There is the “Machete” viewing order to Star Wars films and television series that informs the community the “preferred way” to view the series with the critical gaze of the value of the different episodes within the series and the perceived issues surrounding one of the movies within the series ( Sim, 2018). Those fans even understand how to connect the world presented in their favorite works into the everyday world that the fan experiences. Secondly, fans learn the community’s “critical and interpretive practices” which involves training the fan how to read the various text connected to a given series (e.g., what is canon to the overall universe of a given comic or series). Moreover, those fans articulate those meanings by the performance of the lines and actions from the fan’s selected graphic novel, film, or other media production. Fans of their content will begin their fandom with the reception and consumption of mediated works “with close and undivided attention, with a mixture of emotional proximity and critical distance.” Steven Braun, information designer and fan of the movie “Big Lebowski,” describes this level of consumption in his “ Visual Guide to the Big Lebowski” (2018): “One can watch the film numerous times without fully grasping how the various plot threads tie together - if they do at all.” The fans of the Big Lebowski, and by extension fandoms in general, make meaning from the viewing of the fan’s given work of passion. Henry Jenkins (1992) wrote about in his foundational work “ Textual Poachers: Television Fan & Participatory Culture” about five levels of activity that fandoms traditional engage in when interacting with core texts essential to their favorite shows, books, movies, or other artifacts of popular culture.

Jenkins textual poachers