WKU POP 201

Introduction to Popular Culture Studies

Final Project Analysis

Posted by emmaeled on May 12, 2017

Emma Donaldson, Taylor Belcher, Mackenzie Brown

For our final project we chose to focus on user generated content, the importance of audience participation, and active versus lurking fans. We chose to display these by narrowing down and focusing on two big franchises we felt that had utilized their fan base the most: Marvel Comics and Entertainment and Harry Potter.

Marvel Comics & Entertainment and Harry Potter both started out as simple series. Some may argue there is nothing simple about them, because they are so loved by so many and have became multi generational and for all ages. However, they still started out as just comics and just books. Both franchises began to utilize and really involve their fans when the digital, social media, age came into play. Without involving their fans and paying attention to their user generated content they wouldn’t have been any more successful than Matthew McConnaughey’s romantic comedies.

User generated content to us was increasingly important. Without feedback these conglomerates would not know what their audiences wanted. Obviously because the movies are based on books they have to follow a set story, however, this does not mean the audience cannot give feedback or be involved in the telling of the study. There are whole blogs dedicated to the debates of which superhero is truly the alpha and who should have their own set of movies over Ironman. Harry Potter fans were so dedicated they got a play write and spinoff book and movie.

Audience participation and user generated content fall under the same umbrella, as user generated content is a branch of audience participation. Audience participation can be along the lines of anything from liking a Facebook page for the next Marvel movie, or creating a Professor Dumbledore twitter account. This is part of the pyramid of participation. Those who are “lurkers”, like those who just like pages, are at the bottom. Then there are more active fans who share behind the scenes footage, follow and reblog user generated content from other fans. At the top there are those who are the creators and those who run the big blogs and create fan theories. Each level gets smaller as they go up. Some at the top say those at the bottom are not real fans because they do not actively seek out more for their fandom.

When creating the fold and deepstream projects on our final project, we wanted to communicate the idea that fandoms are vastly different but also similar in a certain way. Even though two fandoms can be as different as the Harry Potter and Marvel fandoms, they still have some similarities, such as a movie being released based on a previous book or a comic. When doing these projects, it was very noticeable that many Harry Potter fans, or “Potterheads,” had mixed feelings about the movies and the books. They were either a fan of only one or both, and if it was the books, they hated the movies or vice versa. It was evident that the main reason Harry Potter fans who enjoyed the books did not like the movies because of the noticeable differences that took away from the value of the content created by J. K. Rowling. Along with the Harry Potter fans, we discovered that Marvel fans had similar reactions with the characters from the comic books compared to how they were portrayed in the movies. Like all fandoms, there are different levels of opinions and therefore not all agree. Some people were okay with the character changes, while others were not and spoke, or ranged, about it in blogs, articles, tweets, etc.

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Final Project

Posted by katemilner9 on May 12, 2017

( Kate, Venesa, and Cameron)

link to presentation : https://prezi.com/view/YNp26pYIgQyATJhUjeqS/

                Throughout this semester, we’ve seen examples of fandoms fueling the longevity of a media brand, be it soap opera or wrestling. Without fans, these medias wouldn’t have become the phenomenons they are today. One of the most relevant forms of this we see today are the nostalgia driven resurgences of franchises like the Power Rangers. Due to a dedicated fanbase, that grows up with the show, and then exposes their children to it, we’re beginning to see the same kind of multi-generational appreciation of the franchise that can be found in many a media types. For our final project, we explored Power Rangers as a franchise, and what’s been done to cultivate such an intergenerational fanbase that’s managed to exist for decades on a premise that many wouldn’t acknowledge as anything special. We looked at how the series functions, constantly rebooting and renewing itself, how it mixed the old and the new together to bring in fans of all ages, and what it takes to be attractive to people coming back to a childhood favorite and new kids tuning in for the first time simultaneously.

                Intergenerational or multigenerational medias have such strong fanbases because they are rooted in nostalgia. Nostalgia can be a powerful thing that makes a person dream about the past. A primary reason for the Power Rangers being as successful of a series is because of this nostalgia factor that keeps old and new generations hooked. The series has always stayed true to its core philosophy of the show being about teenage rebels saving the world and doing good. This is an important lesson that will always remain a common theme in our world today. Deciding between what’s right and what’s easy is a major factor in determining who we each are as people, and the reason that the Power Ranger still connect with people today is because that will always be a question that people ask themselves. The show allows for the audience to experience teenagers who are posed this question or right and easy at a young age. Therefore, this lesson is something that the older generation who watched the show want to know, as well as something that the younger generation wants to learn about themselves. This phenomenon, of taking what’s old and making it new again shows how powerful older medias can be. Power Rangers is a testament to popular culture theories on residual media, and the idea that anything that’s been popular before has the potential to be popular once again, if given the proper facelift. In the end, it’s all about finding that balance between the old and the new.

