Currently, the animated television series is a largely child-oriented medium, with occasional exc... more Currently, the animated television series is a largely child-oriented medium, with occasional exceptions such as South Park (1997-present), Family Guy (1999-present) or the shows broadcast on Cartoon Network's adultsonly programming block [adult swim]. Because of this, television animation merchandise is primarily aimed at children, with a plethora of toys, clothing and other items available for a variety of shows. For series such as the first iteration of The Powerpuff Girls (1998-2005) or, more recently, My Little Pony: Friendship is Magic (2010-19), producers and creators have been aware that adult audiences exist but floundered in creating adult-oriented merchandise. However, this attitude seems to be shifting: shows such as Adventure Time (2010-18) and Steven Universe (2013-present) have massive, multigenerational appeal and Cartoon Network has happily embraced the series' adult fans, aiming a number of merchandising programmes specifically at them. This article will explore the material cultures of television through the adult fans' relationship to the merchandise of their favourite animated shows, first by discussing what merchandise, if any, television networks create for adults, and going on to theorize that such merchandise is a significant outlet in adults' persisting need for play.
Networking Knowledge: Journal of the MeCCSA Postgraduate Network
Walt Disney Studios has long been considered the curator and creator of the American fairy tale c... more Walt Disney Studios has long been considered the curator and creator of the American fairy tale canon, establishing the tacit narratives that reflect the United States’ unique set of values, which are then disseminated throughout the Western world. As such, the fairy tales, myths, and legends the studio chooses to animate have enormous influence in arbitrating who does and does not belong in Western society. Because Disney’s canon representation of queer women in these narratives has been non-existent, many queer female fans feel they are othered, obscured, and erased in real life. Not content to simply wait for such recognition, these Disney fans have rallied together to create their own positive representation, lovingly cutting and stitching characters from Disney’s animated texts to create femslash narratives that satisfy their desire to see themselves reflected in the films they love. In other words, in a society that rejects and discriminates against queer female relationships,...
Currently, the animated television series is a largely child-oriented medium, with occasional exc... more Currently, the animated television series is a largely child-oriented medium, with occasional exceptions such as South Park (1997-present), Family Guy (1999-present) or the shows broadcast on Cartoon Network's adultsonly programming block [adult swim]. Because of this, television animation merchandise is primarily aimed at children, with a plethora of toys, clothing and other items available for a variety of shows. For series such as the first iteration of The Powerpuff Girls (1998-2005) or, more recently, My Little Pony: Friendship is Magic (2010-19), producers and creators have been aware that adult audiences exist but floundered in creating adult-oriented merchandise. However, this attitude seems to be shifting: shows such as Adventure Time (2010-18) and Steven Universe (2013-present) have massive, multigenerational appeal and Cartoon Network has happily embraced the series' adult fans, aiming a number of merchandising programmes specifically at them. This article will explore the material cultures of television through the adult fans' relationship to the merchandise of their favourite animated shows, first by discussing what merchandise, if any, television networks create for adults, and going on to theorize that such merchandise is a significant outlet in adults' persisting need for play.
Networking Knowledge: Journal of the MeCCSA Postgraduate Network
Walt Disney Studios has long been considered the curator and creator of the American fairy tale c... more Walt Disney Studios has long been considered the curator and creator of the American fairy tale canon, establishing the tacit narratives that reflect the United States’ unique set of values, which are then disseminated throughout the Western world. As such, the fairy tales, myths, and legends the studio chooses to animate have enormous influence in arbitrating who does and does not belong in Western society. Because Disney’s canon representation of queer women in these narratives has been non-existent, many queer female fans feel they are othered, obscured, and erased in real life. Not content to simply wait for such recognition, these Disney fans have rallied together to create their own positive representation, lovingly cutting and stitching characters from Disney’s animated texts to create femslash narratives that satisfy their desire to see themselves reflected in the films they love. In other words, in a society that rejects and discriminates against queer female relationships,...
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