

I have been sufficiently tempted to point out one of the ways in which this is horribly stupid viz. it is written from the perspective of somebody who is a liability to whatever scene he claims to have been a part of
Fanatics want to share their obsession, and mops initially validate it for them too. However, as mop numbers grow, they become a headache. Fanatics do all the organizational work, initially just on behalf of geeks: out of generosity, and to enjoy a geeky subsociety. They put on events, build websites, tape up publicity fliers, and deal with accountants. Mops just passively soak up the good stuff.4 You may even have to push them around the floor; they have to be led to the drink. At best you can charge them admission or a subscription fee, but they’ll inevitably argue that this is wrong because capitalism is evil, and also because they forgot their wallet.
Everybody with half a brain knows that actually fanatics are frequently fucking deadbeats, who are therefore incapable of materially contributing beyond their physical presence. That’s fine, but it doesn’t lend itself to the financial stability of the collective enterprise, especially if they expect to get free stuff out of the bargain, which they frequently do. Of course, this isn’t the case for everybody, but that just proves the point that this is unbelievably fucking stupid
Mops relate to each other in “normal” ways, like people do on TV, which the fanatics find repellent. During intermission, geeks want to talk about the New Thing, but mops blather about sportsball and celebrities. Also, the mops also seem increasingly entitled, treating the fanatics as service workers.
“Fanatics” like this treat whatever community has sprung up around its artists as a vending machine for personal connection and social clout. They love to be a part of something but they’re too insecure to let other people love it too, and they lose their ability to meaningfully contribute because they’re so busy policing the boundaries of the space. This isn’t a “fanatic” actually, because again, it’s just a(n extreme and highly idealised) type of guy, but again that is proving the point of the stupidity of this enterprise.
Mops also dilute the culture. The New Thing, although attractive, is more intense and weird and complicated than mops would prefer. Their favorite songs are the ones that are least the New Thing, and more like other, popular things. Some creators oblige with less radical, friendlier, simpler creations.
cf. Bob Dylan, “Judas”
Even reading just a paragraph of the article you get the sense that Chapman is an insufferable dork who feels somehow burned about something in his past
The strangest thing about it is that the complaints are played so much to such an intense stereotype it’s as if Chapman is the only person in his model who actually embodies what would otherwise be a ludicrously idealised and caricatured type, and it turns out to be the horrible deadbeat superfan who ruins everything trying to make it his personal possession

I don’t even know who Harriet Hall is, but this undersells it. Just in the wikipedia link that we can all see, she says that the (fake) issues raised by Abigail Shriner in Irreversible Damage, “urgently need to be looked into”. That book, far from a mere “dodgy-sounding book”, was an enormously influential, best-selling, and intensely transphobic avalanche of lies and self-serving distortions.