             Additionally, the Power Rangers series has stayed relevant for so long because they have stuck to their core values no matter the incarnation of the series. Power Rangers has started a lot of popular tropes that can still be seen in popular culture today. Things like the Five Token Band  where at least two of the team members are white people and the other three are part of  minority groups, or Color Coordination where their suit colors represent who they are as people in a way (Red Ranger is the leader and temperamental, Blue is intelligent, Pink is a strong, rebellious female). By having these common tropes, the series draws in generations from all over; it is something that the audience can always count on no matter what additional changes may be made with the story. This is why the new Power Rangers movie was so successful. The new Power Rangers caught the attention of a newer audience with the representation of a lesbian ranger, autistic ranger, and authentic minorities; however, the Rangers remained an awkward group of kids just thrown together to save the world. No matter how many changes they made to the story, like with the increase in diversity, it still held the core values and traditions that fans have sought after through its syndication.

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Final Project- The Relationship between Spreadable and Drillable Media

Posted by Kimberlea Ferrell on May 11, 2017

Laura Mitchell, Kimberlea Ferrell, & Nasir Stoner

For our final project we further explored spreadable and drillable media and the relationship between them. We aimed to explain these two types of media and give illustrations. We have put a few videos of the media examples we chose into our Prezi.

Spreadable media are texts that are readily shared. Many factors contribute to why these texts are so spreadable. People share things to connect to friends or express their beliefs and ideas. Things are also more readily spread when it is easy to share them. Sharing a YouTube video or a tweet is as simple as a few clicks.

A great example of something spreadable is James Corden’s Car Pool Karaoke. Music artists are invited to drive around with him and sing along to their own songs, as well as various other songs. People want to see their favorite artists, and whatever funny moments that occur, and want to share this joy with others.

Drillable media are texts that are typically dug into by the fans, rather than spread and shared in great numbers. These texts are complex and/or have a vast amount of material. Drillable media invites fans to go beneath the surface of the text, where a casual viewer would not go. Fans of drillable texts usually get involved in forensic fandom. Forensic fandom is a group of fans coming together to discuss and dig into a story to decode mysteries and make predictions. This paraphrased definition, and more on Drillable texts, comes from an article “Forensic Fandom and the Drillable Text” by Jason Mittell, which we will link here.

http://spreadablemedia.org/essays/mittell/#.WRUM8o5D9Zc

We chose Doctor Who as our example because of its complex story and vast amount of material. Due to the nature of the show, it has become common for most fans to refer to points in the show not with seasons, but by Doctor regeneration. There are also comics, audio books, and spinoff shows that expand on the universe, leaving more to be discovered by devout fans engaging in forensic fandom. Fans have even went as far as looking into the science present in the show. A fan on Tumblr discussed the atmosphere of the Doctor’s home planet and how it compared to Earth, explaining the possible effects on his body. There are also many theories and speculations, some about the doctor’s final death, which is alluded to in the clip we include in the Prezi. It was said earlier in the series that if you meet yourself while time traveling, you are certain to die. Not all fans might remember this, or take it so seriously.

There are also media that have a certain degree of both spreadable and drillable qualities. A majority of people may enjoy and share moments of the media with others, while there are also those that dig deep into the stories. A good example is the Disney/Pixar universe. The casual fan might not notice or particularly care about the “easter eggs” and increasing evidence to the theory that all the movies are connected. These movies are clearly recognized and enjoyed by many, children and adult, but not all are so involved with these “easter eggs” and what they mean.

http://prezi.com/xoy1b3re1gaf/?utm_campaign=share&utm_medium=copy&rc=ex0share

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Final Project-Super Advertising

Posted by emilyfalicaa on May 11, 2017

Bidinger, Cory, Davis, Falica

While the superhero/comic market has always been a top dollar industry. But over the past few years, it has expanded into one of the largest in literature, toys, TV, and movies. When we examine who these products are marketed to, historically it has been directed towards the male fans. Recent research suggests that the industry could grow even more if the market was shifted towards a demographic that is widely ignored. Girls and Women. The Beat, a comic culture blog explains that in 2014 it was discovered that 46.67% of self-proclaimed comic fans are female. It also explains that they want the spotlight to be on heroes that are more like them. Yet the current model for selling these great protectors is entirely directed towards men. We can see this in the stereotypical model presented for superheroes.

