JOMEC Journal Journalism, Media and Cultural Studies
Published by Cardiff University Press
When Tourism Comes to You (But You Still Have to Go Get It, Dawg): The Rickmobile and Transmedia Tourism/Fandom
Paul Booth
DePaul University Email: [email protected]
Keywords Fandom Merchandising Mobile Advertising Social Media Branding Tourism Consumer Culture Transmedia
Abstract
This paper analyses the Rickmobile, a mobile, pop-up merchandise car themed and designed around the eponymous Rick Sanchez (voiced by Justin Roiland) from Cartoon Network’s Rick and Morty (2013- ), as a site of transmedia mobile pilgrimage and fan-tourist destination. As a material fan object and as an object of fan tourism, the Rickmobile becomes a site of overlapping discourses surrounding the historical contexts of cult merchandising, media pilgrimage, and fans’ social media reporting. Reflecting aspects of the show, it can be seen as a transmedia brand extension. At the same time, the Rickmobile encourages a particular type of fan engagement, harnessing active fan agency and encouraging fans to create their own Rick and Morty experience – but in doing so, fans become simultaneously imbricated within authorized, top-down and commercially-aligned structures.
Contributor Note
Paul Booth is Professor of Media and Cinema Studies at DePaul University. He is the author/editor of 11 books, including Digital Fandom (2010/2016, Peter Lang), Game Play (2015, Bloomsbury), Wiley Companion to Media Fandom and Fan Studies (2018, Wiley- Blackwell), and the forthcoming Watching Doctor Who (2020, Bloomsbury, with Craig Owen Jones).
Citation
Booth, Paul (2019), ‘When Tourism Comes to You (But You Still Have to Go Get It, Dawg): The Rickmobile and Transmedia Tourism/Fandom’, JOMEC Journal 14, ‘Transmedia Tourism, ed. Ross Garner, 91-105. DOI: https://doi.org/10.18573/jomec.177
Accepted for publication: 24th October 2019
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(which itself is an X-rated short parody of Introduction the Back to the Future trilogy (Zemeckis, 1985, 1989, 1990), follows titular Studies of transmediality offer multiple characters Rick Sanchez (voiced by frameworks for understanding the Roiland), an alcoholic scientist and relationship between texts in a inventor (and, as we find out, intergalactic transmedia framework. In particular, a ne’er-do-well), and his grandson Morty top-down authorship approach (see Scott (also voiced by Roiland) an oft- 2012) sees the controlling figure of an exasperated pubescent teen, as they have auteur as key to understanding adventures throughout time, space, and transmedia franchises, while a bottom-up alternate dimensions. fan-centric approach (Dehry Kurtz and Bourdaa 2017) reveals more tenuous but The transmedia dimensions of Rick and related connections. In the former, Morty are not vast: beyond the television auteurs help to frame the transmediation; program, only an ongoing monthly comic in the latter, audience interpretation takes book title continues the narrative, while a precedence. However, important series of games, toys, and merchandise differences within media texts can be further the transmedia brand (see revealed when different transmedia Tenderich and Williams 2015). This paper structures enter into the media argues, however, that the Rickmobile – a environment. For example, media mobile pop-up shop in the shape of Rick industries relying on fan audiences can Sanchez – reframes the transmediation engender different structures of through a fannish tourist framework. The transmediation. I argue in this article that Rickmobile adjusts the temporality and different types of fan labour can be identity of fans, turning transmediated fan harnessed by transmedia brand engagement into fan labour, in the way it extensions focused on touristic and highlights connections between media consumerist behaviors of fans, using Rick tourism, social media, and merchandising and Morty’s Rickmobile as a prime in the age of consumerist and example. mainstream fandom. Much recent fan studies scholarship has approached the Rick and Morty (Cartoon Network 2013–), fan-as-labour paradigm, wherein the a popular adult cartoon which airs on the mainstream media industries are US’s Adult Swim late-night offerings and harnessing the power and reach of fans on the UK’s FOX network, has become a to work (usually for free) for the media cult hit, developing a sizable fandom 1 producer (see Booth 2015c; Chin 2014; despite its short tenure onscreen. Scott 2009). Much of this scholarship, Developed by Justin Roiland and Dan however, tends to examine more active Harmon, the show has aired, as of 2018, uses of fans – fans’ art being cited as a 31 episodes – with a further 70 ordered type of word-of-mouth advertising, or by Cartoon Network – and has developed fans’ social media use being harnessed to a base of active and participatory fans. promote and discuss a particular text. The show, which is based on Roiland’s This paper argues, in contrast, that the early work on the animated Internet web Rickmobile paradoxically enables fans to series The Adventures of Doc and Mharti do both: fans are active through their
