Academic literature on the topic 'TikTok (site web)'

Penelitian ini bertujuan untuk mengetahui: 1) Bagaimana kreativitas guru pada mata pelajaran rumpun IPS dalam pemanfaatan teknologi digital 2) Bentuk-bentuk kreativitas yang dihasilkan guru, 3) Faktor pendorong dan penghambat guru mata pelajaran rumpun IPS dalam pemanfaatan teknologi digital. Metode penelitian yang digunakan dalam skripsi ini adalah jenis penelitian kualitatif dengan metode deskriptif. Teknik pengumpulan data yang dilakukan yaitu berbagai data yang diperoleh dari hasil observasi, wawancara, dan dokumentasi di Madrasah Aliyah Negeri 3 Medan. Hasil penelitian ini menunjukkan bahwa kreativitas guru dalam pemanfaatan teknologi digital dapat dilihat dari tahap pembelajaran melalui fitur-fitur pembelajaran berbasis teknologi digital, Adapun bentuk kreativitas yang dihasilkan guru pada pembelajaran berbasis teknologi ini berupa Whatshapp Grup, Classroom, Google Meet, Quizizz, Tiktok, Youtube serta web site lainnya yang berhubungan dengan internet, Faktor Pendorong meliputi: pelatihan guru, siswa lebih aktif dan semangat, dan Faktor penghambat meliputi: terbatasnya kuota dan koneksi jaringan, tidak terfokusnya anak dalam belajar. Adanya faktor penghambat tersebut diharapkan pihak sekolah terus memfasilitasi pembelajaran berbasis teknologi, dan lebih memperbanyak program peningkatan kreativitas guru dalam penggunaan teknologi digital agar guru dengan mudah dalam mengembangkan kemampuan yang dimilikinya terkait pemanfaayan teknologi digital disebuah pmbelajaran

Web based shopping is a movement or action that is in many cases completed by different age bunches since it is not difficult to do and saves time. The goal of this study was to find out how variables related to free shipping and product completeness, free shipping coupons, and free shipping coupons combined influenced consumers' choices when making purchases. This examination is a quantitative report utilizing an example of 100 respondents who have made buys through the TikTok Shop stage. Questionnaires were distributed for data collection. The testing assurance method utilized was side purposive. The information investigation strategy utilized is different straight relapse examination. The consequences of the review show that the two X factors, in particular Free Delivery Coupons and Item Fulfillment, impact Buy Choices on the TikTok Shop Stage.

In today's era of globalization, rapid technological advances have driven progress in many social areas. Today's technological advances are triggering a shift in marketing strategies towards more contemporary ones.This study aims to test and find out how the application of the AISAS model in the digital marketing of the Amil Zakat Institute in increasing public trust and the strategy of LAZNAS Yatim Mandiri in increasing public trust through digital marketing. The method used in this study is a qualitative descriptive method that relies on the AISAS model (Attention, Interest, Search, Action, &; Share). Data collection techniques in this study are interviews, observation, documentation, and library data collection. The results of this study show that (1) LAZNAS Yatim Mandiri uses a promotion system in the form of share to share activities or programs of institutions that have been run. The biggest platforms are websites, youtube, instagram, and tiktok. (2) The success of LAZNAS Yatim Mandiri in implementing its excellent programs in the midst of very tight competition between Zakat Institutions. This success is due to the implementation of a consistent and well-integrated digital marketing strategy and in line with the AISAS Model strategy, namely: Attention, Interest, Search, Action, and Share. Keywords : Efficiency, Marketing, AISAS, Trust Model, Community Daftar Pustaka Arrofi, Abdulhakim., and Nurul Hasfi. “Memahami Pengalaman Komunikasi Orang Tua–Anak Ketika Menyaksikan Tayangan Anak-Anak Di Media Sosial Tik Tok.” Interaksi Online 7, no. 3 (2019): 1–6. Azzahrani, Mardhiyah. “Strategi Komunikasi Pemasaran Kementerian Pariwisata Indonesia Dalam Pesona Indonesia Melalui Youtube.” Jurnal Manajemen Komunikasi 2, no. 2 (2019): 144. https://doi.org/10.24198/jmk.v2i2.12925. Batubara, Azmiani, and Rahmat Hidayat. “Pengaruh Penetapan Harga Dan Promosi Terhadap Tingkat Penjualan Tiket Pada PSA Mihin Lanka Airlines.” Ilman 