Our paper looks at three popular tween shows premised on tween girls creating digital content- and . Using the theoretical frameworks of critical digital labor studies, girls' media studies, and feminist theory, we argue that the tween-coms imagine the tween content creator as a post-feminist neoliberal subject in three ways: first, by hiding the labor behind the affective sentiments of play; second, by obscuring the misogynistic structure; and third, by framing childhood digital spaces as separate from adult spheres, legitimizing corporate encroachments into children's digital lives. The shows are a distillation of the neoliberal, post-feminist ideologies that define late-stage capitalism. The discursive formation of digital girls on children's television has been overlooked in the field of digital studies and girl studies. Our paper explores how digital content creation is discursively constructed within the cultural imaginaries of children's media.

The Walt Disney Company has maintained an aggressive approach to brand management for nearly a century. With the acquisition of a number of highly reputable companies, this aggression has become unignorable within the media industry. At the same time, Disney has embraced digital expansionism, culminating with the launch of its own on-demand streaming service, Disney+, in late 2019. The platform's documentary series offer a unique window into this new era of the Disney empire, usefully demonstrating the careful navigation of corporate legacy and history in the creation and maintenance of what I term . Thinking critically about the concept of collective imaginaries in the context of the digital and streaming economies, this article argues that these docuseries illustrate Disney's digital corporate strategy as a narrativization of wonderful work and ever-expanding value.

Cultural studies scholars have long been interested in the nexus between people's online activities and their identities. One activity that has drawn attention is reading/writing fan fiction (fictions written by and for fans that build upon the characters and worlds depicted in commercial texts). While fan fiction and its surrounding communities have long been understood as resistant to heteronormativity, previous work exploring the fans who produce and consume fan fiction has largely insisted that most of these fans are adult ciswomen. Little has been written about the experiences of trans and genderqueer fans. To remedy this elision, this article explores two trans and genderqueer individuals' experiences with fan fiction. It closely examines the roles reading, and especially reading fan fiction, has or has not played in their understandings of themselves, their identities, and their places in the world.