up some of the financial difference stemming from lower viewership.
[2.7] Additionally, there's a clear logic to cultivating a relationship with fans who can then actively promote and create for the show, which could in turn bring in additional viewers who might find themselves enticed by the fan activities of someone on one of their many timelines. Earpers continually advocate for Wynonna Earp on social media and have successfully campaigned for both second and third seasons. In fact, the third season campaign began before the second season started airing, which underscores the depth of the connection that many Earpers have to this show and the goodwill that's been earned along the way.
[2.8] According to Jonathan Gray, "Much of the business of media…is conducted before watching, when hopes, expectations, worries, concerns, and desires coalesce to offer us images and scripts of what a text might be" (2010, 25). The fan endorsements that we do or do not see play a significant role in our selection processes. Despite prevalent negative stereotypes about certain types of fans, an overarching goal today is for viewers to extend their fandom into all facets of daily life rather than simply the timeslot in which a given show airs or the weekend in which a new season is dropped. In 2009, a tagline for the CW television network was "CW TV: see it, hear it, blog it, live it" (Gillan 2010, 26). The first half recalls behaviors that have obviously always been associated with television, whereas the latter gestures toward new possibilities supported by technological advances. Branding has also long been part of the television landscape, but what's being conveyed here extends beyond historical conceptions. As Matthew Guschwan explains, "Branding used to be understood as primarily a top-down process initiated by marketers who use mass-mediated advertising to persuade consumers to believe in a product's (superior) quality, value, desirability, etc. More recent brand campaigns extend branding into the realm of lifestyle or culture" (2012, 22).
[2.9] The Syfy network echoes this sentiment in a current advertising campaign. Debuting in 2017, the "It's a Fan Thing" campaign became a noticeable part of Syfy's social media presence, being used both in self-referential tweets as well as when the account was completing related tasks, such as live-tweeting conventions. This campaign took off simultaneous to Syfy entering its twenty-fifth year of existence and fashioning itself as a home for fans of all things science fiction and fantasy, even programming that doesn't air on Syfy.
[2.10] In the first tweet that references the new tagline, the channel's official Twitter account (@SYFY) says, "You are not alone in the universe. Welcome home. #ItsAFanThing" (2017). The accompanying video emphasizes the community inherent to being a fan, and highlights common fan behaviors, such as dissecting scenes and sharing theories on Reddit. Importantly, this behavior is not cast negatively, and the video, which is composed of people from seemingly varied backgrounds and identities, suggests that all are welcome and that it's perfectly reasonable for fandom to become an important, if not the most important, part of your life. Subsequent iterations continue in the same vein, suggesting that if you exhibit any of the described fan behaviors, you're "one of us," which is a fundamentally good thing.
[2.11] Though this campaign began well after Wynonna Earp began airing and after Earpers came together, it's easy enough to see how the promotion of such an ethos would help to further promote the positive affective connection that many Earpers were already feeling. And though Syfy has not acknowledged any explicit connection between the campaign and Wynonna Earp, the ethos of the Earper community seems central to the campaign, which began concurrent to the show's second season. Additionally, while The Road to Purgatory was hosted on Tumblr, Purgatory Case Files is on the Syfy website, possibly suggesting that these various strands of fandom focus have become intertwined. Nevertheless, Syfy has to be careful about how it chooses to proceed with the campaign, because it runs the risk of skewing too close to what Guschwan refers to as brandom—"the pseudo-fan culture engineered by brand managers eager to cultivate consumer labor and loyalty while preempting the possibility of resistance that participatory fan culture promises" (2012, 26). Perhaps significantly, this campaign debuted on the heels of Syfy becoming recognized as a space for progressive representations, as evidenced by its production of shows such as Wynonna Earp, Dark Matter (2015–17), and Killjoys (2015–) (Fowle 2016). As such, Syfy constructs itself, both in marketing and in production, as a place of possibility. This is paired with a focus on connection and conviviality, as well as being a home for those who might otherwise feel outcast. From this perspective, it's not strange or problematic for fans to devote a significant portion of their lives to Syfy's shows. And if others don't yet understand, no worries, because it's a fan thing, and Syfy is there for you.
