Page 400 . Volume 15, Issue 2 November 2018 Review Brigid Cherry, Cult Media, Fandom and Textiles: Handicrafting as Fan Art, London: Bloomsbury, 2016. 214pp. ISBN-10: 1350071331. Reviewed by Briony Hannell, University of East Anglia, UK Fan studies, since its conception in the early 1990s, has tended to privilege textual over tactile fan engagement, and, with the exception of costuming and cosplay (Scott 2015), the small body of literature on fans’ material practices often positions material fan production as a masculine practice (Hills 2014; Rehak 2014). The gendered and feminine nature of fan handicrafting prompts Brigid Cherry to reconsider these normative claims. Cherry’s Cult Media, Fandom and Textiles: Handicrafting as Fan Art (2016) investigates fans’ increasing engagement with handicraft as a way of reworking, reimagining, and transforming cult media texts. Cherry adopts an interdisciplinary approach to her research which demands consideration of fan handicrafting in the context of fan studies, gender studies, textiles studies, and material culture. Existing at the conjunction of cult media, hobby, and fan production, Cherry’s in- depth ethnographic research explores the interrelating network of creative, social, and affective experiences for fan handicrafters on Ravelry (an online user-driven social network and organising tool for handicrafters and fibre artists - although Cherry’s research reveals that it is particularly popular among knitters and crocheters). Cherry structures her findings around a series of case studies inspired by contemporary Anglophone cult media texts such as Doctor Who, True Blood, Firefly, Harry Potter, Outlander, and Sherlock. Additionally, Cherry’s personal history in relation to handicrafting and fan culture is vital to her research, and she positions her work within the autobiographical and autoethnographic tradition of fan studies. Chapter 1 introduces the concept of fan handicrafting, and locates it on the boundaries between textile arts and fan culture. For Cherry, fan handicrafting cannot be seen as straightforwardly connected to fan culture (and, by extension, fan studies): ‘it is also embedded in social and domestic contexts, as well as the creative, artistic, feminist, and political practices of the textile arts’ (14). Cherry presents a broad overview of the relationship between fandom, textiles, and gender, and she aligns the resurgence of DIY