Audio coming soon!
1) Fan podcast – Our Opinions Are Correct: What’s So Bad About Cultural Appropriation?
2) Fan podcast – Imaginary Worlds: Fantastical Feasts
3) Fan podcast – Our Opinions Are Correct: Imaginary Immigrants And Time-traveling Refugees
4) Fan podcast – Alohomora: Muggles & Squibs – Not On The List
5) Fan podcast – Woke Doctor Who: Imperialism and the Doctor
6) YouTube Video – Empire and Imperialism In Children’s Cartoons—A Super Light Topic
This transcript has been lightly edited for clarity. If you would prefer the original, unedited version, please let me know!
Welcome to Marginally Fannish, a show where we aim an intersectional lens at some of our favourite media and their fandoms.
My name is Parinita Shetty and you’re listening to the twentieth episode of Marginally Fannish. In this episode, I talk to Rita Faire about cultural imperialism in Western media and its online fan communities. As fans from the Philippines and India who have grown up in these fandom spaces, we also talk about how our participation has helped us decolonise our imaginations.
Media fans usually don’t start off by interrogating ideas they’ve internalised about different cultures – including their own. The normative structures within both media and fandom contexts dictate which kind of fannish identities and cultures are considered superior. In many Western media fandom spaces, the cultural references and assumptions about people’s origins tend to privilege the US and the UK. For fans from certain backgrounds, online fandoms can erase parts of their identities. These spaces can offer limited narratives of both dominant and marginalised cultures.
However, critical discussions in fandom can help people thing about issues in new ways. Encountering fans and perspectives that reflect identities which are otherwise marginalised in these spaces can disrupt taken-for-granted narratives. Talking about differently marginalised and privileged representations can help fans reflect on their assumptions and critically analyse their experiences, resulting in a collective process of decolonisation. It can also help people develop the confidence to challenge cultural inaccuracies and assumptions. Identifying colonised minds can offer the first step in moving beyond them and diversify imaginations.
Find our conversation about all this and more in today’s episode.
Parinita: Today I’m so happy to welcome Rita Faire to the podcast. Rita is a Filipino doctoral researcher and associate lecturer in Edinburgh Napier University’s Scottish Centre of the Book. Her current research is on picturebook co-edition practices in Europe’s periphery publishing environments. Rita is a board member of Researchers Exploring Inclusive Youth Literature (REIYL) and developed ‘Coming into View’, a literacy programme that’s aimed at understanding children of colour’s sense of belonging in children’s literature. She is currently co-developing a critical reading programme exploring the intersections of oppression in the creative industries. A lot of Rita’s work is after my own heart as is her participation in online fandom. And since we’ve both grown up in Asia in different countries, in this episode, we’re going to explore the different national cultures in global online fandom and we’re also going to chat about the different kinds of labour undertaken by fans from marginalised groups, especially when the creator of their favourite fictional worlds shares bigoted views. Before we get into that, though, Rita could you share your own experiences within online fandom?
Rita: Hi! So my experiences in online fandom, I think is very similar to a lot of people in their early 30s.
Rita: [laughs] I got into it because of Harry Potter.
Parinita: Yes! Me too!
Rita: Actually, that’s not accurate.
Rita: Sorry, as soon as I said it, I realised like I don’t think it was Harry Potter that brought me in.
Rita: I think it was anime. Because my first foray into fan communities was actually fanfiction.net and I was writing anime fanfiction. And then for some reason stumbled into Harry Potter fanfiction and that just owned my soul after that.
Rita: So from there, I went into fan art communities that made banners for stories on fan fiction collectives or archives. I did online roleplaying as well in various sites; created online role playing sites as well.
Parinita: Oh my god that’s amazing.
Rita: Oh yeah I was definitely one of those people who lived on the internet and just got a lot of my social interaction from there because it was so different from the daily interactions that I had. I discussed things there that I didn’t discuss in real life.
Parinita: Yeah absolutely. It’s similar for me as well. I’m an extremely online person and I’ve been since I first got a computer. And even before that, when we used to visit cyber cafes in the neighbourhood, me and my friend.
Rita: [laughs] Oh my god.
Parinita: [laughs] Yeah that was a thing when I was a teenager. And we used to go and do that. But also what you’re saying about the quality of interactions being so different. I find that even now. I connect most with people who are fannish as in they have that enthusiasm about a text or media or something. Even if I’m unfamiliar with that particular fandom, I’m still connecting to them in a way that I wouldn’t possibly with another person who wouldn’t identify as a fan. Even though now I think because mainstream media is so prevalent in everybody’s lives, everyone is a fan of something. But I think that there’s a difference as well between how you’re a fan online and if you’re a part of a fan community in whatever way, even if you’re a lurker. It’s very different from just, “Oh I like that thing.”
Rita: Yeah. I think at least in the Filipino context, a lot of it has to do with how we view enthusiasm. Or open enthusiasm. ’Cause fan cultures online is a space that really celebrates enthusiasm. You can never be too keen about something. So there’s this concept in the Philippines, it’s called [says Filipino word]. I guess it translates to keenness. And it’s like when you’re too keen about something or you feel something too much, then that gets kind of looked down upon. And you couldn’t be that massive of a fan in real life ’cause then you … I don’t know, it would be too vulnerable. It would be too revealing. Something like that. But you’d definitely be judged for it. Whereas online, you get to shed that artifice. And just be your authentic nerdish self.
Parinita: Yeah. [laughs]
Parinita: In the Philippines, is that just in terms of books and things?
Parinita: Or is that just fandom in general?
Rita: That’s not even just fandom in general, it’s even in the arts. If you’re a singer and you just feel like you’re such a good singer, oh you’re feeling it too much. And I don’t know where that comes from. ’Cause I’m really hesitant to say that it’s a sense of Asian reservedness because Filipinos are also really well known to be big personalities. We are the karaoke people of the world.
Rita: [laughs] I think that’s something that Filipinos are really well known for. We karaoke without shame. And regardless of talent.
Rita: So why we would have that kind of reservation when it comes to fandom or when it comes to talent is beyond me. [laughs]
Parinita: Yeah that’s really interesting because in India, even though something like Harry Potter is more mainstream, most people would still read the books and even if they love it, they might not necessarily want more out of it like going online and engaging with fan productions or fan texts or fanfiction or whatever. But we have different regional cinema. So we have a Bollywood which is Hindi language and then we have many -ollywoods depending on which state you’re from. And those have massive fan followings. As in actors and musicians and singers. There were fans of this South Indian movie star called Rajnikanth.
Rita: Um hmm.
