Canadian subscription-video-on-demand (SVOD) services have commissioned French-language 'original' content to attract local audiences. ICI TOU.TV, Club Illico and Crave have indeed commissioned more than a hundred French-language scripted series, mostly produced in the Quebec province. However, the current state of research only marginally documents these services. Even in Canada, most research focus on US-owned streaming giants such as Netflix and Amazon, thus providing little information on Canadian national SVOD services, and their affordances in terms of storytelling and representation. Current research also completely overlooks French-language original content. This paper therefore discusses the results of the very first research project to specifically focus on the production of original French-language series for Canadian streaming services. After reviewing all original (scripted and unscripted) French-language content available on Canadian-owned SVOD services, a textual analysis of more than 40 scripted series has been conducted, which led to intricate insights regarding prevailing narrative trends and characteristics of main and secondary characters. In so doing, the objective was also to determine the level of diversity included within this so-called original content. In a context characterized by an unprecedented proliferation of scripted series, it indeed becomes crucial to ascertain whether a greater quantity of productions necessarily leads to a greater diversity in representation, that is, the inclusion of a 'multiplicity of forms', and an equitable plurality of cultural expressions and identities. This research produced several findings that testify to a significant inclusion of sexual, gender, and racial diversity, as well as a noticeable trend towards intersectional representation. Yet, the analysis also led to identify persistent issues, such as the qualitative marginalization of non-normative characters (queer, BIPOC, with disability, etc.), as they mostly are relegated to supporting roles. These findings therefore call for a nuanced assessment of the 'progress' in representation on streaming services.

This paper discusses the forced digitalization of activism brought about by the COVID-19 pandemic in the case of the transnational environmental youth movement Fridays for Future (FFF). Theoretically, we engage with social movement action repertoires to study the shifts in protest tactics associated with the social restrictions during the early stages of the pandemic. A qualitative content analysis of 781 posts across all 27 national FFF Facebook pages in the European Union reveals four clusters of digital action types: digital contentious actions; online information and education; digital community engagement and online partnership development. While digital media were part of FFF's action repertoire in pre-pandemic times, our findings yield that the shift from the movement's iconic street protests to exclusively digital tactics privileges community-building and education over contentious actions, potentially softening the political impact of the movement's landmark 'school strike'. Furthermore, although timely tactical flexibility kept the movement going during country lockdowns, the forced digitalization in the early stages of the pandemic primarily recombined existing action tactics rather than innovating them.

This article maps out and analyzes relationships shaping production in a growing cultural field of online gaming media production called 'Actual Play' (AP). AP occupies an ambiguous economic space between fan production and professional media and is marked by widespread monetization. Drawing on qualitative semi-structured interviews with 24 AP producers, this article uses actor-network theory and the concept of cultural fields to understand that space through an account of the actors constituting it. This maps the how AP producers develop their practices through complex relational networks. The analysis identifies 'key actor types' - the varieties of technological, human and corporate actors whose activities give shape to producers' practices. The article concludes that despite pervasive pressures to professionalize, the field offers limited pathways to vocational sustainability.

This article considers artistic engagements with string figure performance and collection as 'imaginary' articulations of digital media. As an object of anthropological inquiry, the string figure emerges in 1888 with a short paper by Franz Boas. Encouraged by more mainstream publications by Caroline Furness Jansen (2008) and Kathleen Haddon (1930), over the course of the 20th century the string figure would become a model through which largely western writers and artists have explored both the anxieties and dreams of ideal, embodied and networked communication technologies. The present article explores, specifically, the collecting projects and films of Harry Smith in the 1960s and 1970s; the video-performance piece of 1974, titled , by the interdisciplinary artist Vera Frenkel; and the string figure exhibit at David Wilson's Museum of Jurassic Technology in Culver City, California. Through a media-archeological lens, the history of string figure fascination takes shape as a repository of dreams about (digital) communication, which, it is additionally suggested in a final section, might yet allow for the expansion and enlargement of conceptions of both digitality and media.

This article considers how the emergent digital pedagogies used in a new creativity course run at the Univeristy of New South Wales contribute to the building of , and creativity literacies. In doing so, it addresses questions around the function of tertiary education within an accelerated, digitised and COVID-19-saturated globe. For while creativity is being touted as what every student needs - and what every employer wants - there is little understanding of how this most mystifying of skills can be taught to students in broad disciplines. There is even less understanding of how full-bodied modalities of creative cognition can be leveraged as moments of deep insight in the socially distanced realm of the digital. Drawing on hands-on methods from ground-breaking musicians, performers, dancers and writers, this article shows how the neuroscience and psychology of taking 'beautiful risks', committing to uncertainty and paying attention can be harnessed in digital learning. These dynamic digital pedagogies are principled in embodied liveness, playful interactivity and generative curiosity. They support students with practical strategies to take risks with imagination, discover through collaboration and work responsively in relation to diverse situations.

