#TV-Nihon translates and releases several Japanese television programs for English speaking audiences. One of the group’s ongoing projects is translating and subtitling current seasons of two long-running Japanese children’s television franchises: Super Sentai and Kamen Rider. Western audiences were introduced to both programs in the mid 1990s when Saban edited footage of American actors together with clips from these programs to create The Mighty Morphin’ Power Rangers and Masked Rider respectively. Any conversation about adapting Asian media for a Western audience needs to touch on the practice of “Fansubbing.” Fan-subtitling, or fansubbing, is the practice of fans (“fansubbers”) translating and adding fan-made, local-language subtitles to previously untranslated international video programs. In this way, fansubbers bring international media programming to Western media audiences. While fansubbing, as a practice, dates back to the early days of videotape technology, today fansubbing is widely done with digital video files, bit-torrent peer-to-peer file sharing, and/or video streaming technologies. Fansubbing has always been an “extra-legal” activity. It deals in media caught between two copyright regimes: the copyright of the original Japanese media texts and the copyright of officially licensed (or potentially licensed) Americanized versions. As such, fansub groups do their work in a murky legal grey area with no legal recourse or promise of protection for their fan production. The fact that #TV-Nihon’s work can be found on someone else’s YouTube channel illustrates this reality. The best that #TV-Nihon, and other groups like it, can do is a kind rhetorical dance: asserting the free and noncommercial nature of their works, their ownership of their translation and subtitles, and asking for support from their communities of viewers. The work that fansubbers do is, most certainly, valuable. Fansubbing creates new opportunities for fans to see new content, and it creates new opportunities for content owners to develop new fans. Fansubbers are, if nothing else, highly engaged fans. With the advent of increasingly powerful digital media technologies, the divide between media producer and media consumer is becoming increasingly blurry. As we discuss how Asian media works its way across the Pacific, we need to be mindful of how we frame the “work” that fans, like fansubbers, do and how we, as a culture, value that work.