1 During the writing of this article, multiple detailing quite negative interactions of the Rick popular criticism articles have been released and Morty fandom (see Purdom 2017). 91 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
social media usage and engagement in wherein fans journey to ‘a location or site transmedia tourism, but in doing so they that has a meaning in the ‘text’ become positioned by the Rickmobile as surrounding a popular culture figure’ a passive consumer/promoter of the (Linden and Linden 2017, 105). Yet, product. By applying the methodologies of traditional studies of fan pilgrimages only fan studies to contemporary debates focus on stationary places – Graceland, about transmedia and tourism, this article Vancouver, New Zealand, Disneyland – or complicates scholars’ traditional views of stores like Forbidden Planet (e.g. Geraghty the monetization of the active 2014). In contrast, the Rickmobile turns engagement of fans of cult media texts. fan tourism into a ‘FOMO’ (Fear of Missing Out) experience, as it drives from city to city and relies on the social media usage ‘Does Your Car Look Like a Smaller of fans to help spread the word on the Version of Your House?’ vehicle’s eventual locale. The car, filled with one-of-a-kind merchandise, That there are fans of Rick and Morty announces it’s ‘tour’ online – where it will should not be a surprise, and that they are stop and when – but fans work as active participants in the fandom even promotional branders (Burns 2016) to less so. The 21st century media advertise the vehicle. Lines often exceed environment is built for fandom (Booth the amount of merchandise available. 2015c). Fans are mainstreamed now, becoming the de facto audience for many The Rickmobile is not the first-time fans hit television series and films (Jenkins have been asked to promote the 2007; Fraade-Blaner and Glazer 2017). As whereabouts of a traveling cult object, nor Rhys Williams (2016) notes in his review is it the only transmedia tourist of Rick and Morty, ‘If one broad current of experience that has been designed. comedy might be defined as ‘playing with Ahead of the release of Despicable Me 2 expectations’, then Rick and Morty (Coffin and Renaud, 2013), for instance, demands a fannish level of expertise to Universal Pictures and Illumination ‘get’ everything’ (Booth 2015c, 147). Fans Entertainment created the Despicablimp, of Rick and Morty had one additional way a flying blimp in the shape of a Minion of participating in their fandom that was from the film. Fans were encouraged to not available to fans of many other shows follow along on social media by tweeting or films: they could follow, and purchase sightings or posting images on Instagram. products from, the Rickmobile as it Similarly, the #SpotStuart campaign used traversed the country selling Rick and a giant balloon of Stuart the Minion for Morty themed merchandise. In doing so, promotion of Despicable Me 3 (Balda, fans not only participated in the active Coffin and Guillon, 2017). Designed to consumption of the text, but also become look like Rick Sanchez, the Rickmobile participants in a transmedia branding (Figure 1) depicts a hunched over Rick, exercise that hinges on both the social facing backwards, vomit spilling out of his media usage of contemporary fans and mouth, with a deranged look in his eye. the mainstreaming of fandom in the The body and image of the car contemporary media environment. paratextually frames a particular reading of the character and, through him, the Studies of fandom and tourism argue that show. Rick and Morty features ‘the fan travel can be a type of ‘pilgrimage’ overriding aesthetic and substance …[of]
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a grotesque body-horror/body-comedy ‘entertainment has seeped into every (Williams 2016, 148), and the car features aspect of the economy’, and ‘shopping a tortured and excessive body posture – has become blended into entertainment’ Rick on his knees, vomit on his mouth, (Kozinets et al. 2002, 17). They argue that angry look in his eye. Williams (2016) goes ‘themed brand stores’, or stories that are on to note that: primarily focused on selling branded services rather than products, have The grotesque aesthetic and the become ‘woven into the fabric of reflexive irony of the show are generated consumers’ cultural universe’ (Kozinets et by the void at its heart, a void that plagues the postmodern liberal today. al. 2002, 18). Consumers follow brands The grotesque is, traditionally, not only and, as Kozinets (2014) later illustrates, an aesthetic but an expression of brand leaders try to cultivate their resistance – a folk weapon against the consumers as fans. The Rickmobile is a status quo and its strictures. (Williams site of fan consumption, and at the same 2016, 149) time, a space where fan interactions transmediate the Rick and Morty The Rickmobile becomes a