3. Earpers
[3.1] Although similar to many contemporary fan bases, there are specific qualities attached to fans of Wynonna Earp that have helped establish the Earpers as a distinct community. A fan-created definition of Earper from Twitter user Brandi McCloud (@BrandiMcCloud) reads as follows:
[3.2] A member of the Wynonna Earp fandom. One who demonstrates no chill at all times concerning anything Wynonna Earp related. One who fangirls hard over cast crew and anyone associated with Wynonna Earp in any way. One who embraces and supports fellow Earpers. May be ridiculously talented, funny, and/or resemble a unicorn. (2016)
[3.3] As described here, many Earpers active on social media display a consistent interest in anything tangentially related to the show. Furthermore, the notion that the fandom is grounded in friendship is often echoed in posts. While it's clear that Earpers are fans of the show, the definition is also distinctly attuned to particular non-viewing-related behaviors and emotions. This definition is notably representative of an affective commitment, which Robert V. Kozinets describes as a "highly committed and evangelical element of fandom, of the fan experience, that has drawn marketers, business consultants, and business managers to embrace wholeheartedly the identity of consumer-as-fan" (2014, 164). Though the Earper definition was crafted by a fan, rather than the Syfy network and/or creators of the show, its existence suggests that the desired emotional connection is in effect.
[3.4] Given the dedication of Earpers, it may come as no surprise to find that several fan works have been, and continue to be, created. In particular, the romantic pairing of Wynonna's younger sister, Waverly, and Purgatory police officer, Nicole Haught, is central to many of these creations. The strong sisterly bond between Wynonna and Waverly is also a typical area of attention. Importantly, the Wynonna Earp cast, crew, and official Twitter account both acknowledge and encourage these works. And in some instances, fan suggestions, such as Nicole's cat being named Calamity Jane, have been adopted by the show. Though fairly minute, such incorporations aid in demonstrating to Earpers that they're actually being heard.
[3.5] Perhaps one of the most notable fan productions related to the television series is Tales of the Black Badge, a podcast hosted by two fans, Bonnie Ferrar and Kevin Bachelder. In addition to episode recaps, the podcast also includes interviews with cast and crew members, sharing of Wynonna Earp–related news, and discussions of Wynonna Earp's convention presence. Ferrar and Bachelder also host Whiskey and Doughnuts, a video hangout series that provides an opportunity for fans to come together to discuss the show and that also includes cast and crew members. That the cast and crew are willing to directly interact with fans in these ways on a semi-regular basis suggests an ongoing commitment, rather than an isolated metric-oriented one. Ferrar and Bachelder were invited to visit the Wynonna Earp set while the second season of the show was in production, further underscoring the show's investment in engaging Earpers.
4. Official interactions
[4.1] Though the methods via which television shows are able to interact with fans like Earpers have multiplied in recent years, there's no set rule book for how those interactions should occur. Given the prevalence of social media, it's obvious why television shows would attempt to reach viewers in such spaces. In the case of Wynonna Earp in particular, an organized effort, via multiple modes, has gone into nurturing the relationship with fans. To see how this has taken shape, one of the most obvious spaces to consider is the show's official Twitter account, @WynonnaEarp.
[4.2] Since its inception, the account has undertaken several measures to reach fans, including both encouraging and promoting fan works as well as developing the aforementioned transmedia projects. As Karen Frost explains, "@WynonnaEarp draws fans in with its light-hearted, inclusive 'personality' and interacts with them on multiple levels through its tweets and retweets, embracing with more than open arms its queer fans" (2016). In other words, the account serves to reinforce and expand upon the inclusive tenets that have become markers of both Earpers and the Wynonna Earp television series itself. Frost goes on to provide specific examples of how the account makes transparent its support of all things queer, such as shipping Game of Thrones' (2011–) Daenerys Targaryen and Yara Greyjoy, providing information about donating blood after the Pulse nightclub shooting, and soliciting responses to queer fan fiction prompts (2016). Each of these acts clearly marks @WynonnaEarp's awareness of and respect for what is likely a significant portion of the show's fandom. From my observations of and interactions with fellow Earpers, many of those who identify as part of the fandom also identify as female and/or as members of the queer community. That the show is aware of this component of its audience is not revolutionary. In fact, several television shows—including The CW's The 100 (2014–)—have been criticized for shrewd attempts to capitalize on the queer community's support without following through on providing thoughtful queer representation. Throughout the series' first two seasons, main characters like Waverly and Nicole, and supporting characters like Kevin, are more than plot points or tragedies. They have their own identities, moral compasses, and curious backgrounds, and each character also has an impact on the development of the series' overarching narrative. The ongoing choices that Wynonna Earp makes both in terms of characterization and in its social media representation indicate a sustained interest in representing the queer community.
