Several people posed questions about BLAKE'S 7, a British Science fiction series. I want to first say that B7 has been and continues to be a major fan interest of mine and I would recommend it to anyone who likes intelligent science fiction with a dark edge. In many ways, the series was a response to ST with a bad totalitarian Federation, the protagonists as subversives, and the relationship founded on mutual distrust rather than the "great friendship." More to the point, the female characters are stronger than any on American SF TV. All of this made the series tremendously attractive to the fan communities who adopted it before it was ever aired here. The program circulated informally via pirated videotapes. In many cases, because of the problem of translating for the British PAL system to the American VHS, the tapes that circulated were made by pointing a camcorder at a screen playing the series and these were copied down multiple generations as the program's popularity spreed outward. B7's success is the model for other fandoms such as those around Starcops or The Professionals or The Sandbaggers or Red Dwarf, British shows which have not aired extensively in this country. I discuss the series extensively in the book in various contexts. As Sue suggests, there is a heavy overlap among Slash (homoerotic) fan writers between Star Trek and B7. Many B7 slash fans began with Trek and moved over when they felt they had exhausted the themes, characters, and other program materials. To my mind, many of the most sophisticated fan writers write in B7. There are significant differences in the fan writing which reflect the different tone and content of the two series. B7 slash stories tend to be much darker, focusing on the brutal competition between the men, the problems of building trust, struggles for authority and power (as in something as basic as who is the top and who is the bottom) and issues of class relations. Star Trek slash tends to be lighter and more romantic, assumes an existing basis of friendship between the male protagonists, focuses on the possability of greater intimacy (via the mind-meld), etc. In other B7 fan writing, a key theme is working around story events which kill off character or threaten potential lines of narrative development of interest to fans. Because B7 was a semi-serial rather than an episodic series, the stories tend to be more time-specific, that is more closely anchored to specific story events. Zines are sometimes subdivided according to the season in which the story is set with much devoted to fifth season stories, ie. stories that go beyond the aired narrative and rework its rather emphatic closure. What is posed by the differences between the fan writing surrounding the two programs is of course what role program ideology plays in shaping the reader's appropriation of program materials. I stress the resistant and creative reworking of program materials in the book, but it is certainly clear that fans respond to parimeters set by the original series, at least as they interprete it, and try to write stories that are somewhat consistent with the original characterizations. They were of course drawn to the program because it offered the chance to explore issues important to them and as I argue, fandom is motivated by a mixture of fascination and frustration, fascination to motivate their initial involvement, frustration to spark creative reworkings of the original. HENRY JENKINS