synecdoche experience. for the show – fans that follow the Rickmobile are encouraged to see the car ‘That Sounds Like Slavery with Extra as an extension of the show and Rick as Steps’ grotesque character. On the one hand, the Rickmobile illustrates some meaningful connections to previous literature about transmediation, fan merchandising, and tourism. As a retail outlet, the Rickmobile highlights the sale of toys and other paratextual material. The merchandising of fan interests and passions reveals a new way of envisioning the connection between transmediation and fandom. If toys and games can be a type of transmedia (see Gray 2010; Booth 2015b), then a car detailed to look like a character, and designed to deepen an audience’s understanding of a character, can also function as transmedia. Fans’ material engagement has been an
underdeveloped areas of fan studies, Figure 1. The Rickmobile (from the official despite research on collecting (Geraghty Twitter) 2014), toys (Godwin 2015; Zubernis and Larsen 2013), play (Gray 2010, Booth
2015b), and item display (Heljakka 2015). However, the Rickmobile does not just Considering how much merchandise is represent Rick Sanchez: it also represents made for fans today, and how fans have a branded transmedia retail experience. been (stereotypically) associated with As Kozinets et al. (2002) have noted, crass commercial behavior in the past (see Sandvoss 2005), it is perhaps 93 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
surprising that most fan studies research celebration – the 50th anniversary focuses on the creative side of fandom convention in celebration of the British rather than the consumerist side (see sci-fi television series – the BBC used fan Rehak 2014). Yet, the wide availability of consumerism ‘to maintain and merchandise online and the popularity of regenerate its public service ethos’ (Hills fan conventions like the various Comic- 2015, 57). Fan consumption becomes a Con’s around the world, which often way of maintaining control over an feature tens of thousands of fans and audience’s interpretation of a program: where merchandise is readily available for authorized merchandise maintains a purchase, illustrates that the ‘materiality’ close connection to the original meaning of fandom is very much alive, and of the text, here concretized through fan meaningful (Williams, this volume). monetary consumption (see obsession_inc 2009). Fans may buy things Further, there is a particular pleasure in ‘because they meant something, it purchasing, one ideologically tinged brought them closer to that very text they through the lens of consumerism and were remembering and celebrating’ capitalism. To ‘buy into’ fandom is also to (Geraghty 2014, 93), but they also buy buy into the very system that has turned things to become closer to the text itself, fandom into a commodity. Fan scholars and to show their support for the show often write about the resistance of fans, or (Booth 2016b, 41–3). the way that fans subvert the ‘given’ meanings of a media text and ‘read’ At the same time, fans can also use through a more progressive lens merchandise as a way of signaling (especially in terms of the identity politics displeasure with a series, as Jeffrey A. of race and gender, see Busse 2013; Brown (2017) discusses of the Star Wars: Pande 2016). But not all fans are resistant, Episode VII - The Force Awakens (Abrams, and not all fan practices depend on 2015) #WheresRey campaign, wherein countering hegemonic insistences of fans, noticing that the lack of Rey (played complicity with the media system. As a by Daisy Ridley) merchandise in Star Wars reflection of transmedia, branded toys toys, took to social media in protest as a can also build social capital within fan form of ‘fan activism used to address real- communities. For example, part of the world social issues’ (Brown 2017, 4). appeal for fans of the Rickmobile lies in Indeed, merchandise is often crucial for the exclusive merchandise available for fans, as having merchandise can often purchase. Merchandise only available at take the place of a series, especially in the the Rickmobile means that these ‘physical moments the series is off-air. For objects […] impact on fan identity’ example, Rick and Morty has had a total (Geraghty 2014, 5). Collecting exclusive of three seasons but only 31 episodes; the merchandise ‘is about constructing an toys and tee-shirts fill in the gaps between identity as a fan and creating new episodes. meanings from a pre-established universe’ (Geraghty 2014, 121), cementing Transmedia tourism also reflects these a bottom-up, fan-centric transmedia consumerist behaviors, not just through experience. the purchasing of products, but also through the labour of fans themselves as Further complicating this relationship, a marker of interest in the text. Research Matt Hills (2015) notes that, in terms of the on fan labour finds generally two Doctor Who (BBC 1963-89, 1996, 2005- ) contrasting views. Both agree that the 94 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