4, no. 1 (2016): 14. Bulele, Yohana Noni, and Tony Wibowo. “Analisis Fenomena Sosial Media Dan Kaum Milenial: Studi Kasus Tiktok.” Conference on Business, Social Science and Innovation Technology Vol 1, no. No 1 (2020): 565–72. http://journal.uib.ac.id/index.php/cbssit. Haryanto, Handrix Chris, and Tia Rahmania. “Bagaimanakah Persepsi Keterpercayaan Masyarakat Terhadap Elit Politik?” Jurnal Psikologi 42, no. 3 (2015): 243. https://doi.org/10.22146/jpsi.9913. Masruroh, Izzah, and Muhammad Farid. “Pengaruh Pengelolaan Ekonomi Produktif Dalam Mengentaskan Kemiskinan Di Kota Lumajang Studi Pada Badan Amil Zakat Nasional (BAZNAS) Kabupaten Lumajang.” Iqtishoduna: Jurnal Ekonomi Islam Vol.8, no. No.1 (2019): 209–29. http://ejournal.iaisyarifuddin.ac.id/index.php/iqtishoduna/article/view/348. Mohammad Suryawinata, Mohammad Suryawinata. Buku Ajar Mata Kuliah Pengembangan Aplikasi Berbasis Web. Buku Ajar Mata Kuliah Pengembangan Aplikasi Berbasis Web, 2019. https://doi.org/10.21070/2019/978-602-5914-81-2. Ningsih, S. “Strategi Membangun Customer Trust Pada Online Shop Dikalangan Mahasiswa Milenial.” Dinamis: Journal of Islamic Management and … 3, no. 1 (2020): 1–9. http://ejournal.iainpalopo.ac.id/index.php/dinamis/article/view/1576. “Profil LAZNAS Yatim Mandiri,” n.d. https://yatimmandiri.org/about/profil diakses pada tgl 19 desember 2022 pukul 19:09. Purnomo, M. Hadi. “Manajemen Pendidikan Pondok Pesantren,” 2017. Rachmawaty, Asye. “Strategi Marketing Menggunakan Instagram.” ATRABIS: Jurnal Administrasi Bisnis (e-Journal) 7, no. 1 (2021): 39–51. https://doi.org/10.38204/atrabis.v7i1.565. Saragih, Saut Pintubipar, and Mesri Silalahi. “Mengembangkan Usaha Melalui Website Dan Digital Marketing Pada Usaha Teralis Di Kota Batam.” Puan Indonesia 3, no. 2 (2022): 203–12. https://doi.org/10.37296/jpi.v3i2.86. Sumarwan, Ujang. “Model Keputusan Konsumen.” Perilaku Konsumen 5 (2014): 1–41. Wati, Andy Prasetyo, Jefry Aulia Martha, and Aniek Indrawati. “Peningkatan Keterampilan Pemasaran Melalui Pelatihan Whatsapp Business Pada UMKM.” Dedication : Jurnal Pengabdian Masyarakat 4, no. 2 (2020): 137–48. https://doi.org/10.31537/dedication.v4i2.362. Zein, Afrizal, Emi Sita Eriana, Salman Farizy, and Ghema Nusa Persada. “Pembuatan Website CMS (Content Management System) Pada SMK Muhammadiyah Parung Bogor.” Jurnal Ilmu Komputer IV, no. 1 (2021): 70–75. Zulfikri, Zulfikri. “Digital Marketing Communication Dalam Penghimpunan Zakat Di Indonesia.” Jurnal I-Philanthropy: A Research Journal On Management Of Zakat and Waqf 2, no. 1 (2022): 1–8. https://doi.org/10.19109/iphi.v2i1.12927.

AbstractDelineation of public concerns that prevent vaccine compliance is a major step in generating assurances and enhancing the success of COVID-19 prevention programs. We therefore sought to identify public concerns associated with COVID-19 vaccines, as reflected by web and social media searches, with a focus on menstrual irregularities. We used trajectory analyses of web and social media search data in combination with global COVID-19 data to reveal time-dependent correlations between vaccination rates and the relative volume of vaccine and period related searches. A surge of period and vaccine related Google searches followed the introduction of Covid vaccines around the world, and the commencement of vaccination programs in English speaking countries and across the United States. The relative volume of searches such as “Covid vaccine menstrual irregularities”, “Covid vaccine menstrual period”, “Pfizer vaccine menstruation”, and “Moderna vaccine menstruation” was each significantly correlated with vaccination rates (Spearman r = 0.42–0.88, P = 4.33 × 10–34–1.55 × 10–5), and significantly different before and after the introduction of Covid vaccines (Mann–Whitney P = 2.00 × 10–21–7.10 × 10–20). TikTok users were more engaged in period problems in 2021 than ever before. International, national, and state-level correlations between COVID-19 vaccinations and online activity demonstrate a global major concern of vaccine-related menstrual irregularities. Whether it is a potential side effect or an unfounded worry, monitoring of web and social media activity could reveal the public perception of COVID-19 prevention efforts, which could then be directly addressed and translated into insightful public health strategies.