Parinita: And there’s this group of fans that went to the US because that’s where he premiered the movie first. So they flew to the US, even though I think the Indian premiere was two days later or something. And they create these altars like not temples in the religious sense, but they might as well be. Because they have the photographs and they put flowers on them and things you would do in a Hindu temple. So there is a huge craze which is quite mainstream in India. But that would be more for movies and singers and things who are more accessible to a larger mass of people than say something like Harry Potter or Doctor Who or these Western media fandoms that we’re talking about. So when I was growing up, I did feel like it was just me because when I was online. Nobody really seemed to say what country they’re from. Or if they did, they largely seemed to be American. Not broader Western but specifically American. So all these references and all the slang and everything that I picked up on was not just through fandom, it was through media as well. And it was largely American. I remember the first and maybe only fanfic that I wrote – it was a Harry Potter thing. And I had made a reference to a Star Trek fan. Do you remember they used to be called Trekkies?
Rita: Yeah but now they’re called Trekkers.
Parinita: Yeah. I referenced it in a way that was sort of derogatory. And I had no familiarity with Star Trek. [laughs] I did not know anybody who watched Star Trek. But because if you’re on the internet, you pick up on these references. And the corner of the internet that I inhabited, Star Trek fans seemed to be a very specific kind of fan. And in my fanfiction I’d written a random reference to that without really understanding what that meant. And now my boyfriend, he’s a huge Star Trek fan so I can’t show my fanfiction to him [laughs] because it obviously marginalises him. But yeah just thinking about how you internalise these ideas without really interrogating them.
Rita: Yeah. Well ’cause listening to you talk about fandom with the different -ollywoods of India, I started thinking … actually there were instances like that in the Philippines. There definitely were. But they just never were around the things that I liked. [laughs]
Parinita: Yeah. [laughs]
Rita: Or maybe I took pride in not liking those things. I don’t know why. And I think that judgement of how much you’re a fan of is very reserved for a specific identity or like a specific class. I think some of it is definitely attached to class.
Rita: But then another part of it I’m now thinking is that that’s slowly being eroded by the fact that the Philippines is crazy over anything Korean. I don’t know if this happened in India. But around the early 2000s, that was when the Philippines stopped being obsessed with Spanish language telenovelas and that’s when we started being obsessed with Asian telenovelas. At first it was Taiwanese with Meteor Garden and F5 And then it became Coffee Prince (?) and stuff like that. And I think at that point I was too into my online fandoms to engage with those fandoms. Because you can only have so much space in your life to obsess.
Parinita: Yeah. [laughs]
Rita: And while you were talking about that internalisation of certain values, I realised that I grew up around fans. ’Cause my two uncles were huge Trekkies/Trekkers. They made models of gundams.
Rita: And they had little figurines of Dragon Ball Z stuff. So I grew up around people who really were demonstratively and monetarily engaged in their fandoms. But I find that since I was young when this happened, when I engaged in fandoms, online communities were a free way for me to do that. Because you don’t have to buy the merchandise. I can create art. I don’t have to build models because I can write fanfiction. And those kind of internalised things that you said, I’m thinking now that I think you’re right, we never really discussed our nationalities. Although I can remember in this very distinct instance when I was in the fan art community, I met one Asian person who was very demonstratively Asian. And it’s because their handle or I think it might have been their real name was very distinctly Asian. You could not mistake that for any other kind of nationality or ethnicity. And that was the first time I realised, “Oh there are Asian people like me online.” Because we’re not all just erased of our identities.
Rita: And I guess it’s easier for some than others. But then that person was the only person I remember really putting their identity forward. They were Chinese-American and they were writing fanfiction with Chinese-Americans in them. They were making art with Asian faces on them. And at first I thought, it’s not the most popular thing to do. And I never really critically engaged that until now. Now that I think about it, now I’m wondering, whatever happened to this person – are they still a writer?
Parinita: Yeah! And they were way ahead of their times as well.
Rita: Yeah. ’Cause it was the kind of open reclaiming that you didn’t see as much until now over the last few years.
Parinita: Yeah. I mean now it is more of a thing where people are identifying themselves belonging to not just nationalities but also you know other groups. But especially ten or fifteen years ago, that was not a thing at all. So there were these ICQ chatrooms. Again this is like [laughs] way back when I was a teenager when I first started engaging with fandom. And I think there was this room for fans of books or something – I don’t know. And we were just talking. I think I was like 13 or 14 or something. And that was when someone had recommended Harry Potter to me – not Harry Potter, sorry. Lord of the Rings. And I’d never heard of Lord of the Rings before just because the people that I knew in my offline life, nobody was a big reader and nobody would have known to recommend fantasy texts to me. But this person recommended Lord of the Rings to me because I loved Harry Potter so much and they were like, “Oh you like fantasy so you read this.” And then I think they said they were from somewhere in the US and then I said, “Oh I’m from India. Have you ever heard of India?” [laughs] It was such a colonised mindset. Of course now I would be like, “How could you not have heard of India?” And I would judge someone for not having heard of India if they’re online and they’re an online person and read things and engage with the world. But at that time, I had this mindset because of all the media that I was consuming, not just movies and books and things but also fandom. Because all the fanfiction and everything was set in the West. So it was in the UK or in the US – very Western contexts. So obviously I thought that everybody, even the fans, would only be in that context. And then who cares about India? Why would anybody know about India? Which now thinking back about that, oh my god what a naïve little child I was. [laughs]
Rita: Well to be fair, I still get people who don’t know where the Philippines is. I kid you not. And I have to tell them yeah, it’s in Asia, it’s in Southeast Asia. And people will still confuse Southeast Asia with East Asia and South Asia. I’m glad that now we’re having these discussions. And that we can openly say, “Oh actually, that’s wrong.” And you don’t feel embarrassed for correcting someone. Because that’s usually what happened before. If people mistook you for something else or had misinformation about your identity or anything within your context, you were really embarrassed to correct them. I remember saying that I was Filipino in an online space before and then realising that actually the other person I was talking to was also Filipino.
Rita: And we never realised. And now the thing I’m thinking about is whether or not we were both Filipino in the Philippines. ’Cause she made a comment on the university I went to. That’s how we realised we were Filipino. I mentioned what university I was going to that I’d just … I can’t remember if I’d just gotten into that university at the time. It was brought up, I mentioned it. And she said, “Oh! Certain comment.” Might have been derogatory.
Rita: … Oh actually! Sorry I’m just replaying this entire conversation in my head right now as we talk on a podcast. Which really shouldn’t be the time when you do this. But no, she mentioned which university she was from. And I said, “Ooh!” Possibly derogatory as well. [laughs]
Rita: So yeah, she was from the Philippines as well! I didn’t even realise it. Oh see now that I’m thinking about it, who else did I talk to who was possibly a secret Filipino?
Parinita: I don’t know if you’re familiar with Rukmini Pande’s work at all? She’s an Indian fan studies researcher who has written this book called Squee From The Margins. And I know you’re not really into fandom studies as much but a lot of her conversation is looking at postcolonialism and race and racism but in fandom, rather than in children’s literature.
Rita: I love it!