media industries often use fans – and Booth 2015a). Suzanne Scott (2009) fannish affect – to help promote their describes how media corporations have products. Bertha Chin (2014) describes coopted the fan gift economy, primarily this as: through the lure of ‘‘gifted’ ancillary content aimed at fans through official When fans blog about or discuss their websites […] which are rapidly perfecting favorite media texts, they are performing a mixed economy that obscures its labor, generating word-of-mouth promotion for TV shows, films, books, commercial imperatives through a celebrities, musicians, and bands. More calculated adoption of fandom’s gift than that, fans also manage websites, economy, its sense of community, and the Facebook pages, Tumblrs, and Twitter promise of participation’ (Scott 2009, 1.5). accounts, sometimes collaborating with celebrities and their management team Seeking a compromise between the to provide news and information to their views, Henry Jenkins, Sam Ford, and fandoms. (Chin 2014, 1.1) Joshua Green (2013) argue that it is ‘crucial to move beyond seeing the The disagreement arrives between those relations between producers and their who view this as exploitative of fans, and audiences as a zero-sum game’ (Green those who feel that ‘fans who participate 2013, 174) – rather, we need to see both in these collaborations or run the fan sites fans and producers as having both may consider their work not exploitative knowledge about and acceptance of the but a service to fandom’ (Chin 2014, 1.5). other. Fans are not dupes, but they are I’ve previously termed this ‘service to also not as powerful as media fandom’ as a type of Digi-Gratis economy, corporations. where fans work for free to see their contributions as giving back to a media The types of fan labour that media industry that they have loved (Booth corporations have typically relied upon 2016b). have been more active in nature. Fans make art, which can be used in Both views of fan labour stem from the advertising. Fans edit videos, which can be eruption between gift economy structures used online. Fans live tweet, working as (typically observed in classic fan word-of-mouth advertising. The active communities - see Jenkins 1992) and participation of fans is seen as a way to commercial economies. Fan gift generate advertising and interest. As economies, as Karen Hellekson (2009) Tiziana Terranova (2003) notes, though, has noted, ‘require exchanges of gifts: you ‘free labor is not necessarily exploited do not pay to read fan fiction or watch a labor’, as fans often ‘willingly fan-made music vid’ (Hellekson 2009, concede…[payment] in exchange for the 114). pleasures of communication and exchange’ (quoted in Chin 2014, 4.1). Fan Commercial economies seek to profit labour itself can be considered part of a from the affect that fans feel for the media transmedia structure, especially when fan – hence (the failed) Fanlib, which work can be marketed as part of the attempted to monetize fan fiction in 2007, show. and (the now closed) Amazon Kindle Worlds, which provided a space for fans to write, and sell, authorized fan fiction (although with significant restrictions;
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‘Look Where Being Smart Got Ya’ interpretations of the experience through a transmedia lens. On the other hand, the Rickmobile uses a different form of fan labour to generate Fans of Rick and Morty did not have to transmedia branding by turning fans into travel very far to meet and greet the docents. Fans filter the transmedia Rickmobile. 2 The vehicle started travelling experience of the Rickmobile through on May 11, 2017 from Atlanta, GA (the their own social media use, creating their location of the headquarters of Adult own type of ‘tourist gaze’ (Urry and Larsen Swim, the Cartoon Network nighttime 2011). By docent, I refer to the way an programming block; Adult Swim is owned individual’s interpretation of a tourist site by Turner Broadcasting System), and (or, in this case, a mobile tourist retail eventually finished up its tour in New York environment) can affect the gaze of other City at New York Comic Con on Oct 08, attendees, what Garner (2016b) calls the 2017. All told, the Rickmobile made 44 ‘cued immersion’ of a tour. Examining the scheduled stops in 44 cities (across 18 Doctor Who Walking Tour of Cardiff, states)3 during that five month sojourn. Garner (2016b) treats ‘the tour as an Along the way the Rickmobile traveled the official paratext’ of the show that highways of America like a traditional US ‘constructs strategies to align participants tourist, taking in many of the sights that with institutional ideologies concerning rhetorically construct the notion of the BBC and its status as a globally- America, and being photographed recognized, 21st Century public service countless times for social media (Clark broadcaster’ (Garner 2016b, 87). 