I referenced Flynn’s Fandom Pyramid, which, in my opinion, oversimplifies fandom as a linear journey from casual to superfan. My experience reveals that the superfan top tier is much more intricate, resembling multiple overlapping layers—morphing the model of a simple pyramid into a set of nested Russian dolls. This furthers Booth’s observation that “fan hierarchies are not flat but evolve as networks of nested engagement. As fans move from broader cultural fandoms into niche practices—like cosplay, collecting, or fan production—they often distance themselves from the mainstream. These micro-communities foster intense commitment, creating multiple, overlapping forms of identity and status within fandom itself.”
Remaining at the top of the pyramids requires work, and maintaining a current skillset is not only about personal competence; specialists often face intense scrutiny. While this often fosters robust insights, accountability, and high standards, it can sometimes stem from personal agendas or narrow viewpoints. When ideological criticism takes precedence, defending one’s work becomes a time-consuming distraction from productive contributions. Brandolini’s Law—also known as the bullshit asymmetry principle—illustrates this point: it takes significantly more effort to refute misinformation than to create it.
Michel Foucault noted the close link between knowledge and power—expertise often confers authority. In fan communities, such expertise is frequently self-proclaimed, facilitating gatekeeping. Pierre Bourdieu’s concept of cultural capital further explains that those who have invested time in acquiring expertise may resist newcomers to safeguard their own status. Increasingly, certain individuals with minor status are adopting more rigid, fandamentalist stances, influencing the formation of new CRLs and raising ethical questions about their relationships with prop makers.
As I have gained more expertise, I am adopting some of the collectors’ perspectives. Nonetheless, I remain a dedicated costumor at heart, as I believe deeply in the critical role it plays in creating immersive experiences for all. While I now view my own work more critically and aim for greater accuracy by leveraging my developed skills and up-to-date reference materials, I am also cautious. There is a genuine concern that if too many individuals with a collector’s mindset assume leadership roles, the focus may shift away from costume-making toward collecting, ultimately risking a decline in membership to the detriment of the general public and the community.
This post is adapted from my doctorate research on the intersection of religiosity and fandom.