Parinita: And she draws on her own experiences as well growing up as a fan in India. And when reading that book, I felt so seen! Because she spoke about the same things that she thought she was the only Indian because like her and unlike you, I’d never met anybody at least in Mugglenet or any of these other spaces, ICQ whatever – who loved the same things but who were also from the same country. I don’t know if you ever had Orkut. Is that a thing that ever made its way to the Philippines?
Rita: I’m not sure now. I don’t know. I don’t think so.
Parinita: It was huge in India and Brazil of all places. [laughs]
Rita: Oh the intersections of India and Brazil.
Parinita: Yeah. I mean currently it’s fascism so earlier at least it was better. But it was this social networking website. It was strange and really popular for a while. And now that I’m thinking about it, that was very much drawn on national lines. Most of the people that I knew there or had on my friends list or whatever they called on Orkut were Indian. They had things that resembled forum posts and we spoke about Harry Potter in that. So now just thinking about it, that’s the only Indian interaction I had. But I think in my head, because of the colonised mindset – and I obviously wasn’t able to articulate this at the time – but it wasn’t as much transformative fandom as it was just, “Oh we love this thing.” So there would be games and stuff on the forum but not really fanfiction or fan art. Maybe some roleplaying but not really creative things in the way that something like Mugglenet for example would have. So in my head I think I drew a distinction between the two that, “Oh Orkut full of Indian people and obviously not as good as this American website that is full of Americans and I don’t know secret Filipinos [laughs] who are talking about this thing.” So then as a teenager, just because of the social conditioning that you’re prey to, I decided that this was better than the other. And just now talking about it, I’m thinking that, oh wait I did have interactions with Indian fans but just obviously not in a way that I respected. [laughs] Which is hmm!
Rita: Well that’s the thing about it, isn’t it? We remember being outsiders that we associated so much with our experience online that it kind of drowns out the experiences where we weren’t outsiders, where we weren’t the only people of colour in the room.
Rita: Or in the online chat as it were. I don’t know if you had the same experience and I would love to hear if you did. When your online and your real-life life crashed together. Your online and your real-life fandom.
Parinita: Hmm. In what way?
Rita: So when I went to university, the continuing saga. This is very chronological now. [laughs] When I went to university, in my final year of university I think, there was and I kid you not, a Harry Potter class.
Parinita: [gasps] What?!
Rita: There was a Harry Potter class. Shoutout to Anne Sangil – Anne Frances Sangil who created this module because it was [chef’s kiss] the most engaged literary criticism I ever experienced in university.
Parinita: [gasps again] I am so jealous!
Rita: It was so good. We discussed things like activism, through the lens of Dobby and freeing the house-elves and that sort of thing. Sorry, through S.P.E.W. I’m trying to think if we discussed race. I’m not sure that we did. But I’m sure current iterations of the module are still doing that. But yeah, it was a really in-depth discussion of Harry Potter. And so everyone in that class was either a huge Harry Potter fan online or they were newbies who thought this was a really easy class. They were very wrong.
Rita: But then it brought the stuff that I experienced online into its physical form. Which was we created art, we translated Harry Potter and did a play of Deathly Hallows. That was a thing that I’m still weirdly proud of to this day. [laughs] And then that class introduced me to because that class engaged with Pinoit (?) Potter. Which is the Filipino chapter of the Harry Potter fandom. And so I got to go to events.
Parinita: Oh my god.
Rita: I got to go to a live reading of my professor’s critical analysis of Voldemort’s anti-hero’s journey. Fantastic. We speculated about the last book because it hadn’t come out yet at that point. But instead of doing it in a chat, we were doing it in a real space. Even though we all existed in those spaces.
Rita: And that was such a surreal experience for me.
Parinita: Oh that sounds amazing. The closest I’ve come to that in my university – so for my undergrad, I did mass media and focused on journalism. But in my second year, we had a module called Culture Studies and it was a very introductory thing because it was just for a semester. But one of the final assignments was to either describe or to write an essay about a specific subculture of anything in the world. [laughs]
Parinita: I don’t remember the guidelines. But because I was deep into my Harry Potter online fandom then, I thought that Harry Potter fandom would be an interesting subculture to write about. And I ran it by my lecturer and she was like yeah, yeah that sounds great. So I spent so much time putting this together. And I wanted to also not make it a boring essay which I would for any other class because it was something that I loved so much. It was such a labour of love, much like this podcast really, that I wanted to present it in a different format. I made it this whole art thing where I cut out Platform 9 and 3/4 tickets. And I made all these wands and things and just made this huge thing. So she was familiar with the text, with Harry Potter itself. But she wasn’t familiar with the fandom or with me as I found out. I was a maximalist. [laughs] Minimalism has never been part of my aesthetic. So there was just this one small corner that was looking very empty to me so I found the smallest bit of text that I could fit into it which was Accio brain? Accio brain? [tries different pronunciations] I don’t know how you
Rita: I never know how to pronounce it.
Parinita: Yeah, me neither. So whatever Accio – Accio [tries different pronunciations] brain. And I only found that because I literally looked up quotes of Harry Potter, you know how they have these compilations of quotes online. And that was the smallest that would fit. It’s from the fifth book when they’re in the Ministry and they’re running from the Death Eaters and they’re in the brain room.
Rita: Oh yeah.
Parinita: [laughs] So I put that in. But obviously she knew the text enough to take great offense at that phrase because she thought I was implying that she was brainless.
Parinita: And she failed me on that! And I was the most Hermione of Hermione students. And I was just so heartbroken that my labour of love was rejected so I never brought fandom into any of my other university projects.
Rita: You never brought it into real life.
Parinita: Never again. Well, until my master’s. [laughs] And now. So what about when you moved to the UK? Have you been engaging with fandom now?
Rita: I think it was just being so busy with studies that actually took me out of online fandom.
Rita: Because up until the first two terms of my master’s, I was fine with engaging in online fandom. I was still on RP [roleplay] sites and stuff. And I still joined in the discourse, I still created art. But because I got so busy with my dissertation, I kind of disengaged. And I don’t know if you felt that way with online fandom as well but there is that sense of like if you don’t engage enough, you lose relevance.
Rita: You do. You quickly disappear from the zeitgeist. Not just in your understanding of the fandom but also in the way that people interact with you. Because you’re no longer a daily part of their life. And there were times when I tried to regain that. To regain that space. But it didn’t really feel like it was my space anymore.
Rita: So I kind of gently bowed away. Oh no actually I switched platforms for a while. I went to Tumblr. And I think Tumblr – R.I.P. – was a beautiful, beautiful space for me. Because it allowed me to engage in multiple fandoms at the same time. It wasn’t just a dedicated site anymore. I could do whatever the hell I wanted. So I had a lot of Sherlock engagement, I engaged in a lot of Pacific Rim, there was a lot of Deathless. So I was all over that. And I don’t know how I petered out. It might just be my exhaustion with social media now [laughs]
Rita: It’s just I don’t engage with fandoms anymore. But then I realised my engagement with fandom is now just a two-way channel where me and my sister just text random things to each other. In the same way that we used to message people on chat boxes when something happened. So that’s been the extent of my fan engagement now. Which is kind of sad. I don’t want to say, oh you grow up and then you’re no longer a fan. That’s false. That’s completely false. It just kind of lose its place.