2004). While Garner is concerned here with the In effect, the Rickmobile became a tourist reification of the BBC, I want to apply his itself, with fans and official social media argument about the ‘statements of the accounts telling the story of the tour guide […] who primes the tourists to Rickmobile’s adventures. Indeed, part of ‘see’ locations as aspects of the cult world’ the experience of the Rickmobile involved (Garner 2016b, 87) to the experience of fans who encountered it to snap being a fan of Rick and Morty. That is, fan Instagram images and write Twitter posts participation at the Rickmobile and social about their experiences, turning media sharing, guided and supported by themselves into a literal ‘tourist gaze’ for official social media accounts, works as a other fans: ‘If the Rickmobile isn’t stopping framing principle by relying on fans to in a city near you’, wrote one online article spread the word about the Rickmobile. about the car, ‘you can follow along with The experience of visiting the attraction his adventures on Twitter and Instagram’ becomes filtered through the particular (Riese 2017). Part of the job of the fan, fan experience on social media; and by then, became not just meeting the highlighting particular tweets and Rickmobile and purchasing merchandise Instagram posts (via favoriting, retweeting, (although, as I describe in the next or liking), the Rickmobile social media section, this was also crucial to displays account could direct other fans’ of fannishness), but also in working as a
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social media promoter for the vehicle. ways: ‘Look at how crazy this experience Indeed, The Rickmobile is conceptualized is; you too can be part of it!’ But actually, as a celebrity in and of itself: note the use the participation is limited – posting is a of ‘his’ in Riese’s (2017) quote above. The relatively passive activity, or at least one car is the attraction and the fan is the that requires less activity. promoter. Engendering and promoting the Rickmobile through social media In fact, the official website for the opens up a new type of fan-tourist Rickmobile proclaimed ‘We’re bringing experience – both as tourist and as a fan the store to your door’ (see Plante 2017). docent. Fans not only follow the Rickmobile around and on social media, but as one The position of the fan docent in website adds: ‘Rick himself will be contemporary media tours is becoming chronicling these (mis)adventures across more important, through both themed the U.S. on both Instagram and Twitter’ interaction with the guests as well as the (Plante, 2017). This additional level of cued immersion into the cult text (Garner social media detailing becomes a type of 2016). Garner (2017)’s discussion of the transmedia storytelling, augmenting the tour guide reflects a changing experience of the Rickmobile as well as perspective, from the docent as ‘an Rick and Morty. But unlike traditional unglamorous job’ (Ap and Wong 2001, views of transmedia, which focus on the 556) to one where the docent represents integration of multiple mediations to a ‘performed identity’ of knowledge; here, create one narrative, this type of the Rickmobile fans serve as tour guide storytelling hinges on the experiences of for other fans (Garner 2017, 427). In short, fans – without fans engaging with the the tour guide has rarely been seen as a Rickmobile on social media, posting its high-class job, but Garner (2017) makes whereabouts, and becoming part of the clear, the ‘ambassadorial role’ coupled social media ecosystem, the Rickmobile’s with the symbolic capital accrued through ‘story’ fails to resonate. The Rickmobile knowledge sharing re-values the guide’s requires fans to post on social media work (Garner 2017, 430-1). Fan’s about their experiences with the car. Of promotion of the Rickmobile functioned course, many fans tweet and discuss their as a transmediated brand extension. favorite texts online (Deller 2011), but ‘the importance of physical embodiment is Yet, unlike traditional forms of transmedia, equally clear in tweets’ as well (Deller the Rickmobile reveals a different type of 2011, 167). That is, social media is often fan docent. If, as previous research has used to reflect a physical presence at shown, a tour docent creates a cued events like fan conventions, important immersion for visitors (Garner 2016), then events, and tourist locations. This social the fan docent highlights the relevant broadcasting can reflect both a desire on experience for other fans at a tourist the part of the attending fan to present location. Garner (2017) provides a reading information to other fans who are missing of the docent, the tour guide, as a out, as well as generating a sense of performative role for the fans in access and subcultural capital. attendance (Lee 2012 describes a similar practice with Harry Potter tour guides). In other words, the Rickmobile can travel The practice becomes seemingly more from location to location because of its participatory as individual fans may direct reliance on its fans to describe its others to view the Rickmobile in particular movement. This reliance on (passive) fan 97 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
