Hi, I'm the OP of this thread on Bluesky. I thought I'd come on here and upload some of the analysis I've done in later-additions to this thread, which weren't online when Tumblr-OP @carucath made this post, as well as a recent interaction with Rhianna Pratchett, all of which I think are useful bits of contextual info/expansion.
I've seen a few people in the notes/reblogs saying things about the fan-desire to rush to defend their faves etc., and kind of discounting my analysis because of that. While I agree that fandom spaces absolutely do have a huge problem with that, and that retrospectively reading Neil Gaiman's work looking for 'signs' that he was a piece of shit the whole time isn't actually constructive/doesn't really add anything useful to the discourse, my intent with this thread wasn't to try to absolve PTerry or put distance between him and Gaiman (though I can see how it reads that way). I'm more interested in looking at how 'known' people like Gaiman move within fandom spaces, as well as how our parasocial relationships with public figures, and the cult of personality which some people build up around them, can often help to protect them or even enable their behaviour (worth remembering that a number of the women Gaiman assaulted/abused have talked about being fans of his work, or meeting him through fandom spaces, or, even when not fans of his work as in the case of Scarlett, still being a bit over-awed by his fame and reputation).
I suspect that Gaiman's embellishment of his relationship with PTerry helped to build up his persona in SF/Fantasy fandom spaces after Pratchett's death, contributing to his personal Cult of Personality and fandom parasocial relationships with him. Over the last 5 years especially, Gaiman has had a pretty meteoric rise in the public eye outside of online SF/Fantasy fandom spaces & conventions. In particular a number of his works have been adapted for TV across
various large streaming-platforms following the success of Good Omens, with high-profile names attached to them, and large marketing campaigns. By positioning his Good Omens adaptation as 'Terry's dying wish' of him, Gaiman has gained a lot of attention for it and for his other work, increased his own public standing, and thus directly profited off of Pratchett's legacy and the public perception that the two were close friends. (Obviously GO was adapted with the support of Rhianna & Rob, but, as you'll see in these other threads, we probably should think of it as being primarily a PTerry novel, with some minor input from Gaiman).
Some personal context:
I hold two degrees in English literature (both with Firsts, or a 3.7-4.0 GPA for the Americans on this thread), as well as a research-Masters degree in Creative Writing (with a high 2.1, because I developed a chronic illness which made me bedbound for 6 months of that degree lmao). I have a long-standing personal and academic interest in both Gaiman and Pratchett's work, and have written multiple essays on Terry Pratchett's style & his approach to genre, including some for my Masters degree. I generally stay out of fandom spaces these days, and these threads have sprung out of my own prior research and academic work. While I'm yet to seek a PhD, I have previously been employed by the English Literature department of the main university in my city, where I was the tutor for one of their undergraduate courses (this means I was responsible for organising and running the weekly group tutorials/workshops which make up the other contact-hours for students outside of lectures, providing one-on-one support and feedback for students who asked for extra guidance but didn't feel it was complex enough to go to the head lecturer, and for marking student-essays). I do eventually hope to go in to academia/lecturing, but right now am taking a few years off from studying since finishing my Masters to pay off some of my student loan debt, get my health back on track, and to focus on my creative practice and writing career.
baratheonpilled
dailybridgerton
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