The depiction of alcohol is the focus of a growing number of content analyses in the field of social media research. Typically, the occurrence and nature of alcohol representations are coded to measure the prevalence, normalization, or even glorification of alcohol and its consumption on different social media platforms (Moreno et al., 2016; Westgate & Holliday, 2016) and smartphone apps (Ghassemlou et al., 2020). But social media platforms and smartphone apps also play a role in the prevention of alcohol abuse when they disseminate messages about alcohol risks and foster harm reduction, abstinence, and sobriety (Davey, 2021; Döring & Holz, 2021; Tamersoy et al., 2015; Westgate & Holliday, 2016). Field of application/theoretical foundation: Social Cognitive Theory (SCT; Bandura 1986, 2009) as the dominant media effects theory in communication science, is applicable and widely applied to social media representations of alcohol: According to SCT, positive media portayals of alcohol and attractive role models consuming alcohol can influence the audience’s relation to alcohol. That’s why positive alcohol portayals in the media are considered a public health threat as they can foster increased and risky alcohol consumption among media users in general and young people in particular. The negative health impact predicted by SCT depends on different aspects of alcohol portrayals on social media that have been traditionally coded in manual content analyses (Beullens & Schepers, 2013; Mayrhofer & Naderer, 2019; Moreno et al., 2010) and most recently by studies relying on computational methods for content analysis (e.g. Ricard & Hassanpour, 2021). Core aspects of alcohol representations on social media are: a) the type of communicator / creator of alcohol-related social media content, b) the overall valence of the alcohol portrayal, c) the people consuming alcohol, d) the alcohol consumption behaviors, e) the social contexts of alcohol consumption, f) the types and brands of consumed alcohol, g) the consequences of alcohol consumption, and h) alcohol-related consumer protection messages in alcohol marketing (Moreno et al., 2016; Westgate & Holliday, 2016). For example, a normalizing portrayal shows alcohol consumption as a regular and normal behavior of diverse people in different contexts, while a glorifying portrayal shows alcohol consumption as a behavior that is strongly related to positive effects such as having fun, enjoying social community, feeling sexy, happy, and carefree (Griffiths & Casswell, 2011). While criticism of glorifying alcohol portrayals in entertainment media (e.g., music videos; Cranwell et al., 2015), television (e.g., Barker et al., 2021), and advertising (e.g., Curtis et al., 2018; Stautz et al., 2016) has a long tradition, the concern about alcohol representations on social media is relatively new and entails the phenomenon of alcohol brands and social media influencers marketing alcohol (Critchlow & Moodie, 2022; Turnwald et al., 2022) as well as ordinary social media users providing alcohol-related self-presentations (e.g., showing themselves partying and drinking; Boyle et al., 2016). Such alcohol-related self-presentations might elicit even stronger identification and imitation effects among social media audiences compared to regular advertising (Griffiths & Casswell, 2011). Because of its psychological and health impact, alcohol-related social media content – and alcohol marketing in particular – is also an issue of legal regulation. The World Health Organization states that “Europe is the heaviest-drinking region in the world” and strongly advocates for bans or at least stricter regulations of alcohol marketing both offline and online (WHO, 2020, p. 1). At the same time, the WHO points to the problem of clearly differentiating between alcohol marketing and other types of alcohol representations on social media. Apart from normalizing and glorifying alcohol portayals, there are also anti-alcohol posts and comments on social media. They usually point to the health risks of alcohol consumption and the dangers of alcohol addiction and, hence, try to foster harm reduction, abstincence and sobriety. While such negative alcohol portayals populate different social media platforms, an in-depth investigation of the spread, scope and content of anti-alcohol messages on social media is largely missing (Davey, 2021; Döring & Holz, 2021; Tamersoy et al., 2015). References/combination with other methods of data collection: Manual and computational content analyses of alcohol representations on social media platforms can be complemented by qualitative interview and quantitative survey data addressing alcohol-related beliefs and behaviors collected from social media users who a) create and publish alcohol-related social media content and/or b) are exposed to or actively search for and follow alcohol-related social media content (e.g., Ricard & Hassanpour, 2021; Strowger & Braitman, 2022). Furthermore, experimental studies are helpful to directly measure how different alcohol-related social media posts and comments are perceived and evaluated by recipients and if and how they can affect their alcohol-related thoughts, feelings, and behaviors (Noel, 2021). Such social media experiments can build on respective mass media experiments (e.g., Mayrhofer & Naderer, 2019). Insights from content analyses help to select or create appropriate stimuli for such experiments. Last but not least, to evaluate the effectiveness of alcohol marketing regulations, social media content analyses conducted within a