Social media provides a way to study Black people’s relationship to the raced and gendered ways that they contend with their intimate lives with friends, family, and their romantic partners through studying their relationship to contemporary cultural productions. Digital Black fandoms constitute Black digital intimacies through affective fandom engagements on social media. Guiding this dissertation are two research questions: How do Black fans grapple with the intimate aspects of their friendships, family, and romantic lives by engaging their fandom objects on social media? How does social media provide a platform to build community through creating new discourse about the romantic and intimate lives of Black people?

Utilizing theories from Black Studies, Women, Gender and Sexuality Studies, Fan Studies, and Digital Studies, this dissertation analyses web series, television, film, and music. Autoethnography, close reading, and participant observation guide the methods and methodologies for the dissertation. First, the fandom of the queer web series Between Women (2011-2017), which depicts Black lesbians in Atlanta and their romantic, friendship, and family relationships. Next, this dissertation chronicles the journey of the web series The Misadventures of Awkward Black Girl (2011- 2013) to Insecure (2016-2021), which features two Black women best friends and their rollercoaster romantic relationships in Los Angeles. Finally, Beyoncé’s album Lemonade (2016), her husband JAY-Z’s album 4:44 (2017), and her sister Solange’s album A Seat at the Table (2016) as they each explore themes of racial injustice, love, and family. Through this process, “affirmative transformative” fandom demonstrates how digital Black fandom works of Black cultural productions affirm and transform the interior ways Black fans reflect on their interpersonal relationships. “Affirmative transformative” fandom is an amalgamation of traditional definitions of affirmative fandom, where fans affirm that they like a cultural production, and transformative fandom when fans create a new work inspired by their fandom object. The combination of “affirmative transformative” fandom intervenes in how Black fans affirm their fandom objects and themselves while simultaneously creating new fandom works and explaining the ways their interpersonal lives are transformed. The artists’ production and fans’ relationship to these cultural productions demonstrate that the quotidian aspects of the intimate are necessary to keep in conversation with other forms of resistance to self and world-make for themselves as an act of agential labor for and by Black fans.