Introduction to Popular Culture Studies

Reappraising the Residual p2 (02/21)

Posted by katemilner9 on April 30, 2017

The example of residual media in the form of WWE Classics On Demand made the entire concept a lot more clear, as that’s something we see all time anymore. The idea of making backlogs and older “exclusive” content accessible almost seems more appealing than creating new content. We see it all the time, now not just on a fan level, but from the distributors, who like the then WWF, learned that there’s a market in saying that it’s a retro, seldom seen version of what fans still like today. It’s considered to make you a real fan, of any form of media, to have consumed as much of it as possible- to know it’s entire history, and retro branding like this makes it easier for fans to dig through backlogs, and find missing pieces to the narratives that create the “real fan” that’s valued above the rest.

Overall though, it really is just a great example of the success a company can find when they listen to what their audiences want. Instead of relying on grassroots to take care of providing the fanbase with what they want, media distributors can take the steps to accommodate the wants of audiences, which’ll not only help to keep the fans pleased, but will encourage them to engage with the media more, and hopefully, contribute more money to the media. It’s a part of the ongoing debate we see revolving around media creators doing what’s economic, or sound by business, or what their audience wants- and how the two can intersect, and be the same thing if people are just willing to take a chance.


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