longitudinal or trend study design (including measurements before and after new regulations came into effect) should be preferred over cross-sectional studies (e.g., Chapoton et al., 2020). Example Studies for Manual Content Analyses: Coding Material Measure Operationalization (excerpt) Reliability Source a) Creators of alcohol-related social media content Extensive explorations on Facebook, Instagram and TikTok Creators of alcohol-related social media content on Facebook, Instagram and TikTok Polytomous variable “Type of content creator” (1: alcohol industry; 2: media organization/media professional; 3: health organization/health professional; 4: social media influencer; 5: ordinary social media user; 6: other) Not available Döring & Tröger (2018) Döring & Holz (2021) b) Valence of alcohol-related social media content N = 3 015 Facebook comments N = 100 TikTok videos Valence of alcohol-related social media content (posts or comments) Binary variable “Valence of alcohol-related social media content” (1: positive/pro-alcohol sentiment; 2: negative/anti-alcohol sentiment) Cohen’s Kappa average of .72 for all alcohol-related variables in codebook* Döring & Holz (2021) *Russell et al. (2021) c) People consuming alcohol N = 160 Facebook profiles (profile pictures, personal photos, and text) Portrayal of people consuming alcohol on Facebook profiles Binary variable “Number of persons on picture” (1: alone; 2: with others) Cohen’s Kappa > .90 Beullens & Schepers (2013) d) Alcohol consumption behaviors N = 160 Facebook profiles (profile pictures, personal photos, and text) Type of depicted alcohol use/consumption Polytomous variable “Type of depicted alcohol use/consumption” (1: explicit use such as depiction of person drinking alcohol; 2: implicit use such as depiction of alcohol bottle on table; 3: alcohol logo only) Cohen’s Kappa = .89 Beullens & Schepers (2013) N = 100 TikTok videos Multiple alcoholic drinks consumed per person Binary variable “Multiple alcoholic drinks consumed per person” as opposed to having only one drink or no drink per person (1: present; 2: not present) Cohen’s Kappa average of .72 for all alcohol-related variables in codebook Russell et al. (2021) N = 100 TikTok videos Alcohol intoxication Binary variable “Alcohol intoxication” (1: present; 2: not present) Cohen’s Kappa average of .72 for all alcohol-related variables in codebook Russell et al. (2021) N = 4 800 alcohol-related Tweets Alcohol mentioned in combination with other substance use Binary variable “Alcohol mentioned in combination with tobacco, marijuana, or other drugs” (1: yes; 2: no) Cohen’s Kappa median of .73 for all pro-drinking variables in codebook Cavazos-Rehg et al. (2015) e) Social contexts of alcohol consumption N = 192 Facebook and Instagram profiles (profile pictures, personal photos, and text) Portrayal of social evaluative contexts of alcohol consumption on Facebook and Instagram profiles Polytomous variable “Social evaluative context” (1: negative context such as someone looking disapprovingly at a drunk person; 2: neutral context such as no explicit judgment or emotion is shown; 3: positive context such as people laughing and toasting with alcoholic drinks) Cohen’s Kappa ranging from .68 to .91 for all variables in codebook Hendriks et al. (2018), based on previous work by Beullens & Schepers (2013) N = 51 episodes with a total of N = 1 895 scenes of the American adolescent drama series “The OC” Portrayal of situational contexts of alcohol consumption in scenes of a TV series Polytomous variable “Setting of alcohol consumption” (1: at home; 2: at adult / youth party; 3: in a bar; 4: at work; 5: at other public place) Polytomous variable “Reason of alcohol consumption” (1: celebrating/partying; 2: habit; 3: stress relief; 4: social facilitation) Cohen’s Kappa for setting of alcohol consumption .90 Cohen’s Kappa for reason of alcohol consumption .71 Van den Bulck et al. (2008) f) Types and brands of consumed alcohol N = 17 800 posts of Instagram influencers and related comments Portrayal of different alcohol types and alcohol brands in Instagram posts Polytomous variable “Alcohol type” (1: wine; 2: beer; 3: cocktails; 4: spirits; 5: non-alcoholic drinks/0% alcohol) Binary variable “Alcohol brand visibility” (1: present if full brand name, recognizable logo, or brand name in header or tag are visible; 2: non-present) String variable “Alcohol brand name” (open text coding) Krippendorff’s Alpha ranging from .69 to 1.00 for all variables in codebook Hendriks et al. (2019) g) Consequences of alcohol consumption N = 400 randomly selected public MySpace profiles Portayal of consequences of alcohol consumption on MySpace profiles Five individually coded binary variables for different consequences associated with alcohol use (1: present; 2: not present): a) “Positive emotional consequence highlighting positive mood, feeling or emotion associated with alcohol use” b) “Negative emotional consequence highlighting negative mood, feeling or emotion associated with alcohol use” c) “Positive social consequences highlighting perceived social gain associated with alcohol use” d) “Negative social consequences highlighting perceived poor social outcomes associated with alcohol use” e) “Negative physical consequences describing adverse physical consequences or outcomes associated with alcohol use” Cohen’s Kappa ranging from 0.76 to 0.82 for alcohol references and alcohol use Moreno et al. (2010) h) Alcohol-related consumer protection messages in alcohol marketing N = 554 Tweets collected from 13 Twitter accounts of alcohol