[4.3] In addition to Frost's article, these actions have often been recognized by Earpers. As Twitter user Nic (@clonenic) says, "Dear Shows, Please look at how @WynonnaEarp treats its fans and learn something from it. Sincerely, The #Earpers" (2016). User zedface (@AliciaABL) echoes the sentiment with "Like… If there's a way to engage audience at every turn, @WynonnaEarp does it right" (2016). These tweets serve as useful indicators of how Earpers perceive the show's investment in the fandom. The tweets draw a clear line between a positive approach taken by @WynonnaEarp and lacking approaches taken by other shows. They also posit that other shows could and should learn from Wynonna Earp. As Twitter users, these fans effusively share their love with all of their followers, who may, in turn, choose to watch the show. Thus, Kozinets's assertion that "The consumer, intrinsically motivated and loyal to the brand for life, entrenched in networks bound to the brand, becomes even more committed to the brand than any merely career-driven marketer or executive ever could" comes to fruition (2014, 169).
5. An interview with a social media manager
[5.1] In the course of working on this project, I conducted an interview with Natalie Zina Walschots, who serves as the social media manager for the Wynonna Earp television series, and agreed to provide some insight into behind-the-scenes operations of the account.
[5.2] Though it's the case that most television shows today have social media accounts, the detailed business of running such accounts is not necessarily common knowledge. Indeed, we often don't know who is running a given account, how they were hired, or how much oversight is involved. In Walschots's case, she has served as the social media manager/community manager for Wynonna Earp since 2016. With a prior background as a writer and community manager, Walschots was brought in as a subcontractor via Digital Howard. According to Walschots, her job, broadly speaking, is to "manage the social media accounts and speak directly to fans."
[5.3] Walschots achieves this goal in a variety of ways, such as posting live updates as new episodes air and helping to plan the show's social media strategy. However, Walschots does not simply relay her observations about Earpers to her employers. Instead, utilizing her prior writing experience, Walschots "proposed, created and was the primary writer for The Road to Purgatory." Given that the crafting of such a project is an extra undertaking to simply making and distributing a television show, one might surmise that a key component to developing a dynamic relationship with fans in the present-day is the willingness to engage in additional labor beyond previous norms. Indeed, in thinking about the cast and crew's interactions with fans and the high level of responsiveness to a collective that massively outnumbers those that work on the show, it's clear that having a less extensive social media presence would, to some extent, both be easier and less risky. At the same time, it's quite likely that the recognition of the additional labor is one of the factors that contributes to the positive sentiment that Earpers maintain. Seeing that those working on behalf of Wynonna Earp are willing to go the extra mile increases feelings of being valued.
[5.4] For Walschots and her employers, the sentiment conveyed is that the possibility of goodwill is worth the risks. When I asked her about The Road to Purgatory's creation, she described it as "a gift to the fans," and she later added, "We were so supported by the fan community, and wanted to give something back." Walschots clearly recognizes contributions from Earpers here, and her explanation also gestures toward fandom's gift economy in which, as Karen Hellekson explains, there are "three elements related to the gift: to give, to receive, and to reciprocate" (2009). There's a slipperiness to conflating industry creations with fan behaviors, especially given economic impulses and the misguided ways in which industry often approaches interactions with fans as noted earlier, and yet the fact that The Road to Purgatory was created at a time in which the cast and crew didn't know whether the show would be renewed supports the genuineness of this reciprocation.
[5.5] According to Walschots, this sentiment extends from the top down. She explained to me that "showrunner Emily Andras made it clear from the beginning that she adored her fans and we tried to embody and express that care and affection." In the numerous interviews that Andras has given since the series began, she often speaks of the fans in highly positive terms, such as those quoted in the title of this essay. When I asked Walschots herself to describe Earpers, she characterized them as "incredibly passionate, engaged fans who created a community that they wanted to see in the world," indicating an awareness both of a perceived gap to be filled as well as the fact that though they may not technically be "in charge," fans put in significant work to construct this community.
6. An ongoing negotiation
[6.1] It is important to place Andras's engagement with her fans in the context of other showrunners—active or inactive—on social media. That television creators might want to maintain some distance from fans is not a difficult concept to grasp, if only to maintain a measure of creative control and to avoid sometimes complicated interactions with fans. Within the context of television, having relatively direct access to stars and creators assists in cultivating emotional attachments. To quote Gillan, "Twitter…allows viewers to feel as if they are part of the everyday lives of the actors playing their favorite characters" (2014, 259). This close connection fosters real sentiment. Thus, when it seems as if fan interests are being ignored or maliciously attacked, the resulting hurt feelings are effectively real.