There are drastic differences in how male and female heroes are advertised. Men are typically shown as:

  • Strong and tough
  • Able to do everything
  • The champion
  • Has amazing powers

While their female counterparts are shown as:

  • Powerful yet hopeless
  • Very beautiful and sexy
  • Delicate and naive
  • Needs help to get the job done
  • Object of a male hero’s affection

This model has been successful for two reasons. First; male consumers often view themselves as strong and cable so they relate and buy. And second; male consumers are having the female superheroes marketed to them. The current advertising mode of superheroes is made for males to relate or feel a part of the stories. This leaves a lot female consumers out of the industry.

But recent changes in some franchises offer a new model. One that markets superpowers to women instead of superbodies to men. And the results have been great. Recent sales increased in franchises like Ghostbusters with the new female cast, Star Wars with Rey, and CW programming with Supergirl show that marketing to girls works. Kate Wheeling explains in her research article “Female Superheroes Are Not Necessarily Feminist Superheroes” that sexualized modes don’t appeal to women because women want to kick butt versus Hollywood’s idea of women wanting to simpy be hot. She goes on to explain that if we shift the model to just cool people saving the world, that 46% more women plus some will consume superhero products. The recent success in this new model demonstrates that it’s time to fully transition into a time of superheroes where they are all fierce and super despite their gender.

But female superheroes aren’t the only ones facing their sensuality being the object of comics instead of their kickass powers. Wendi Tibbets, comic book fan extraordinaire answers on Quora that male superheroes have gone down the same path by putting sex instead of hero into their personality. A combination of perfect bodies and womanizer personalities like Superman’s instances of wife stealing and using mind control to force women into pornography, or James Bond’s history with women.  Tibbets elaborates that this is cutting back on how many men enjoy their favorite superheroes. Thus showing this model needs to be applied to male superheroes as well.

We originally planned to redraw our favorite superheroes as ourselves to test the new model. Since that particular part of the plan fell through, we took a combination of fan art, movie pictures, cosplay, and more to create a poll for test groups to choose from (the poll itself will not be posted on here due to copy write and permission issues. Feel free to message Emily Falica for a copy if you’re interested). We had six categories of side by side pictures. Our new average looking hero versus the sexualized and/or perfect versions in the old model including:

  • old model Superman/new model Superman
  • old model Batman/ new model Batman
  • old model Spiderman/new model Spiderman
  • old model Padme Amidala Geonosis “action” attire/new model Rey traditional attire
  • old model Black Canary/new model Black Canary
  • old model Ghostbusters cosplay/ new model Ghostbuster cosplay

Our test groups included females ages 4-49 and males 4-25 ( We didn’t have enough older men to get comprehensive results).

chart 1

General polling showed that on average, our random test group preferred our new model of average looking superheroes in every demographic. When demographics were grouped together, it turned even more in favor of our new model.

chart 2chart 3

Out of 90 votes, our new model of advertising proved to be the most super one there is. Knowing there is fan approval the new steps in spreading this new model is through the same means that comic and super products always spread; through media engagement and fan participation. It is our hope that this model spread to the people in charge of producing heroes and it can save the day, ultimately giving the people what they really want. A superhero just like them.

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Final Project

Posted by marylennoxhalf on May 11, 2017

MaryLennox Halfacre, Emily Childress, Emily Morgan

FOLD link- https://fold.cm/read/MLEmEm/nicolas-sparks-book-to-movie-bLDWjiuA

Since we were interested in using FOLD in this project, we thought it would be best to use book-to-film adaptions through a specific author to really prove our point. The author that we chose was Nicholas Sparks. We agreed that by using Nicholas Sparks, we would have many examples that would explain the topic of book-to-film adaptations effectively. Nicholas Sparks has given us some of the greatest love stories of all time not just through novels, but through movies as well making his one of the greatest authors of all time.

We want to start out by showing just how known Nicholas Sparks is. We would like to include the awards that he has received and many of his recognitions. We would also like to give his backstory and why he writes the way he does in the genre he does and how he gets the audience’s attention.