companies in Ireland Alcohol-related consumer protection messages in alcohol marketing (covers both mandatory and voluntary messages depending on national legislation) Four individually coded binary variables for different alcohol-related consumer protection messages in alcohol marketing (1: present; 2: not present): a) “Warning about the risks/danger of alcohol consumption” b) “Warning about the risks/danger of alcohol consumption when pregnant” c) “Warning about the link between alcohol consumption and fatal cancers” d) “Link/reference to website with public health information about alcohol” Not available Critchlow & Moodie (2022) The presented measures were developed for specific social media platforms, but are so generic that they can be used across different social media platforms and even across mass media channels such as TV, cinema, and advertisement. The presented measures cover different aspects of media portrayals of alcohol and can be used individually or in combination. Depending on the research aim, more detailed measures can be developed and added: for example, regarding the media portrayal of people consuming alcohol, additional measures can code people’s age, gender, ethnicity and further characteristics relevant to the respective research question. In the course of a growing body of content analyses addressing alcohol-related prevention messages on social media, respective measures can be added as well. References Bandura, A. (1986). Social foundations of thought and action: A social cognitive theory. Prentice-Hall. Bandura, A. (2009). Social cognitive theory of mass communication. In J. Bryant & M. B. Oliver (Eds.), Communication series. Media effects: Advances in theory and research (3rd ed., pp. 94–124). Routledge. Barker, A. B., Britton, J., Thomson, E., & Murray, R. L. (2021). Tobacco and alcohol content in soap operas broadcast on UK television: A content analysis and population exposure. Journal of Public Health (Oxford, England), 43(3), 595–603. https://doi.org/10.1093/pubmed/fdaa091 Boyle, S. C., LaBrie, J. W., Froidevaux, N. M., & Witkovic, Y. D. (2016). Different digital paths to the keg? How exposure to peers' alcohol-related social media content influences drinking among male and female first-year college students. Addictive Behaviors, 57, 21–29. https://doi.org/10.1016/j.addbeh.2016.01.011 Beullens, K., & Schepers, A. (2013). Display of alcohol use on Facebook: A content analysis. Cyberpsychology, Behavior and Social Networking, 16(7), 497–503. https://doi.org/10.1089/cyber.2013.0044 Cavazos-Rehg, P. A., Krauss, M. J., Sowles, S. J., & Bierut, L. J. (2015). "Hey everyone, I'm drunk." An evaluation of drinking-related Twitter chatter. Journal of Studies on Alcohol and Drugs, 76(4), 635–643. https://doi.org/10.15288/jsad.2015.76.635 Chapoton, B., Werlen, A.‑L., & Regnier Denois, V. (2020). Alcohol in TV series popular with teens: A content analysis of TV series in France 22 years after a restrictive law. European Journal of Public Health, 30(2), 363–368. https://doi.org/10.1093/eurpub/ckz163 Cranwell, J., Murray, R., Lewis, S., Leonardi-Bee, J., Dockrell, M., & Britton, J. (2015). Adolescents' exposure to tobacco and alcohol content in YouTube music videos. Addiction (Abingdon, England), 110(4), 703–711. https://doi.org/10.1111/add.12835 Critchlow, N., & Moodie, C. (2022). Consumer protection messages in alcohol marketing on Twitter in Ireland: A content analysis. Drugs: Education, Prevention and Policy, 1–8. https://doi.org/10.1080/09687637.2022.2028730 Curtis, B. L., Lookatch, S. J., Ramo, D. E., McKay, J. R., Feinn, R. S., & Kranzler, H. R. (2018). Meta-analysis of the association of alcohol-related social media use with alcohol consumption and alcohol-related problems in adolescents and young adults. Alcoholism, Clinical and Experimental Research, 42(6), 978–986. https://doi.org/10.1111/acer.13642 Davey, C. (2021). Online sobriety communities for women's problematic alcohol use: A mini review of existing qualitative and quantitative research. Frontiers in Global Women's Health, 2, 773921. https://doi.org/10.3389/fgwh.2021.773921 Döring, N., & Tröger, C. (2018). Zwischenbericht: Durchführung und Ergebnisse der summativen Evaluation des Facebook-Kanals „Alkohol? Kenn dein Limit.“ [Intermediate report: Implementation and results of the summative evaluation of the Facebook channel "Alcohol? Know your limit."]. Döring, N., & Holz, C. (2021). Alkohol in sozialen Medien: Wo ist der Platz für Prävention? [Alcohol in social media: Where is the space for prevention?]. Bundesgesundheitsblatt, Gesundheitsforschung, Gesundheitsschutz, 64(6), 697–706. https://doi.org/10.1007/s00103-021-03335-8 Ghassemlou, S., Marini, C., Chemi, C., Ranjit, Y. S., & Tofighi, B. (2020). Harmful smartphone applications promoting alcohol and illicit substance use: A review and content analysis in the United States. Translational Behavioral Medicine, 10(5), 1233–1242. https://doi.org/10.1093/tbm/ibz135 Griffiths, R., & Casswell, S. (2010). Intoxigenic digital spaces? Youth, social networking sites and alcohol marketing. Drug and Alcohol Review, 29(5), 525–530. https://doi.org/10.1111/j.1465-3362.2010.00178.x Hendriks, H., van den Putte, B., Gebhardt, W. A., & Moreno, M. A. (2018). Social drinking on social media: Content analysis of the social aspects of alcohol-related posts on Facebook and Instagram. Journal of Medical Internet Research, 20(6), e226. https://doi.org/10.2196/jmir.9355 Hendriks, H., Wilmsen, D., van Dalen, W., & Gebhardt, W. A. (2019). Picture me drinking: Alcohol-related posts by Instagram