labour – the use of social media in assume that fans will act in ‘proper’ ways: particular – reveals new aspects of that is, fans will work to advertise the corporate use of fan affect. In part, the Rickmobile’s visit, will visit and purchase Rickmobile thus hinges on the fact that products (to offset the cost of travel) and ‘Businesses are finding that traditional will participate in net-positive ways for advertising is no longer enough to reach Adult Swim. In exchange, the Rickmobile and attract customers’ (Niehm, Fiore, must provide fans with a wealth of Jeong, and Kim 2007). Getting out-and- reasons to visit – and those reasons about in the country is itself a new include not just subcultural fan capital advertising strategy. But partly, this sort of (Williams 2013), but also ‘one-of-a-kind’ mobile tourism also exists because of merchandise. new technology that allows such interactivity. Neuhofer (2014) notes that ‘the search for unique, compelling, and ‘Keep an Eye Out for Any Zany Wacky memorable experiences in the context of Characters that Pop Up’ tourism consumption has become a key notion’ (Neuhofer 2014, 91). Fans are In the case of the Rickmobile, however, already posting – the Rickmobile simply ‘just-in-time fandom’ is also ‘just-in-line’, hitches a ride on the posts. as the actuality of the Rickmobile is as a mobile pop-up store. But rather than Thus, by calling on its fans to tweet, relying just on fans’ social media use to Instagram, and post about the trip around advertise (in the case of the fan docent), the country, the Rickmobile becomes the the Rickmobile also relies on fans’ bodies tourist and the fan becomes the guide for themselves as sites of advertising. I want other consuming fans. Not only does fan to discuss here how the presence of fans knowledge of the show become en masse can be read within the important for the fans’ subcultural capital, framework of transmedia studies. but their knowledge about the location of Transmedia has generally referred to the the Rickmobile – not just which cities it is interaction between different texts. Re- in (as that information is available online), reading the presence of fans within the but also where in the city and for how long themed retail space, however, means – becomes a type of currency. The seeing not just interaction between texts, immediacy of the Rickmobile means that but the importance of fans as a text too. fans must reorient themselves to the Here, transmedia fandom is more than timing of the Rickmobile. Matt Hills (2002) just using fan material; it’s using fans has termed this ‘just-in-time’ fandom, themselves as a form of marketing on when fans must make time in their behalf of the production. schedule for the ‘rhythms and temporalities of broadcasting’ to be able Social media posts for the Rickmobile, by to discuss immediately upon an episode’s and large, also display fans’ bodies in airing (Hills 2002, 140). However, with the various ways. Some fans pose by the front Rickmobile, it’s not broadcasting that is of the truck. Other fans come dressed in ‘just-in-time’ but rather the appearance of costume, making cosplay an ‘on brand’ the car itself. The Rickmobile becomes a experience for the transmedia tourist. celebrity, bringing to town the promise of Many fans take photos of the long queues tourist expectations. But in order to meet to buy products. By displaying and those expectations, the Rickmobile must focusing on the bodies of the fans in and
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of themselves, Adult Swim harnesses the came to my area, for instance, the queue fandom as a mass, as if to indicate to stretched for hundreds of people and other fans who aren’t in attendance that most of them didn’t get any merchandise; they should come to the next location. they did, however, get photographs for The ‘text’ of the Rickmobile becomes Twitter and Instagram, displaying selfies inseparable from the fandom of the with the car and with the hoardes of Rickmobile, which is linked inexorably to people). Marciniak and Budnarowska Rick and Morty. (2011) describe pop-up stores as when ‘retail brands take up temporary Merchandising, and the queueing up for residence in empty retail property spaces’ ‘unique’ items for sale, has become (Marcinuak and Budnarowska 2011, np). another major aspect of the mainstream They also cite ice cream shoppes, fan experience. In Crossing Fandoms farmer’s markets, and fish and chip shops (2016a), I defined this as ‘fanqueue’ as types of pop-up stores. Similar to pop- culture, or ‘a culture of sanctioned up shops are food trucks, which also consumerism as cultural capital’ in which resonate with the Rickmobile. Food fans are ‘defined by the eagerness to wait trucks, or street food vending ‘exemplify in lines’ (Booth 2016a, 24). In fact, the omnivorous consumptive movement, queueing up for products and embodying both lowbrow and highbrow experiences is now a common aspects and