Parinita: Yeah. It’s just different ways of engaging with fandom, I think. Because I know there are a lot of older people – older as in like 50s, 60s – who are still active members of online fandom.
Rita: So true.
Parinita: But for me I was the same as you. I have a really obsessive personality. So I was online and in fandom for many years. But then once I got busy with other things, with work and stuff, I just didn’t have enough time and brainspace to dedicate to that. And I was largely a lurker, apart from that one time I wrote fanfiction. And now with this fan podcast. Otherwise, I’ve largely just been listening and reading and looking at art and things.
Parinita: And even that requires so much more time and brainspace than I had to give at that time. I was a part of Tumblr as well, briefly, but that is a not a good space for an obsessive person.
Rita: Oh it’s really not. You just get drowned in all of the retumble – what is it called again? It’s not retweet oh god.
Parinita: Uh …
Parinita: Reblogs, yes.
Rita: You just drown in all the reblogs and stuff.
Parinita: And it’s a great space for fandom
Parinita: But then it just gets a lot!
Rita: Yeah. It gets overwhelming.
Parinita: Yeah. So for me, I also sort of bowed out. But then during my master’s, it was a master’s in children’s literature. But I’m not a huge literary analysis person. Because I’ve worked in schools and with kids and books and bookshops and activities and children’s literature festivals and things separately, so I like more reader response things, and reader interpretation than my solo individual interpretation of the book. So for me, fandom just made sense. And that’s why for my master’s, I looked at Facebook fan pages which were much less demanding than if I’d gone on say Archive Of Our Own or Tumblr or something.
Rita: Oh my gosh yeah.
Parinita: Because that would have been … I would have quickly lost sense of any boundaries. But Facebook is this contained space and it has a lot of screenshots and links to other websites and platforms. So it’s a nice accumulation. And then now for my PhD, I’m doing the fan podcast. And I’ve become a fan of fan podcasts.
Parinita: I think when I was younger, I used to love fiction and art and now I love critiques. I love the critical fans who love the things that they are watching and reading and whatever.
Rita: So true.
Parinita: But they love them enough to critique them as well. Critique elements that fall short because they want it to be better.
Rita: Well see, now that you’ve put it that way, it just feels like academia especially, kids lit academia, is just fandom.
Rita: It’s just another form of fandom. It’s fandom that’s legitimised by universities.
Rita: That’s essentially it. All of this talk of PhDs and fandom, reminds me of when I was on one of the platforms I was part of, one of the admins there was doing her PhD on Victorian literature while actively being part of the fandom. And now in retrospect I think to myself, how the heck did you have time?
Parinita: How!? How.
Rita: [laughs] How!?
Parinita: Oh my god. Maybe it was a way to distract from the endless, [laughs] endless pit of despair that the PhD eventually becomes, as much as you love it
Rita: So true.
Parinita:. Much like fandom. [laughs] Academia, fandom you put in so much into it and you become a different version of yourself.
Rita: Well now I’m starting to think, was Harry Potter part of her PhD? Because a lot of the things that she wrote were very Victorian – the Victorian set or Victorian themes, gothic. Now I’m starting to think, did she do that? Or am I just hoping that she maintained her sanity by doing that?
Parinita: Yeah! Because I know a few people who are doing their PhD – and someone in one of my previous episodes as well – who found herself in an academic block because of the pandemic and the world and everything that’s going on. And she couldn’t really think in terms of academia and couldn’t bring those ideas to the fore. So she just went back to fandom after a break of five years or so and now is just churning out 10,000 word fanfics on a fandom I’ve forgotten. That’s her way to maintain something that she can control, I guess, in a world that you can’t control any longer.
Rita: Just even thinking about that – writing 10,000 words a day. I used to be able to do that in fanfiction. I cannot do that for my PhD. [laughs]
Parinita: [laughs] Because as much as you love your PhD, it’s not the same kind of love.
Rita: Well, you don’t have to cite theory in your fanfiction now, did you? [laughs]
Parinita: But saying that, I think the sort of conversations fans are having is similar to academia – which is another reason for this project, because I’ve learned so much from fandom. After I moved past the – not past the – moved from the fanfiction part of fandom to the more nonfiction, critical aspects of it, I found that the way that they have arguments and articulate these arguments, they do a lot of stuff that I recognise in academia.
Rita: So true.
Parinita: I don’t know how the schools in the Philippines were but at least when I was growing up, the mainstream education system then and even to a large extent now, in India, isn’t really conducive to thinking about things in a way that places them in context with the real world. It’s more like you’re learning these facts.
Rita: Yes! Yeah.
Parinita: And you’re not learning how these facts are relevant or how they work together. You’re not learning how to think. You’re just learning what to think and you’re not learning anything beyond that. And for me, I was really good at that. [laughs] I was really good at learning what to think and memorising these things and spouting them out in exam papers. But it’s fandom that made me think about how to think. And also helped me unlearn some of these things. When you talk about decolonising, for me, that whole process started and continues online and in fandom as well.
Rita: So true. I remember in one of my experiences before, I was either an admin or one of the mods for an RPG site. And one of our members called out the fact that our panellists was mostly white faces. And that was the first time I’d ever encountered that – like think about the faces that you’re putting forward for people to portray themselves as; portray their characters as. If you don’t give them a choice, then you’re whitewashing your community. I don’t think at the time I critically engaged with it. But I did take on those lessons without the theory that academia forces upon us.
Rita: But it’s just this real-life realisation like, oh of course you are erasing identities in a way. And I’ve had several experiences of that before where fandom critically engaged me into checking my privilege. Or checking how I portray a world, especially in original RPGs where you do a lot of worldbuilding. Like why is your medieval world so Westernised? And don’t just say it’s because it’s based off of Game of Thrones. Because that’s not an excuse anymore. So yeah it was really, really interesting going through that process. And I feel that the online community we left is so much better than the online community we went into.
Rita: It kind of makes me feel so jealous that I am not part of this online community. Because you’re right, it does critically engage. And one of the major topics that we’re discussing today is problematic authors. And the way that fandom has engaged with this discussion of problematic authors is something that I don’t know if I would have seen a couple of years back; ten years back. I don’t know if there would be fans who would say, no, actually I can disengage from this because this is problematic. And not just say, oh this is problematic but give out reasoned arguments as to why it is. Fans are reading up. Fans don’t just know the book, they know the context that the book exists in and they know the discourses around that book. That’s part of what being a fan is. That’s part of the obsession that comes with fandom. And the fact that they’re marrying that with critical engagement is just something so beautiful and gives me hope for the world in this year of our lord 2020.