influencers popular among adolescents and young adults. Frontiers in Psychology, 10, 2991. https://doi.org/10.3389/fpsyg.2019.02991 Mayrhofer, M., & Naderer, B. (2019). Mass media as alcohol educator for everyone? Effects of portrayed alcohol consequences and the influence of viewers’ characteristics. Media Psychology, 22(2), 217–243. https://doi.org/10.1080/15213269.2017.1378112 Moreno, M. A., Briner, L. R., Williams, A., Brockman, L., Walker, L., & Christakis, D. A. (2010). A content analysis of displayed alcohol references on a social networking web site. The Journal of Adolescent Health: Official Publication of the Society for Adolescent Medicine, 47(2), 168–175. https://doi.org/10.1016/j.jadohealth.2010.01.001 Moreno, M. A., D’Angelo, J., & Whitehill, J. (2016). Social media and alcohol: Summary of research, intervention ideas and future study directions. 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“Garihmato—Look after, to Care for” Melaleuca Alternifolia, commonly called Tea Tree, only grows naturally in the lands of the Bundjalung people from north coast New South Wales. The particular medicinal properties of the Tea Tree have been used for thousands of years, and the Tree and its effects on land, water, and people form part of Bundjalung oral histories and spiritual governance. This article explores media about Tea Tree from the 1990s to 2020s in print media through agricultural media and magazines, as well as online media through TikTok. This combination highlights the generational positionality between the authors as Mother/Daughter and as different consumers of media, with Kath mainly consuming print and Phoebe consuming online. It also utilises a synergy through timing, with the 1990s being when Kath was in her 20s and the 2020s being Phoebe’s time in her 20s. Through analysing the tropes and messaging surrounding Tea Tree, we as Bundjalung women unearth the continued colonisation and exploitation of First Nations knowledges by the health and wellbeing sector – from the mainstream pharmaceutical industry to alternative wellbeing to user-generated travel content. This article considers these areas. Ultimately, acknowledgements of Indigenous land or origins of knowledge are not enough. We call for a structural reaffirmation and recontextualisation of First Nations’ ancestral medicines. Cultural Positioning Our family has an audio recording of our Githabal ancestor Granny Dorothy (Williams) Webb being interviewed by Terry Crowley, a linguist who was recording the Bundjalung language in the 1970s. This recording of Granny forms part of the body of language resources published in the Crowley’s The Middle Clarence Dialects of Bandjalang. In one section of the recording, Crowley quizzes Granny on the names for different trees. When he asks about Tea Tree, Granny quickly responds “bulam” (also sometimes spelt “bulihm”) and then attempts to begin a story on how the bark “bulam-ga” was used for shelters. Crowley abruptly stops her reminiscence as he has no interest in the ethnographic detail, just the linguistic material. Had he allowed her to speak further, he would have known that Granny had much more to say on Tea Tree. Some parts of her knowledge would have not been spoken to him, however, as Tea Tree, in particular Ti Tree Lake, formed a part of her women’s knowledge. As Granny’s female descendants, we operationalise our cultural connection to Bulam/Tea Tree in this article while being mindful and respectful of the importance of keeping certain knowledge within our female genealogy. We remain faithful to Granny’s language and to her teachings which we are privileged to know through oral history from her daughters Gertie and Esther Webb and her granddaughter Julianne Butler. The Context of ‘Wellbeing’ The World Health Organisation states in its Constitution that “health is a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity” (WHO). While noting that this definition is a significant improvement on exclusively bio-medical definitions, we argue that there is still room for a further expansion. In critiquing the WHO definition, Sartorius (662) notes a third dimension of health, which is “a state of balance, an equilibrium that an individual has established within himself and between himself and his social and physical environment”. The inclusion of the environment resonates more deeply with many Aboriginal philosophies but remains problematic due to its individualistic nature, removed from culture, community, and Connection to Country. Through industry research, understandings of ‘wellness’ from the ‘health and wellbeing’ sector at large appear to remain fluid to consumer demands. In a 2021 report, “Wellness in 2030”, research shows that “consumers are spending more on wellness than they ever have before. Wellness is now a $1.5 trillion market globally” (Chopra et al.). Rather than provide a definition of what ‘wellness’ means, the report focusses on six ‘wellness categories’ as identified by consumers: health, fitness, nutrition, appearance, sleep, and mindfulness. From this we can understand that the ‘health and wellness’ industry might not promote a secure philosophy of wellness because, as inherently capitalist enterprises, they want to be responsive to social trends in order to secure profit. For Aboriginal peoples, our understanding of wellbeing is much more concrete. Culture is inextricably connected to Country, and the guardianship of that relationship is a foundation for life and a key indicator of wellbeing (Grieves 2; Oliver 1). Put simply, “if the land is sick, you are