Each one of Nicholas Sparks’ books have an attention getter that even if the movie is not any good, people will still go see it because it was inspired by one of his famous novels. By using FOLD, we can show the audience in WordPress his thought process. Every story is a love story, however, there is always a catch in every movie that no one really expects. This is mostly because novels in certain ways are different from movies. We would like to compare different movies that were inspired by his novels creating the reasoning for book-to-film adaptations.

We also demonstrated Nicholas Sparks’ way to show the different topics that we have been discussing in class throughout the semester. We would like to incorporate certain advertisements that get people interested in the movies. When watching certain ones, we noticed that there was a pattern where we would see “Based on a Nicholas Sparks Novel” somewhere throughout the advertisement. With this, we want to show how spreadability really works by showing the audience that people are just interested in the movies because he wrote the book.

We compared certain movies that have achieved more than others as well. To do this, we are going to research different box office ratings and the money made from each book and novel to identify the difference between the movies and the books.

Since Nicholas Sparks only creates love stories, we also thought it would be interesting to take some of his best sellers and compare them to non-Nicholas Sparks books and movies to see how well his did compared to others just in the general love drama.

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Final Project

Posted by nathanpowers22 on May 11, 2017

Nathan Powers, Brianna Embry, Tommi Stowers, Scott Kaufman

Main Website (analysis is under “About Us”): https://wkupop201.wixsite.com/invincibowl

Facebook: https://www.facebook.com/invincibowl/

Twitter (Invincibowl): https://twitter.com/Invincibowl

Twitter (Bandit): https://twitter.com/nvncbwlbandit

Instagram: https://www.instagram.com/invincibowl_bandit/

YouTube video (“My Dog Loves This Bowl”): https://www.youtube.com/watch?v=P88sZjq5-ms

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Final Project: New Tribunal Temple

Posted by faythleighann on May 10, 2017

Lauren Ivey, Sean Hull, Fayth Rose

https://newtribunal.wixsite.com/newtribunaltemple

For our final project we have chosen to create the New Tribunal Temple, a site based on religious doctrine from the 2002 role-playing game The Elder Scrolls III: Morrowind, whose Tribunal Temple faith offers a surprising degree of depth and room for analysis. Though fans of Elder Scrolls lore have created many in-depth analyses of its content, respecting both the game’s internal lore and the actual religions on which Elder Scrolls religions such as the Tribunal faith are based, our project intends to ineptly make use of Tribunal Temple doctrine and use it as a basis for satirical commentary on religion in general.

Intended to be a satirical examination of religious individuals’ tendency to misinterpret doctrine to suit their ends, the site features articles from all three group members, with each individual bringing their own interpretation of various in-game texts to bear. As two thirds of our group is unfamiliar with the setting of the Elder Scrolls games, this has produced some interesting analyses which serve to illustrate the difficulty inherent in examining a fandom without prior knowledge of its context: inspired by the misunderstanding of pro wrestling borne from its fans’ use of kayfabe, we thought it would be interesting to intentionally produce this misunderstanding by deliberately exploiting our group members’ incomprehension of the topic at hand, while also manufacturing a product that may be taken as somewhat serious by outside observers. This creates a unique scenario: rather than simply confusing audience members who are unfamiliar with Elder Scrolls lore, our groups members themselves are unfamiliar with the material they are commenting on, creating a uniquely inept interpretation that ought to provide a unique experience to all viewers.

It also serves as an experiment in fan interaction with fiction, similar to the example of fans impersonating Mad Men characters on twitter given in Spreadable Media’s introduction. However, rather than impersonating specific individuals, our project is instead an attempt to replicate the general religious sentiments of Morrowind’s Tribunal Temple, an experiment in impersonating an institution rather than a character. This aspect of the project is primarily Sean’s focus, as his increased familiarity with the Elder Scrolls is less conducive to ridiculous interpretations, but more conducive to convincing impersonation of Tribunal Temple priests.

We offer for consideration commentary from the members of our group project unfamiliar with the Elder Scrolls. This insight adds to the allusion that false interpretations can be made fairly easily and seem convincing even when they aren’t. Lauren’s and Fayth’s partake of the articles demonstrates our focus of the project. Through the comparison of the articles written by less knowledgeable authors and the more informed author, we it is evident that the context of the doctrine has been twisted to portray the beliefs of the individual and not the original context of the piece. Through this unique point of view, the first-hand experience falsified knowledge being spread through media.