[6.2] We can look to The 100 as one example of how such tensions can play out. Like Wynonna Earp, The 100 is a fantasy show with a devoted fandom, including several self-identified queer viewers. However, in 2016, those in charge of the The 100 found themselves at odds with many of those very same fans. In brief, immediately following the consummation of the relationship between two female characters, Lexa and Clark, Lexa was murdered. While the character's exit was precipitated by the fact that her portrayer, Alycia Debnam-Carey, was leaving the series, the manner in which the exit occurred, as well as the subsequent response (or lack thereof) to fan grievances by showrunner Jason Rothenberg, became a significant flashpoint in the conversation about the nature of the relationship between the television industry and fans, and to the "Bury Your Gays" trope identifiable across television.
[6.3] While some cast and crew members were responsive in the aftermath of Lexa's death, Rothenberg primarily remained silent, initially choosing only to engage with tweets that supported the narrative choice (Roth 2016a). This is one of many ways in which the approaches of Rothenberg and Andras differ. From following Andras on Twitter, one can see that she often errs on the sides of responsiveness and foresight, such as when she warns fans that something they might not like will be occurring in an upcoming episode. This transparency is part of what allows Earpers to feel taken care of. Though Andras likely would not want to give away too many details ahead of time, the fact that she is thoughtful enough about the fan experience to offer preparation promotes a sense of care for the fandom. When Rothenberg chose to selectively remain silent, some fans of The 100 responded in kind by unfollowing him on Twitter, an act that may not necessarily seem significant, but that serves as one way in which fans can clearly convey their disapproval (Roth 2016a).
[6.4] After some time, Rothenberg did make an official statement, which came in the form of a Medium post titled "The Life and Death of Lexa." In the post, Rothenberg explains his decision-making process while also acknowledging that he failed to understand the gravity of the situation. Importantly, he states, "Knowing everything I know now, Lexa's death would have played out differently" (Rothenberg 2016). This line could have potentially operated as a salve, an acknowledgment of the hurt feelings, and a sign that more thoughtfulness would be employed in the future. But when The 100's panel at WonderCon predictably became focused on Lexa's death during the Q&A, Rothenberg remained fairly committed to the belief that Lexa had to die (Lincoln 2016). During that Q&A, Rothenberg stated that the way he'd interacted with fans had "some way set up around this relationship an unrealistic expectation that Lexa would be OK, that she'd walk off into the sunset" (Lincoln 2016). The "some way" is a key issue here. Rothenberg expresses a lack of awareness and understanding with respect to the fans' perceptions and expectations, especially given how the crew of The 100 had actively courted and reassured a queer viewership across various digital mediums.
[6.5] Given the lengthy amount of time over which these choices were made, it's not too difficult to see how when Rothenberg claims ignorance with respect to fan expectations, it can be perceived as deceptive and disingenuous. Dany Roth refers to this particular set of actions as "the ugliest of all possibilities" (2016b). It's not as though fans are unaware of the underlying marketing impulses inherent to these interactions. In fact, the We Deserved Better website home page—which galvanized criticism of the show's treatment of its queer fans—states "No one is criticizing the writers/producers/creators of this content for using social media and interacting with fans, or promoting the popular aspects of the show, in order to pull in more viewers…But there should always be lines that shouldn't be crossed" (http://wedeservedbetter.com/). To these fans, a serious transgression was committed for the sake of viewership and without any consideration of the emotional investment they'd been making, pointing to the need for emotionally attentive engagement by showrunners like Rothenberg, which failed to be executed in this case.
7. The self-aware showrunner
[7.1] In the midst of the furor over The 100, Wynonna Earp began airing. It's unclear how much attention Emily Andras paid to that specific situation, which was only one of many television–fandom missteps. However, given the significant amount of mainstream press the situation garnered, such as in Caroline Framke's "Queer Women Have Been Killed on Television for Decades. Now The 100's Fans are Fighting Back" (https://www.vox.com/2016/3/25/11302564/lesbian-deaths-television-trope), it's reasonably likely that Andras had some familiarity. Regardless, Andras has been explicit in terms of her awareness of the weight of her responsibility to Earpers. In an interview with Kyle Fowle, she notes that the sheer dearth of LGBT characters and complex female characters on screen is most likely the reason why fans latch on to these characters and shows with such intensity (2016). And bearing that in mind, Andras is aware of the need to respect that investment and not whimsically jerk fans around. In another interview, she adds, "Nobody wants to feel tricked, in real life or when sitting down at the end of a hard day to watch something that is supposed to bring them pleasure" (Snarker 2016). This quote in particular hearkens to the crux of the matter raised by fans of The 100 who spoke back to the show through social media.