Parinita: Not to say that fandom can’t be problematic because it can.
Rita: So true!
Parinita: I for sure in my own podcast and in my own experience as well have largely encountered the more progressive aspects of fandom. It’s a deliberate construction as well like the podcasts that I choose to listen to and the articles that I choose to read and the people I choose to follow on Twitter or wherever. So it’s obviously a deliberately constructed echo chamber, which I’m very happy with. I know echo chambers are dissed frequently.
Parinita: But I don’t want to engage with the horribleness that exists. I mean the world is horrible enough as it is.
Rita: Well part of the echo chamber is really protecting yourself against harmful discussions that could harm your mental health. And I understand that has detrimental aspects to it but I guess you could say echo chamber is a neutral term. It’s not something bad and it’s not something good. It depends on what it brings back to both sides of it.
Parinita: Yeah. People who are in leadership positions, who influence politics or culture where they have the financial, social, structural capital, is different from someone like a fan. A fan has other contexts as well but we’re not really influencing on a large scale how elections work, for example. Or how media is created and media is made or shared. So I think that it’s okay for us to have echo chambers because I don’t need to know what this terrible person who thinks Indians or immigrants should be deported all the time or thinks like England is for white people. I don’t really want this person in my online life.
Rita: That being said, one of the fan sites that I was part of way back during the Obama versus McCain election, there was an actual thread on the forums that discussed people’s political beliefs when it comes to them.
Rita: Yeah there were actually political discussions on platforms. I know that Paul Ryan was brought up a lot and fiscal conservativism. There was space for that. And our politics still show in the things that we write, I think.
Parinita: Yeah absolutely.
Rita: In the way that people get reviewed and stuff. But it wasn’t a neutral space. And I think that’s where the fallacy is. We’ve been talking about how online fandom erased certain parts of our identities. But they were never really erased. They were always there. But people either just chose to ignore them or we weren’t part of the discussions where people talked about those identities.
Parinita: Yeah. Also this forum you’re talking about, even in my master’s dissertation, there was this thing about comparing Kingsley and Fudge to the current political leaders. It was something to the effect of I wish we had a Kingsley Shacklebolt
Parinita: Rather than all the Fudges that we have. And it led to this discussion from different countries and also different political leanings. About who is really Kingsley and who’s really Fudge. And there was I think a Pakistani fan and there was an Indian fan. Again, I wasn’t interacting with the fans, so it was mostly through lurking.
Rita: Yeah. This was the lurking party.
Parinita: Yeah. [laughs] But it was very focused on the US elections at the time. And that was during Obama and Hilary Clinton. Even the forum that you’re talking about, how many fans online would have this kind of discussion with Filipino politics or Indian politics?
Rita: Exactly! Yeah. And the fact that I was a Filipino discussing American politics. To be fair, there is a degree of how much American politics does affect us because of our colonial past. But at the same time, we wouldn’t talk about Filipino elections on that. You’re absolutely correct. That’s one way of almost cultural imperialism that happens in fan spaces. Because the things that we talk about more often than not are US or UK.
Rita: I mean in Harry Potter, you can clearly see that because the preoccupations of the Harry Potter fandom is the UK. It’s sounding more UK, using UK terminology, slang terms. If you sounded more British in your writing, then that meant you were a good writer. It didn’t even take into account the story but it’s just like if you sounded – if your work read that way, then you were a good writer.
Parinita: Yeah there was a term for it, right? Brit-picking.
Rita: Yeah! As a Filipino, I remember when I first read Harry Potter at the age of eleven or something, I was so confused when they said jumpers instead of sweaters.
Rita: [laughs] There are a lot of things that confused me as a little eleven-year-old. And it’s not just because of my youth. It’s because I never consumed media that called it like that. And because I loved Harry Potter so much it develops this Anglophilia in you.
Parinita: For sure.
Rita: And then you start living this life of aspiring towards Anglicanising yourself.
Parinita: Absolutely. And in terms of cultural imperialism and cultural politics, that takes over all aspects of your life, right?
Rita: So true!
Parinita: It’s not just the things that you read but it’s the language and what sort of food seems cool to you and what seems not as aspirational.
Parinita: It is so … Eurocentric.
Rita: Yeah. And even when I think about why I decided to go to the UK for my master’s degree, unfortunately because of how language and imperialism works, I spoke English and I was not entertaining learning a different language at that point in my life. [laughs]
Rita: I sincerely regret that. I wish I’d learned a different language. So I was choosing between the US, Canada, Australia and the UK. And, of course, one of the considerations was the fact that education in the UK is actually cheaper. Especially in Scotland compared to all those different countries. But there was also that little tick in my brain, that’s the land of Harry Potter.
Rita: And it wasn’t just me that saw that. It was every person that I knew who was like, “Yeah you love British culture; you know British history.” Why was I interested in that? Because of Harry Potter and this thing that it kicked into gear for me. It felt like coming into a place that you kind of already knew. It should have been so strange.
Parinita: But also what you know is so limited as well, right?
Rita: Exactly! It’s so blinded by –
Parinita: And you don’t learn to identify this when you are not in that context yourself.
Parinita: When I was in India, I had this idea of the UK and the US – and a large part of Indians do as well – that you know the West! It’s wealthy and they don’t have problems. Because in terms of actual comparison, the kind of poverty Indians face and the kind of poverty the UK faces just structurally, socially, everything is very different. So it would be like comparing apples and oranges really.
Rita: Well you’re talking about poverty, it’s that thing about we were presented with the Weasleys as a poor family.
Parinita: I know!
Rita: But they’re clearly not how I understood poor in the Philippines. I mean the Weasleys are kind of like landed gentry?
Rita: I guess? [laughs] I mean maybe not to that extent but the fact that Bill could inherit a house from his great-grandmother, that they had heirlooms. [laughs]
Parinita: I grew up without a lot of money. The kind of problems that me and my mum faced, the Weasleys would never have faced. But I was like, oh this is how poor people are in the UK, I guess. [laughs] This is their idea of poverty. And it was only when I moved to the UK, and was engaging with the discourse here and with the kinds of problems that exist here which aren’t transferred to India at all – the news and things don’t communicate any of this to India. I guess why would they? But also then that leads to a very narrow idea of the UK and also a narrow idea of India.
Parinita: Which I could only disrupt once I was away from that context and in this context.
Rita: Once you absorb the actual context where that culture comes from, yeah, exactly right. For instance when you come here into the UK, you learn that a lot of poor families use food banks.
Rita: The Weasleys never had a problem with hunger. I mean it was Molly’s stamp of pride that she always fed her family and she fed poor Harry. There are many living a much poorer life than the Weasleys.