selling this packaged occurrence for fandom – large fan experience to consumers’ (Irvin 2016: 44; conventions like Wizard World practically see also Bjimji 2010). Indeed, Niehm, run on fan queueing, and even Fiore, Jeong, and Kim (2007) note that anniversary celebrations like the Doctor pop-up stores reflect ‘a pervasive change Who and Star Wars’ fiftieth anniversary in consumer behavior; many people are celebrations had enormous queues (Hills no longer concerned with just buying 2015). If fandom is becoming a more goods and services, they also expect mainstream identity, then the way that engaging experiences’ (Niehm Fiore, this identity is becoming expressed is Jeong, and Kim 2007, 1). Like the themed through more mainstream – e.g., retail stores described by Kozinets et al. capitalistic and industry-sanctioned – (2002), pop-up stores ‘allow visitors to ways, including the purchasing of have unique, personalized interactions products. Queuing is a mainstream and experiences with the brand’ (Niehm, practice, and we are used to seeing Fiore, Jeong, and Kim 2007, 2). queues everywhere: at theme parts, at music gigs, at other tourist sites. In fact, Of course, the Rickmobile is not the part of knowing that a site is valuable to standard pop-up shop, which sets up in visit lies in seeing that other people are one location – as previously mentioned, there as well. it’s mobile. The ‘limited time only’ nature of the mobile pop-up requires fans to be However, the Rickmobile represents a attentive to the time and place of new approach to fan queuing: Matar engagement, engendered by social media (2017) describes the Rickmobile as ‘Adult action. The Rickmobile thus brings to Swim’s unique approach to marketing’. mind the quintessential American mobile Pop-up shops sell ‘a limited supply of pop-up – the Oscar Meyer Wienermobile, goods’ for a limited time (Bartlett 2017). a hot dog shaped car that has, since 1936, The Rickmobile is no exception – it often been driven around the country handing sells out, and often fairly quickly (when it 99 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
out toy whistles in the shape of hot dogs Stranger Things (Netflix 2016- ) bar was (Wienermobile 2017). The Oscar Meyer only up for a month and queues went Wienermobile – actually, Oscar Meyer around the block (Selvam 2017b). A send out 11 at any time, ‘six of which are Gilmore Girls (The WB 2000-7, Netflix the full-sized familiar models, each 2016) coffee shop in Beverley Hills, assigned to a part of the country; and five California reproduces Luke’s Diner for of which are the other versions: the food fan-tourists. In contract, the Rickmobile truck, WienerMini, WienerRover, augments rather than simulates the text. WienerCycle, and the WienerDrone’ (Wienermobile 2017) – serves as both toy Pop-ups promote through social media distributor and advertiser, and only the word-of-mouth of fans and the presence food trucks sell actual hot dogs. The of ‘hip’ people, much like the Rickmobile. relative infrequency with which one can And part of what generates activity and see a Weinermobile (or other Weiner interest in the store is the mass of bodies vehicle) makes a sighting something that huddle around the merchandise. exciting: everyday people post on social Nearly every post with #Rickmobile media their excitement when tagged is of fans standing in the queue to encountering one of these cars in the buy a product, or lining up to get access wild. The Weinermobile as a marketing to the car. The advertising is written by/on scheme works to not only sell the the people. product, but also to sell the idea of the car The Wienermobile (and also the Red Bull- itself as an element of social capital: themed car) primarily serve as advertising viewing it gives one social cache. The in and of themselves; the handing out of same model can apply to the Rickmobile merchandising is secondary to the car and the ‘limited time only’ nature of reminding people to ‘eat a hot dog!’ transmedia marketing. Seeing the Seeing people interact is key, whether on Rickmobile gives one social capital. social media or in person. In the case of Additionally, pop-up stores, coupled with the Rickmobile, however, a more the often-unique merchandise and complicated relationship between the experiences there, also reflect the ‘just-in- pop-up, the mobile tourist, and the fan time’ and the ‘just-in-line’ aspects of comes together. The car is in the shape of Rickmobile fandom. Rick, but the actual advertising is relatively small and hidden: a small hashtag on the For instance, a few pop-up shops have bottom bumper (#rickmobile) and the had both overwhelming fandoms, as well title of the show on the front doors. One as limited time for fans to attend; would have to be already familiar with however, whilst these pop-up shows Rick and Morty to know what the car is. attempt to create a simulacrum of the The mystery helps drive people to use the diegetic world of the text, the Rickmobile hashtag (hopefully not while driving, extends the text, bringing new readings to though). The purpose of the Rickmobile is the fans. A Saved by the Bell (NBC 1989- to sell merchandise, but it’s also to sell the 93) pop-up bar was only around for a year idea of Rick and Morty as cutting-edge, a but was ‘slammed with fans’ (Selvam contemporary comedy that takes 2017a). Multiple Twin Peaks (ABC 1990-1, chances and does things differently. This Showtime 2017) pop-ups have appeared is transmedia branding, for fans and using around the country, timed to the release fans. For fans, part of the pleasure lies in of the new season (Dom 2017). A collecting the merchandise from the 100 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