[7.2] Andras's explicit awareness has not gone unnoticed. In an article titled, "Wynonna Earp and Why TV Is Important to Me," Alyssa Berkowitz draws attention to a moment in the show's first season when it seems as if the character Nicole Haught might (but doesn't) die (2016). Given that Wynonna Earp began airing during a resurgence of the "Bury Your Gays" trope on television, this particular survival carried additional significance. In fact, in what was then a fairly unprecedented move, Andras went so far as to publicly announce to fans that both of the show's queer characters would survive the duration of the season, demonstrating an attentiveness to an audience in desperate need of some reassurance and also foreshadowing Andras's future methods of precaution. Berkowitz distills the significance of Haught's survival, saying, "The show was telling me that they have my back. With that scene they looked their queer female viewers straight in our eyes and said 'We see you. We understand your pain. You matter to us. We care'" (2016). What Berkowitz highlights here is a clear emotional connection between her, as a fan, and the show. Social media's existence theoretically provides the opportunity for more voices to be heard, but Berkowitz expresses the importance of action, which goes beyond just hearing. Given that the episodes had been filmed before the The 100/Bury Your Gays upheavals occurred, it's notable that the narrative choice to have these characters survive wasn't made as a reaction or as an appeasement, but as an indicator of thoughtfulness embedded from the beginning (Logan 2016).
[7.3] Though she is firmly in the camp of communicating with fans, as evidenced by her social media presence, interviews, and my interview with Walschots, Andras knows that tension can still arise as she continues to interact with fans. She specifically notes, for example, the difficulty in managing fan interests while also avoiding stagnation, saying, "As a writer, it's very difficult. Because my job is to bring the drama. Again, I can't necessarily have a couple sitting happily on a couch for four seasons. Like I think you will get bored of that" (Snarker 2016). Indeed, the dramatic ups and downs are perhaps amongst the primary reasons why many of us love our favorite shows, even though they can also be stressful and disappointing.
[7.4] Yet Andras finds communication with fans to have particular value because of its capacity to make space for marginalized communities. Such space making is what Andras describes as being responsible for the current surplus of good television shows (Fowle 2016). Furthermore, in a Reddit AMA that took place on the day of Wynonna Earp's first season finale, Andras articulated a personal benefit to her ongoing social media engagement with fans. She explained, "I love twitter. It has allowed me to connect with the fans of my work in a way that makes writing feel a little less isolating as a profession" (2016). She also effusively declared, "This is the best fandom ever" (Andras 2016). For Andras, though there are potential downsides to the openness of her engagement with the fans, the good far outweighs the bad.
8. Conclusion
[8.1] When the The 100 controversy was occurring, CW president Mark Pedowitz affirmed his support of Jason Rothenberg's decision-making and storytelling. But he also notably said, "What Jason has done, Jason has done to himself" (Reiher 2016). Indeed, reaching out to fans in hopes of promotion is not industry malpractice, but ignoring the emotional stakes involved just might be. Kristina Busse notes that "fans tend to regard fan labor as a labor of love and as a shared passion" and it's that very same emotional investment that puts fan labor at risk of being co-opted (2015). Though The CW renewed The 100 for additional seasons following Lexa's death, ratings have declined. And at the time of writing this essay, more than a year after the controversy, Rothenberg has only tweeted once since sharing his Medium post responding to the controversy, suggesting that he did take away some lessons from what occurred, but perhaps not the ones that best serve the future of fan engagement.
[8.2] According to Sarah Banet-Weiser, "We want to believe—indeed, I argue that we need to believe—that there are spaces in our lives driven by genuine affect and emotions, something outside of mere consumer culture, something above the reductiveness of profit margins, the crassness of capital exchange" (2012, 5). I've contended, throughout this essay, that the powers that be involved with Wynonna Earp understand and respond to this desire fundamentally. It's apparent in every act and choice made with respect to interacting with fans. And particularly in a contemporary cultural context in which every single day's news seems to bring about some new horror, it would make sense for fans to gravitate to a space that conveys care, understanding, and a general sense of peace. While it is not possible to make sweeping proclamations about whether the Wynonna Earp model will be replicated across the industry, and this analysis has in no way been meant to imply perfection, it's likely that other shows within the Syfy network may be influenced by Wynonna Earp as they craft their own relationships to their fans and as they operate in conjunction with Syfy's new fan-centered campaign. Whether Wynonna Earp will be able to sustain the current emotional connection remains to be seen. But for now, much like a weather app that tells us—regardless of actual temperature—what we can expect to feel when we step outside, what matters most is what Earpers feel. And as of right now? It feels real.