Parinita: Yeah and she didn’t have to worry about what kind of food she was going to be feeding them. Maybe she did like in the background; maybe she was trying to reach into the back of the pantry or something, I don’t know.
Rita: Yeah because they always seemed to have fresh food. They never seemed to eat something that was canned or frozen. And then when you think about clothing and poverty, the Weasleys had new jumpers every year. They had new jumpers. And then when you think about poverty and space, the moment that they needed more space, they could just extend the house through magic.
Parinita: Yeah and each of them had their rooms.
Parinita: This was me, reading the book, living in this tiny one-bedroom Mumbai flat where me and my mum slept in the same bed.
Parinita: And I was like oh okay, I guess this is how poor people in Britain live. Because even in the US, when media talks about a person who’s poor in the US or a character who’s poor, they still always have their own rooms. Which to me was unimaginable!
Rita: Forget them, even Harry had his own room. It was a cupboard; but it was a room!
Parinita: But then he moved to a bigger room. I mean he had lots of abuse issues and trauma in that house.
Rita: Yeah Harry had a lot of trauma.
Parinita: But yes, he had his own space! Sometimes he was trapped in it. But it was his. [laughs]
Rita: It was his space. And yeah that’s the kind of thing that you realise when you come here. One of the things that I never really absorbed until I came to the UK, was regional identities. And the fact that if I’m not mistaken, Harry is a Londoner.
Parinita: Oh! That’s true. He is. Yeah, I don’t know where Godric’s Hollow is but yeah for sure he is.
Rita: Yeah. Harry grew up in London. So there are no markers of which part of London he was from. Because that is something that definitely comes into play. When you’re a Londoner, you very much attach yourself to certain parts of London. That’s part of your identity. Regionally, we don’t know who belongs where unless they have an accent that is written out. Like say Seamus Finnigan. Although even Seamus, I’m not sure if he was like Northern Irish or if he was Republic of Ireland.
Parinita: Hagrid as well. We’ve spoken about this before how he was othered for many different reasons. And there’s also a choice between whose identity is reflected and whose isn’t.
Rita: Exactly yeah.
Parinita: I’ve been rereading the books recently and Minerva McGonagall – Professor McGonagall, I didn’t realise she was Scottish until I moved to Scotland and realised what the Scottish tropes are. She wears a lot of tartan.
Parinita: Has a lot of tartan bags, has a thistle on her hat. And I’m like oh okay, I understand now.
Rita: But see that’s the annoying thing. You’re representing Scotland as just this woman covered in tartan.
Parinita: But also in a way that I wouldn’t have – I didn’t pick up on when I was in India. When I was in India, I didn’t know about the UK politics as well. How Scotland is fighting for independence and how Northern Ireland and the Republic of Ireland have their own issues and Wales has its own issues. I didn’t know all of this until I came here. And what you were saying about regional identity, that is also so superficial or non-existent in the books.
Rita: So true. Now people accept that Cho Chang is Scottish. The only reason why we think that is because a Scottish actress portrayed her in the films. Other than that, Cho Chang is a blank slate. Other than her name and her accent in the film adaptation, Cho Chang is a blank slate of a character. We don’t know any context to her whatsoever.
Parinita: This was something that Jack brought up. He doesn’t read Harry Potter. But somebody he follows on Twitter spoke about this. So this was what written in the 1990s?
Parinita: And I think this was more of a function of the films with Seamus than in the books where I think he set one or two fires accidentally. But in the movies, they just went with it. Like he was the firestarter.
Rita: The firestarter. [laughs]
Parinita: Yeah. And then that person on Twitter was like, this was not very long after the IRA bombings.
Rita: Oh my god.
Parinita: And people dying.
Rita: That’s true!
Parinita: Yeah! [laughs]
Rita: Oh my god I didn’t even think about that, the implications of making your only Irish character a fire guy.
Parinita: Yeah. [laughs] Which again, I haven’t been keeping that much of an eye on it when I’ve been reading the books. I don’t think it was that big a thing in the books themselves than in the movies. But of course, a lot more people watched the movies than read the books. I think there are a lot of people who only watched the movies and didn’t read the books. So their idea of Seamus must have been this Irish person [laughs] who loves fires a bit too much.
Rita: But even when you think about racial identity – race and ethnicity in Harry Potter – you are not a person of colour unless it’s mentioned explicitly that you’re a person of colour. And the people that were explicitly mentioned as people of colour were very few and far in between. So as fans, we had to imagine a more diverse world than what J. K. Rowling put forward. And I think that’s why there’s this idea that Harry Potter is a diverse world. It’s not because of what she did. It’s because of what fans created after her.
Parinita: When I was reading the books, honestly, I didn’t even have the ability to imagine it to be more diverse.
Rita: So true!
Parinita: I’m still unlearning this but at that time, my mindset was completely colonised. I was like, oh of course the UK only has white people. Oh and there are one or two Indians
Parinita: And just a vaguely East Asian sounding person. And there are a handful of black people because they’re mentioned as black. And I was like, okay yeah this must be how it is in the UK. I didn’t really question it. I didn’t really think about it. I never identified with Parvati or Padma Patil because they were not really the centre of anything. There are fans who were thinking at a much higher level than me because they were inserting Parvati and Padma into stories or into art and things. And they’re doing that now as well; centering them even though the narrative didn’t. But I had no ability to do that. Then I moved to the UK and I looked around. Scotland is not the most diverse part of the UK, but even Glasgow is much more diverse than what you would find by reading just Harry Potter.
Rita: Yeah. And even thinking about Padma and Parvati and Cho Chang. These women of colour that you put into your story, all of them are kind of presented in slightly negative ways in one part or the other. Was it Padma or Parvati who was Ron’s date?
Parinita: Padma, yeah.
Rita: Who was seen as incredibly disappointed that he didn’t want to dance and was just ugh very frustrated with him. And then you had Cho Chang who for an entire book was just crying. I mean reasonably so because her boyfriend had just died. But I always think of her as this moody person.
Parinita: Yeah. I just finished reading Order of the Phoenix a week ago and I would think that Harry who was going through his own depression and trauma would have understood or at least sympathised with her. I know it’s it’s explained to be in a very gendered way like Hermione understands the feelings and Harry and Ron are clueless. But you still have a sense of shared trauma. Cedric died and you both are getting over that. And he is still so quick to dismiss her feelings and to dismiss anything. Of course she’s crying all the time! Why aren’t you crying all the time!? Well you’re yelling all the time; I guess that’s your manifestation.