A corollary to our project is our Facebook page, which is intended to narrow the focus of our cultural criticism by briefly satirizing the tendency of some religious Facebook users to make and distribute meme images with shallow and sentimental captions. Though not the primary focus, we hope this small degree of Facebook integration will serve to increase the immersion of our project, while also further blurring the line between the fictional world we seek to emulate and the real world into which it has been ineptly inserted.

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Final Project

Posted by lillieeastham on May 10, 2017

By: Alyssa Dusheck, Lillie Eastham & Emily Jones

https://fold.cm/read/pop201/the-rise-and-the-fall-of-the-dab-t5e7fYfJ

Dance crazes have been popular since the 1960’s when “The Twist” was the most popular dance and over time while the songs have varied in styles dance crazes still become popular every couple of years, examples of these dances (in no particular order) include: “Crank Dat”, “Whip/Nae Nae”, “Gangnam Style”, “Pop Lock and Drop It”, “Harlem Shake”, and “The Dab”. Although these crazes usually both rise and fall quickly it is important to ask ourselves how something can gain such massive popularity and unpopularity in such a short time and what each of these dances have in common in relation to their spreadability. Spreadability is the concept that deals with the distribution and circulation of media, otherwise what effects media popularity. Some qualities that effect spreadability include open ended participation vs. pre-structured activity, diversified experiences vs. unified experiences, and the motivating and facilitating of sharing media. All the characteristics/qualities listed above are interdependent on one another to promote media spreadability.

Not only do those characteristics effect media spreadability as well as the form of media (television shows, movies, music, books, etc.). As dance crazes are typically related to a song this accounts for the quick rise and fall because music has a much higher turnover rate in comparison to television shows, movies, and books because less of these works are distributed or circulated as quickly. While creating, an album is time consuming it is far less time consuming than producing a television show, movie, or writing a book as less steps are involved. During the production of television shows and movies scripts must be edited and revised multiple times, roles must be cast, scenes take multiple takes to perfect, and even after filming there is editing to be done; while with music there is generally one artist and set band to record and most discrepancies in the voice can be fixed using auto-tune. When it comes to the circulation of media an album is typically released all at once except for one to two singles that are released close in date to promote the album whereas television shows and movies are distributed/circulated at a slower rate as you must wait to watch one episode a week or you must wait a year to see the sequel to the movie that you just watched.

As for the characteristics previously mentioned open ended plays a large role in the rise of dance crazes as well as the fall because there is so much open ended participation allowed it almost hurts the popularity of the crazes. This goes hand in hand with the topic of diversified experiences because what that simply means is reaching a variety of audience which means young, old, weird, or cool. An example of this used in our presentation on the rise and fall of the dab is that it was made popular by NFL player Cam Newton and then slowly became made fun of through the use of memes whenever celebrities/politicians such as Hilary Clinton went on television and performed the dance. Although not everyone is obviously a fan of Cam Newton he is a neutral personality, while people may not be a fan of the team that he plays for they can still respect him as a player while Hilary Clinton does not have the respect of many people and those who don’t respect her have a radical view. Not only do celebrity personalities influence us but also our peers/family members. Also featured in our presentation are pictures of our younger siblings who are elementary aged dabbing which makes an older audience question if the dance is appropriate for them to participate in, and also our parents which makes the younger audience question their participation as well. As for the motivating and facilitating of media, dance crazes are highly encouraged usually which also goes hand in hand with the idea of open ended involvement as memes are made, recreations of dances on YouTube/Vine, songs are played on the radio, and even some schools/ sports team make videos going along with crazes but the turnover for music is simply so high that the dances fall short.

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Final Project

Posted by Drake Kizer on May 10, 2017

https://popculturesquad.wixsite.com/4hreviews

By: Drake Kizer, Tristen Denney, Jacob Karaglanis, and Connor Frederick

When we began our group project on professional wrestling, we were beyond excited to create a project not only referring to modern sports entertainment, but also a final analysis of everything we have learned in POP 201. For example, we wanted to relate back to one of the first topics we studied and discussed in class, the idea of “stickiness” and “spreadability”. We also wanted to create something on professional wrestling that not only contained substance and good material, but also something that a longtime viewer or casual fan could be interested in. The first step was analyzing our group’s opinion on professional wrestling, as well as our personal opinions. Two members of our group, Drake and Connor, have been lifetime fans, and even attended the WWE Live event held on Western Kentucky University’s campus March 17. On the other hand, Tristen and Jacob are somewhat less interested in professional wrestling, but loved the idea of analyzing modern entertainment.