In recent years, location-based real-time dating apps like Grindr and Tinder have assumed an increasingly pivotal role in brokering socio-sexual relations between men seeking men and have proven to be fertile ground for the study of identity negotiation and impression management. However, current research has given insufficient consideration to how various contextual elements of technology use interact with one another to shape self-presentation behaviour. Through analysis of interview data, we found impression construction on these apps reflects tensions between authentic depiction of the self-concept and self-enhancement via deception. Whether and the extent to which one engages in deception depends on how a number of technological affordances, platform-specific community norms and userbase characteristics interact with each other. Self-presentational choices were a result of a combination of deception facilitators, for example, belief in the normalcy of lying, and constraining determinants, for example, the expectation of brokering physical connection. Impression construction determinants also interact in ways where the influence of any one element is dependent on others. This was most plainly evidenced in the interactions between stigma management concerns, the affordances of audience visibility/control and locatability and common ground reinforcing social hierarchy.

In the past few years, the discussion of conspiracy theories has embroiled researchers, politicians and the public alike. During the COVID-19 pandemic in particular, the term 'conspiracy theory' became a buzzword in the news media, public communication and everyday discussions. The pandemic also demonstrated that conspiratorial narratives disseminated online are not benign, obscure and eventually harmless ideas, but can mislead policy making, hinder crisis relief and public health efforts, or undermine trust in institutions and science. Factors contributing to the prevalence of conspiracy theories are complex and include psychological as well as socio-political factors. This special issue focuses specifically on the role of digital media and how they shape the dissemination and mitigation of, as well as research on, conspiracy theories. The special issue includes 13 research articles by authors from 11 countries and regions, which provide timely insights into the phenomenon of conspiracy theories with cross-cultural and cross-platform advances.

We describe a novel computational dictionary for the study of right-wing populist conspiracy discourse () on the internet, specifically in the context of contemporary German politics. After first presenting our definition of conspiracy discourse and grounding it in antecedent research on mediated rhetoric at the intersection of right-wing populism and conspiracy theory, we proceed by outlining our approach to dictionary construction, relying on a combination of manual and automated methods. We validate our dictionary via parallel manual coding of 2,500 sentences using the categories contained in the dictionary as labels and compare the consensus result with the label assigned to each sentence by the dictionary, achieving satisfactory results. We then test our approach on two different datasets composed of alternative news articles and Facebook comments that spread conspiracy theories. Finally, we summarize our observations both on the methodological premises of the approach and on the object of populist right-wing conspiracy discourse and its dynamics more broadly. We close with an outlook on the potentials and limitations of the dictionary-based approach and future directions in applications of content analysis to the study of conspiracy discourse.

Commercial game makers at all scales of production have increasingly come to incorporate livestreaming into every stage of the game development cycle. Mainstream hits like and owe their ongoing success in no small part to their massive uptake by streamers, and triple-A releases from major publishers can reliably expect significant attention on streaming platforms. But what about smaller, lower budget games? For independent game developers, the costs and benefits of streaming are less clear. Based on interviews with small commercial indie developers in Toronto and Montréal, this article critically examines different discourses around streaming and commercial indie games, focusing on developer perceptions of the benefits and risks of streaming and its impacts on indie game-making practices, including production, promotion, and community-building. Contrary to persistent popular myths about streaming as the key to 'discoverability', commercial indie game development remains a precarious form of cultural work, and indie games collectively attract only a tiny fraction of the overall audience on streaming platforms. There is a high level of uncertainty about the factors that led to a given game's success, leaving many indie developers ambivalent about leveraging influencer attention and even as they commit significant time and energy trying to doing so.

Ageism is the most invisible form of discrimination. While there is some awareness of gender, racial, and socioeconomic discrimination on digital platforms, ageism has received less attention. This article analyzes some tools that are frequently embedded on digital platforms from an old-age perspective, in order to increase awareness of the different ways in which ageism works. We will firstly look at how innovation teams, following homophilic patterns, disregard older people. Secondly, we will show how ageism tends to be amplified by the methods often used on digital platforms. And thirdly, we will show how corporate values contradict the usability issues that mainly affect people with a low level of (digital) skills, which is more common among older people. Counterbalancing the abusive power control of the corporations behind digital platforms and compensating for the underrepresentation of groups in less favorable situations could help to tackle such discrimination.

This study applied collective action theories and network theories to examine the information sharing patterns among Twitter users to obtain sociopolitical legitimacy of their collective goal. The role of Twitter in facilitating private-public boundary crossing was defined in relation to main challenges of collective action. The hypotheses and research question were examined using Twitter data collected from an online campaign, which was created to bring about the release of a detained Syrian activist. Network analysis results showed significant geographic homophily effect, that is, participants located in the same region tended to share information with each other. In addition, the results indicated that more influential Twitter users tended to connect with less influential users to help spread information on the movement. Further content analysis showed that to better mobilize potential collective action participants, Twitter users utilized strategies to draw attention from citizen news media organizations, nonprofit advocacy organizations, public figures, and corporations.