Rita: Well that’s the thing. Now that I’m thinking about it, I don’t know how many women of colour are dismissed in the text? Or treated dismissively in the text? It’s just a minefield. When you start critiquing these literatures that you grew up loving, you just … I don’t know either it really shatters you and depresses you for a while. [laughs]
Rita: Or you – no, it’s not an or; what follows is you start looking at things with a more critical eye in the future. It’s not literature fandom, but I was very much a part of the fandom of Bon Appetit Test Kitchen on YouTube. And they went through a reckoning for race and equality because it came out that their producers, their creators of colour were not paid for their appearances or not paid at the same rate. And then after that, I didn’t know why at the time, but I just wasn’t excited to cook anymore. I just felt so like ugh anything will do. And then I only connected it much later when I realised oh yeah because the entire thing about it that made you happy was just shattered into a million little pieces. So of course it’s going to affect you in a very personal way. Because that’s something about fandom; it’s not just discourse, it’s not just objective.
Rita: It’s not objective. It’s interesting because I know someone who is actually studying Harry Potter fandom from a religious perspective, from the perspective of charisma. Anne Taylor shoutout by the way, her research. [laughs] So it makes you think how these things connect to us in such a personal way and in such a formative time of our lives that it’s no surprise that both of us came into really critical careers in our lives. [laughs]
Parinita: Oh, for sure.
Rita: Because we over-analysed Harry Potter to a T!
Parinita: Oh I wouldn’t have been doing a PhD if I didn’t love Harry Potter. Which is why I decided to launch this podcast and start this thing in January. And then of course there was the whole transphobia that began in December and just then carried on from June. Like you’re saying, it’s just made me so … not reluctant to engage; I still love the Harry Potter books because it was such a huge part of me, and it is still a huge part of me. And I can’t untie my sense of self from the books. But I’m now reading it with so much more of a critical lens because I am able to; something I wasn’t able to do even a like a couple of years ago. Before my master’s, I didn’t have the tools to be able to articulate even though fandom itself was doing these things. But it was still a slow journey for me. But in terms of J. K. Rowling, it’s been so depressing but it was very easy for me to cut her from Harry Potter. For me, I can divorce the two. I’m trying to follow the lead of a few of the fan podcasts that I listen to who are talking about how they’re no longer going to financially support her. But then you made a very good point when we were talking about this that even though there’s no financial capital, there is still social and cultural capital that fans help J. K. Rowling accrue which then transforms into financial capital.
Rita: Yeah, exactly. Because by keeping her in the zeitgeist, in the topic of discussion, you are giving air to her property. It was easier to do this before, to divorce an author from their work before because we didn’t consume authors the way that we do today. Like right now, you can say that for instance … name a problematic author of the past.
Rita: Let’s say Lovecraft. Lovecraft had a platform, yes. Could write things that the fans would consume, yes. But not at the same rate that people consume social media. And it’s also not at the same access of people who are so young. Because even though there are age restrictions on social media, it doesn’t prevent children and young people from still consuming that media.
Parinita: Yeah, because all you have to do is click a tick box saying that yes, I’m over 18.
Rita: Exactly! You just have to lie. And people do that all the time. So they consume her media. And because we were talking about how painful it was for us, how formative it was for us, but we are removed from that formative era in our lives. Whereas a lot of children who are engaging in that still are in that era. So her beliefs would influence their beliefs.
Rita: Because we remember what it’s like to idolise someone. And that’s the thing that when we love media now, we idolise creators. People don’t just love Game of Thrones, they love George R. R. Martin. Or people didn’t just love Doctor Who, they loved Steven Moffat. Hmm arguably so. [laughs]
Rita: It’s a very, very split camp. [laughs] But yeah, in today’s realm of cultural production, we are so connected to the people who create them. And it’s so hard to say I’ll still consume Harry Potter. Because for instance, I’ve made the decision to not support Harry Potter anymore and I think this will be my last public discussion on Harry Potter. Or public like with a platform like this. I’ve decided to disengage from that because when I read Harry Potter now, I do see the gaps in her representations. I see the fact that she doesn’t see people of colour. I see the fact that she has a very skewed idea of what poverty is or what Asian people are, for instance. And it’s hard to say that the media that you love is something that you can still love despite all that. At least for me. It’s really difficult. And who knows? Maybe in the future once … like in the very distant future – not ill-wishing on anything! But once maybe in the future, not in our generation but in the generations after us, when she is much like other authors who have gone and passed maybe there can be a kind of contextualised consumption of Harry Potter. But today it’s really difficult to do that.
Parinita: Yeah. I’m totally with you. For me, like I said, I’ve reacted to it differently with just as much despondency but not – not even unwilling, unable to let go of Harry Potter, for a lot of reasons. But what you’re saying, I completely am with you there. She’s very directly attacked trans people and trans fans and they are letting go of it but others as well with more privilege; like cis people with more privilege and who are not directly impacted by that but are allies are also letting go of Harry Potter, like you are. And I completely am with you on that. But for me, because I think fandom – and Harry Potter has always gone side by side with fandom for me, even though I started reading the books when I was ten, and started engaging with the fandom when I was thirteen, so there were a few years there when I was all by my lonesome. But otherwise, I’ve grown up with Harry Potter fandom and on Harry Potter fan platforms. The kind of thinking that I have now, and I’m still growing with fan podcasts like Harry Potter and the Sacred Text, Witch, Please, The Gayly Prophet, who are all undergoing this reckoning of how do you continue to engage with a text when the author’s politics are completely separate and something you abhor? And it’s something I don’t think there’s an easy answer for. And I think it’s very individual as well. I know some podcasts like Flourish on Fansplaining, they’ve said that they can no longer, because it’s tainted completely. It’s too toxic so they can’t engage with it at all. Whereas I think other fan podcasts like the three that I mentioned are still continuing with Harry Potter talking about it but distancing themselves from J. K. Rowling. They are saying that for us it’s about loving the text and not the author. And they try and raise money for trans charities and they try and create a safer space for queer fans and trans fans and nonbinary fans.
Parinita: But you’re completely right that even if it’s not contributing financially, it is contributing socially and culturally as well. But for me, I’ve also learned so much through these discussions themselves and all these critiques of J. K. Rowling because I didn’t have this idea of transphobia – just all the stuff that she’s saying and all the context that it comes with. Because someone who reads her tweets without any background knowledge or context is not going to really understand how it’s transphobic or why it’s transphobic. And there have been other people much better suited than me who’ve explained and decoded the language and why it’s transphobic and what it emerges from. And for me, it’s been so good to see fans who’ve divorced themselves … I guess they’re more progressive than the author herself is. So even in terms of reading themselves into the text, what you were saying earlier, they’ve made the world more progressive. It’s almost like fandom canon and actual canon are almost separate – not really, but almost.
Parinita: That there’s room for a more progressive space which in turn has influenced how I see and how I write stories and how I analyse other texts. Because I’m thinking about these things; these conversations they’re so much at the forefront of my mind now that I apply that lens to all the media that I consume. Which for me is too valuable to give up.
Rita: Yeah. And I think to myself as well like one of the questions that we raised in some of the conversations that we had before was can you actually reclaim a fandom from an author? Again, like you said, there’s no easy answer for that. Because it’s easier to answer these things once you have hindsight.