As we neared the completion of our final project, we began to realize our collective and personal opinions were still not quite enough to effectively cover and analyze this sports entertainment that has existed for decades. That is where we believe previous blog posts and wrestling expert’s opinions are necessary to help us expand the range of knowledge applied to this project. Drake and Tristen, for example, both wrote blog posts on class-assigned essays about the WWE and how it functions in society today. In Drake’s analysis of Sam’s “I Was Stabbed 21 Times by Crazy Fans’: Pro Wrestling & Popular Concerns with Immersive Story Worlds”, he stated:

“Modern professional wrestling fans have “unprecedented access to information about the professional wrestling business through the memoirs of wrestling performers and…the work of…journalists who report on the creative decisions backstage”, and this means that a fan’s impact on the show is more important now than ever before.”

Along with the “unprecedented access to information” about professional wrestling, one also has to take into account what a wrestling fan is and how they affect this form of entertainment. Tristen’s blog post relating to these fans said:

“…[Sam’s] “The Marks Have Gone Off-Script: Rogue Actors in the WWE’s Stands”…describes WWE fans not only as spectators, but also as “a community member, critic, vernacular theorist, and performers.” Although it is odd to consider a fan a “performer”, without the fans “performing” their duties as fans to come to shows, watch the events on TV, and buy the merchandise, the WWE would not be around today or have near the success that it does.”

Though many do not realize the various roles WWE and professional wrestling fans fulfill, this is where we believe different types of fans and wrestling experts could get involved and spread the word about this sports entertainment. We believe there is value in doing an analysis of professional wrestling like our group did on an ongoing basis. Though our group of four students with differing opinions was awesome and provided some great analysis, we do not believe it is sustainable. We think a group of individuals with varying interest levels in wrestling that could not only remain united, but also be unbiased, would include: a current or former wrestler, a wrestling expert, a passionate fan, and a casual viewer.

Examples of this idea are already present in society, with media platforms like Bleacher Report and ESPN sharing multiple opinions from both experts and fans in many cases. Even radio shows where individuals call in and express their opinions alongside the experts’, are similar to this idea. Our proposed panel could publish their content via a sports or a media/entertainment site, so that wrestling could gain greater exposure to other types of fans. We do not feel like our approach would work as well for something different than a wrestling match, but perhaps our concept could be adapted to better suit other genres and allow them to dissect content in the way we have in this project.

Overall, when relating our final project to everything we have learned in POP 201, no one says it better than William Uricchio, author of an assigned reading titled, “The History of Spreadable Media.” Uricchio states:

“The print, film, and television industries of the late-nineteenth and twentieth centuries… were built on control and standardization,…professionalizing and streamlining the process in their own interests.”

Though this quote was true for so many years in reference to society and media was shared, this process has changed. Like we have discussed time and time again in class, media must be “spreadable” and “sticky” to be successful in society. Also, with the multiple media platforms available today, anyone can become a creator and consumer of mass media. Therefore, through the use of our personal opinions shared via blog posts, and other author’s opinions, we believe we have not only analyzed professional wrestling and what the sports entertainment strives to be, but also how we have applied and used the knowledge we gained throughout this semester in POP 201 to create this final project.

Works Cited:

http://spreadablemedia.org/essays/uricchio/#.WP6tsIjys2w

https://mitsoaps.wordpress.com/2017/03/22/sit-down-marks/

https://mitsoaps.wordpress.com/2017/03/22/understanding-professional-wrestling-pt-2/

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What Constitutes Meaningful Participation Part 2 (3/30)

Posted by sydneyb612 on May 1, 2017

So, what stood out in this reading was that every time there is a new consumer, there is a new producer. This meaning the more people that consume media the more people they need to help produce media. To keep up with the content consumers want producers have to work extra hard. There are so many demands and request from consumers that are all over the place and have such a big range to keep up with these demands I’m sure they are hiring new producers every day to come up with ideas. These producers I am sure are stressed because you truly cannot make everyone happy, sometimes you have to comprise one thing to get another thing. In media producers content is constantly being criticized and praised and then criticized again. To keep up with that would put a strain on anyone, that is why in the media they are constantly swapping producers in and out to create new content and have people with fresh minds and fresh ideas. Online you will see more critical comments than you ever do positive ones and this is a problem. Those producers need people who are going to tell them what they are doing right so, they are not constantly changing everything in this product they have created. If producers tended to every negative comment by the end of what they were doing they would not have even a sliver of what they started with. These producers would have an entirely new product and that would defeat the whole purpose of a producer.

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