sick” (Kenyon). Conversely, the belief that “if you look after the country, the country will look after you” (Weir et al.) has framed a multi-generational cultural governance grounded in The Dreaming. Therefore, this article proceeds on an understanding of wellbeing beyond the limitation of mainstream definitions – we understand wellbeing as being place-based, enculturated, and grounded in action not aspiration. Our case study on the wellbeing representations in media promoting Tea Tree in various forms such as oils and immersive experience speak to this framing. Bulam (Melaleuca Alternifolia) Many Australians are familiar with Tea Tree but are unaware that one particular variant, Melaleuca Alternifolia, only grows naturally within the lands of the Bundjalung people. In addition to continuing oral histories, it was noted in various journals in the early colonial period that Bundjalung people used Bulam (Tea Tree) for a range of uses – to cover shelter, to line the coolamons which held jarjum (children), and for a range of medicinal purposes for its antiseptic, antibacterial, and antifungal properties. Bulam could also be used as a diluted drink, or as a crushed oil rubbed on wounds, with the added advantage of also repelling insects (Murray 693). Additionally, Tea Tree occupies a revered place in Bundjalung beliefs and practices through its transformation of Country. We contend that the phrase “Country makes us healthy” is not a metaphor but a deeply held cultural norm with spiritual and physical attributes. In regard to Bulam/Tea Tree, it is important to acknowledge that there are bodies of water in Bundjalung Country which are ringed by Tea Tree, in particular Ti Tree Lake. The healing properties of the water are enhanced by the infusion from leaves into the water, giving it antibacterial properties; these waters are seen as Women’s sites and are particularly important as birthing places. It is contended that the name Tea Tree comes from the recording of Captain James Cook’s 1770 mapping of the Australian eastern coastline. Coming ashore, Cook and his party witnessed Bundjalung people making a ‘tea coloured’ drink from the leaves of the tree. A number of sailors also used the leaves for tea (Drury 11). Neither the sailors, nor Joseph Banks who collected samples, were aware of the potential health benefits of the Tea Tree. Some early colonists in the north coast region did use the leaves medicinally but it was widely unknown amongst non-Indigenous people until the twentieth century (Drury 19). It was not until the 1920s that Tea Tree was produced and marketed by Arthur Penfold, an Australian chemist. Marketed as an oil, it is claimed that soldiers during World War II were given Tea Tree oil for use in the trenches (Australian Tea Tree Industry Association). However, with the advent of antibiotics, Tea Tree fell out of favour as a remedy, but recent interest, from both pharmaceutical and alternative medicine sectors, has seen a steady growth in production and promotion of Tea Tree for viable wound care globally (Jones). Unpacking Ethnocentrism, ‘Common Sense’, and Settler-Colonial Extractivism Australia has since developed a flourishing market for ‘herbal remedies’ which is dominated by Western and Chinese medicinal products. While Indigenous Medicines are experiencing growing popularity, they have traditionally held a very small market share (Wohlmuth et al.). Interestingly, while some Indigenous medicines have been used to develop Indigenous-owned micro-economies (Oliver), Tea Tree products have predominantly been distributed by non-Indigenous people. This is problematic because it removes the product from its broader cultural context and does not recognise Indigenous Intellectual and Cultural Property Rights. In fact, the marketing of Tea Tree oil in some contexts displays a distinct ethnocentrism. We understand ‘ethnocentrism’ to refer to individual and systemically entrenched beliefs in the perceived ‘rightness’ of the perspectives and processes of a person’s own group. Ethnocentrism also identifies that this belief in the ‘rightness’ of their own community acts alongside an aversion and disdain for ‘outsiders’ and their ways. This belief often enforces loyalty along ethnic lines in order to consolidate power, wealth, and resources in order to deprive the ‘outsider’. Notions of ethnocentrism have been present in the Australian social, cultural, and political consciousness for centuries (Cole) Another idea to consider with Australian ethnocentrism is theorist Antonio Gramsci’s concept of ‘common sense’. He argues that, while individuals of a social group may hold its conception of the world, the same group may repeat rhetoric that is not their own due to the ideas' prevalence in ‘normal times’. This is when the repetition of ‘common sense’ understandings becomes “not independent and autonomous, but submissive and subordinate” (Gramsci). Many of the media representations we unpack later in this article can be understood as repetitions of settler-colonial ‘common sense’ which reinforce and value the supposed ‘supremacy’ of white non-Indigenous understandings while trivialising or disregarding First Nations ways. Consequently, this brings the issue of ethnocentrism beyond individual acts to highlight the extractive nature of settler-colonial nations, which premise themselves on the ‘elimination of the native’ and our ways of being, knowing, and doing (Kauanui). This elimination does not have to be purely genocidal but also includes the appropriation and assimilation of First Nations people, resources, and