Rickmobile, but part of the pleasure also then the Rickmobile, like Rick and Morty stems from finding and following the car, itself, ‘thus swings from irony to sincerity from posting about it, and in being seen and back to a more profound and with it. Using fans, the Rickmobile markets unassailable irony that recognises the very idea of the cult nature of the text nothing as sacred and leaves no solid through the bodies of the fans at the pop- moral ground to stand on’ (Williams 2016: up. They become as important as the 148). Indeed, the very idea of the actual merchandise itself, and the Rickmobile would go against the ethos presence of fans serves as advertising espoused in Rick and Morty; the paratext itself, saying ‘you should come here and has reframed the discourse of the be with other Rick and Morty fans’. With originary text (see Gray 2010, 15 for a over 18,000 followers on Twitter and similar discussion of The Simpsons). hundreds of thousands of Twitter and Instagram posts, the Rickmobile becomes The idea of purchasing products to the celebrity and the fans become, quite celebrate a series would be mercilessly literally, the followers. The Rickmobile mocked by protagonist Rick Sanchez, as turns the presence of fans into active would the Rickmobile itself. As an labour for the show. obscene parody of the Oscar Meyer Wienermobile, in that it features a hunched over, inebriated caricature of Rick staring down the cars trailing behind, Conclusion: ‘Don’t Even Trip, Dawg’ the Rickmobile plays on the grotesque While the Rickmobile might reveal a humor of the show. For Rick, as for the different take on fan labour, there is an narrative of the series, resistance against additional wrinkle which bears ironing any sort of corporation or corporate- out: there is a fundamental contradiction control is meaning in and of itself. There when applying fan pop-up tourism to Rick is a libertarian streak running through the and Morty. The show itself ‘does more show, which balances Rick’s desire for than make us laugh – it exposes the absolute autonomy with Morty’s desire to terrible void at the heart of contemporary become part of some of the alien groups liberal US culture, while aggressively they encounter (e.g., the Vindicators, an seeking relief from this knowledge in Avengers-like group of superheroes). grotesquery’ (Williams 2016, 147). The That the Rickmobile is thus positioned as avant-garde science-fiction and nihilistic a celebrity in its own right is antithetical narrative ‘contrasts the chaos of Rick and to a show that revels in its anti-status quo Morty’s universe against the damage that strictures and designs. Rick is the ultimate it inflicts on the individuals within it, anti-(capitalist) hero: he makes his own deriving emotional pathos from rampant tools, he is beholden to nobody, and he is surrealism. It also shows how a systematically takes down any fundamentally impossible ascertaining government or ideological state true happiness is’ (Evans 2015, 11). Given apparatus that angers him. He will shoot these, then, the underlying functionality of a friend in the face and then get drinks the series seems fundamentally at odds with him the next day. He cares about no with merchandising at all. If buying goods one (not even Morty - well, maybe a little) can lead fans to happiness (Geraghty except himself. He once made an entire 2014), and if fan merchandising itself is mini-universe (the ‘microverse’) in a tiny part of capitalist culture (Booth 2016a), box and populated it with tiny people, only 101 https://jomec.cardiffuniversitypress.org/ @JOMECjournal
so he could appear to them as a god, it can use them. Like the people of the force them to generate electricity on microverse, fans serve the car; and ‘Goobleboxes’, and then steal the power through the car, the show, generating from them. labour through fannish Goobleboxes of their own. So, while Rick might assume buying merchandise would be silly, the Rickmobile demonstrates that fans will queue up and advertise for days. So, Acknowledgement perhaps, the Rickmobile most ably matches the show it is supposedly My sincerest thanks to Ross Garner for the advertising through its fandom: like Rick, helpful conversations and notes about this it cares not who its fans are, but only how project in its draft stages.
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