In “The Cultural Logic of Media Convergence,” Henry Jenkins discusses the theory of media convergence and the ways in which it affects/could affect both the consumers and producers in the media environment. He says media convergence is not just a technological shift, and for the new media conglomerates, they are able to have full control over various types of entertainment interests. He offers Viacom as an example, a company which “produces films, TV, popular music, computer games, websites, toys, amusement park rides, books, comics…etc” (34). He continues to say that “convergence is taking place […] within the same franchise…within the same company…within the brain of the consumer…and within the same fandom” (34). The inundation of movie franchises like the comic book based movies, as well as the comic book based TV shows, reflect these sentiments. Media conglomerates are interested in the marketing and packaging of brands that have already been successfully sold before in order to ensure their sales with consumers.
However, Jenkins states that “convergence is more than a corporate branding opportunity” and that it “represents a reconfiguration of media power…” where people can gather together on the internet to form a social community based on mutual interests/exchange of knowledge (35). He predicts that there will be two kinds of media power in the future: 1. broadcasting on network TV to shape national values, and 2. collective intelligence in grassroots media that will give marginalized voices an opportunity to gain visibility. He emphasizes the power of the consumers through new media (such as blogging and forming internet communities) to actively change and shape the media landscape. Jenkins assumes that “if old consumers were seen as compliant, then new consumers are resistant, taking media into their own hands” (38) which I agree with to a certain extent. Media technologies have the ability to give consumers a voice in a mass market, but are still limited within the confines of corporate interests. TV shows such as Jessica Jones (Netflix), Supergirl (CBS), and Daredevil (Netflix), among others, reinforce the ultimate power of corporate control. These TV shows appeal to and appease the critical and outspoken consumers, but are also permitted because they are in the form of the comic book franchise model that had already been proven successful.