Frankfurt School-inspired critiques of fandom sometimes depend on rather narrow notions of producer hegemony: the "culture industry" manipulates; consumers are directly duped or resistant. The case of "Chuck," as Holmes points out, offers a slightly different understanding of who is negotiating with whom and why. It reminds me, actually, of examples of fans embracing alleged manipulative frameworks of exchange and taking perverse pleasure in that "complicity"--from the willingly humbugged visitors to Barnum's Museum in the 1840s to the self-loathing/loving of Sex Pistols fans. (For more on this sort of complexity, see what remains, in my view, one of the best pieces of writing on the topic, Mary Harron's "McRock: Pop as Commodity," in Simon Frith, ed., Facing the Music, 1988).
At any rate, the pop pleasures of "Chuck" end tonight. But pop pleasure will endure.