Rita: But as we live through the experience, all of the things we do will basically just be the discourse for later on.
Parinita: Yeah. I know. It’ll be a PhD project for a future scholar.
Rita: [laughs] So true!
Parinita: For a future fan.
Rita: Oh my god and you’ll be supervising them. [laughs]
Parinita: [laughs] Oh my god. I’m trying to tear academia down from the inside. I can’t imagine myself – well maybe if I supervise them to make a TikTok thesis or something.
Parinita: Though not in India because our government has banned TikTok.
Rita: Oh our government is in conversations with Facebook.
Parinita: Oh! Really?
Rita: I’m not sure what’s happening on that front. But there was a direct message from the President to Facebook. So I still have to follow that. How do we process all these things? How do we process the toxic author? How do we move forward? And the progressive work that we’re doing to move forward from this while still engaging with the fandom. I think that’s one of the saddest parts of this entire discourse, the emotional labour that fans have to go through because of the mistakes that J. K. Rowling made. Even before this, when fans were restorying and adding diverse identities into fan texts and contributing to that collective understanding of what the Harry Potter world is. Because we couldn’t see ourselves so we wrote ourselves in. It was the same with the LGBT communities. It’s the same with ableism and disability. Because we don’t see ourselves in this text, we take on the emotional labour of having to add them in. Knowing that the addition is from us and not from her.
Rita: And then now with the discussion on transphobia, we are having to take on so much emotional labour to process what’s happened and to decide how we want to interact with the fandom in the future. And again that’s emotional labour that was forced upon us by this problematic fandom. And that’s the other I think reason why I decided to not engage with it anymore because I’m just tired. [laughs]
Parinita: I mean honestly with the timing of it as well. You said this in December and then you were silent for several months about it, responded to nothing to do with it. And then right in the middle of a pandemic, right in the middle of the Black Lives Matter protests in the US and the UK, right in the middle of so many different things like Brexit, that’s when you decide to attack an already marginalised group using your platform and your privilege and all the status that you have to target this vulnerable group of people. Honestly the fans have had so much of a better understanding of the stuff that you’ve written.
Parinita: Fans have read so much more progressive messages into the books than apparently you meant? Because apparently you didn’t mean that everybody should be equal. Which if you read the books only wizards and witches are equal anyway. Nobody else is equal.
Rita: Oh my god. One of my favourite things that fans have contributed to the text was this Pride poster. I’m sure you know which one I mean. The one that says, “What Harry Potter taught me is that no one should live in a closet!” [laughs]
Parinita: Yeah. [laughs]
Rita: The fact that she doesn’t see the connection of how much the LGBT community loved Harry Potter, how much certain members of the LGBT community loved Harry Potter. And to break them down, to break their hearts with such language and such rhetoric, is just ugh it hurts!
Parinita: And also what she’s inspired. It’s not just her. Because of the platform and the privilege and the role that she has in mainstream culture, she has inspired so many – not a lot of people that I’ve encountered, but I know there is a world beyond my echo chamber. So these horrible people are citing her to further erode rights that trans people and LGBTQIA people have so painstakingly gotten. As if that’s what we need in 2020! We have fascism everywhere and then there’s this.
Rita: [sighs] This reminds me of my favourite response to J. K. Rowling’s transphobia. There’s this YouTube reviewer named Dominic Noble who has a Harry Potter persona – that reviews Harry Potter content. And that persona’s name is Terrence. Terrence is a half-blood in the context of this. So at the very end of his response video saying that he won’t engage in the Harry Potter fandom anymore, won’t make any more video, he brings on Terrence who gets a letter from his dad saying, “How are you Terrence? How are you doing? Your mum and I have always told you that you were a half-blood. But we never told you what that meant.” And he pulls out [laughs] this Percy Jackson t-shirt.
Rita: And he just has this expression, “Oh my gods?” [laughs] That resonated with me so much because it’s saying that yes, you can love something and let it go. But there are other things that you can obsess about that have less toxic creators. Don’t get me wrong. Percy Jackson has its own problems especially with its representation of disability. But at least its author is not – or at least as far as I know, because god the year of our lord 2020 has brought a lot of surprises on us.
Rita: So you never know who’s a secret racist or whatever. [laughs] But yeah you can move on. There are still other texts to enjoy, Harry Potter was not the only thing that we loved. And if we’re disengaging with something, we can transfer all of that love that we had for Harry Potter into something else. And right now, I don’t know how appropriate it is because again this process of decolonisation is lifelong.
Parinita: It is.
Rita: And it goes across all things you consume, not just Harry Potter. So one of the things that my sister and I really, really loved growing up – which is really strange given what the text is – was Frank Herbert’s Dune. Massive fans of it. It was really strange for two eleven- to thirteen-year-olds consuming this massive piece of philosophical sci-fi. Loved it! And now the film is coming out. Well it’s been postponed, which was very sad. But I’m like, oh this is something that I can just redirect my love. Where before it was divided, now I can just redirect all of the things I loved to this and be excited for the release of this. Again, Dune is not without its own problems especially the adaptation does not feature Middle-Eastern or North African characters when the book borrowed so heavily from those cultures. But it’s good because I guess now I’m engaging with these texts by contextualising them, acknowledging their faults, and not having that really blind adulation that I used to have for Harry Potter.
Rita: And I don’t know. Is it a sign of personal growth? Or is it just us protecting our broken hearts from being broken again? [laughs]
Parinita: [laughs] I think it’s both. We cannot have good things without some toxic everything.
Rita: And I can’t remember who was the creator where I realised that, oh they have problematic views. And I just told my sister one day, “The thing that 2020 has just taught us is never have heroes.”
Rita: “Never have heroes! They will all disappoint you!” [laughs]
Parinita: That’s a very chipper note to end this podcast on. But it is 2020 so that’s as cheerful as you’re going to get. [laughs]
Parinita: Thank you so much Rita for being a part of this project and for this conversation. I know we’ve approached it in different ways and we have different experiences and different reactions as well to Harry Potter and J. K. Rowling. But it’s been so valuable just talking about it as well. And articulating my ideas by talking to you about it.
Rita: I know. It’s great. Especially when you’re decolonising yourself. One of the things we didn’t get to talk about but would have been interesting to talk about as well is we are two people from heavily colonised countries engaging in British texts. [laughs]
Parinita: Yeah. So we need to do another episode.
Rita: Oh my god.
Parinita: Just to talk about that because that’s a minefield.
Rita: Oh my god like Harry Potter and Empire is a whole other discussion I could definitely have.
Parinita: Our next episode title has been set. [laughs]
Parinita: But really thank you again for the time and the conversation. I really appreciate it.
Rita: No problem. I really enjoyed this. Thank you so much! And even though I disengaged with Harry Potter, I’m happy to talk with you about that disengagement.
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