knowledge. Mississauga Nishnaabeg writer Leanne Simpson from northern Turtle Island (Canada) argues that extraction and assimilation go together. Colonialism has always extracted the indigenous … every part of our culture that is seemingly useful to the extractivist mindset gets extracted … and assimilated into the culture of the settlers without regard for the people and the knowledge that created it. (Klein) In our analysis of media representations below, we will see many examples of what this section seeks to explain. Media will trivialise or dismiss First Nations people and knowledge through extraction, appropriation, and assimilation of our resources into their own ethnocentric understandings. Tea Tree Oil Use in ‘Australia’, 1990s-2020s In the 1990s, as Tea Tree oil began to expand in the market, the Australian Financial Review published an article entitled “Bringing Tea-Tree Oil Out of the Swamp” (Brown). The article’s provocative introduction asserted: the world's first big plantation producer of tea-tree oil discovered early that its product's folksy image was not easy to shed. Decades of labelling as a bush remedy was a disadvantage when the product was eventually promoted as scientifically proven medicine. However, the company has succeeded in convincing consumers that the native product is a quality one, and the result has been the birth of a new industry. In deconstructing these assertions through a Bundjalung lens we have much to say! Firstly, it is a peculiarly Western lens which denigrates swampland. The late anthropologist Deborah Bird Rose (1996) gave voice to many of the Aboriginal perspectives which she had heard, contending that ‘wilderness’ is a construction of the West. For Aboriginal people, swamp is still sacred: it is the home of the Tea Tree and is not perceived as lesser, but rather as an interdependent element of the broader landscape, of the health of waterways, teeming with food and medicines. Secondly, we note the usage of “folksy image” and “bush remedy” as hurdles to be overcome. Given that both of these, particularly ‘bush medicines’, are coded to Aboriginality, this presents another layer of disconnection of the emplaced and enculturated nature of Tea Tree. In fact, later studies have shown that there is strong uptake and identification with traditional medicines exactly from that basis. For instance, interviewees from clinics distributing traditional remedies recall, “blackfellas and whitefellas come and tell us, ‘I’m feeling better from your bush medicine, can I get some more?’” (Oliver). Additionally, if we consider the global market, the WHO estimates that “60% of the world’s population relies on herbal medicine and about 80% of the population in developing countries depends almost totally on it for their primary health care needs” (Khan). Therefore, we contend that the ‘disadvantage’ is in targeting the ethnocentric Western market, which is masked by an apparent global outlook. This year, in “Three Tales from Tea Tree Farmers”, an article published in The Farmer Magazine, the developing ‘Australian’ Tea Tree industry is foregrounded in the by-line with “First Nations people have understood the value of Australian tea tree oil for thousands of years” (Hadgraft). This is particularly ironic given the content of the article itself: white face after white face come through the editorial shots of farmers with their crop, and not another whisper of the Aboriginal people and knowledges the article leads with. In this and other business-focussed articles, the Tea Tree narrative transcends its literal grounding. In contrast, a range of alternative medicine commentators do acknowledge the centrality of Bundjalung culture to Tea Tree’s curative potential, but place Aboriginal knowledges in a liminal space – a kind of choose-your-own-adventure – which samples across belief systems and practices to create a hybrid model which weakens Aboriginal cultural authority. We note that these erasures and slippages are not necessarily made from malice, but nevertheless constitute a problematic narrative through an Aboriginal lens. For example, Madelaine West, in “The Only Way to Create a Kinder World Together”, lauds the Tea Tree-infused lake waters in the Bundjalung nation as a kind of New Age transformative landscape. She comments: since time immemorial, these lakes have been a sacred Indigenous birthing place and meeting ground of the First Nation tribes of the Arakwal-Bundjalung people. Historically a ‘girls only’-type affair, many Indigenous men still observe this practice. It should be noted here that ‘girls only’ seems to hearken to the literary tradition of girls' adventure fiction – the self-sufficient tomboy who challenges gender norms. While this trope has, and can, continue to serve to empower young women, there has often been a racialised element to this narrative (McRobbie and McCabe 1981). In the context of Tea Tree, it is salient to note that Women’s Business transcends the girls-only trope as the framing of spiritual authority with severe consequences for those men who transgress this element of lore (Bird-Rose 36-8). Thus West’s contention of the personified Lake sits in direct contravention to her stated position that “it is not for me to interpret nor appropriate the culture of the traditional custodians of this region”. The warm, soothing waters of these lakes offer up their healing properties to one and all ... they don't discriminate along lines of colour, creed, residence or orientation. They just hold you in their fluid, forgiving embrace, wash you clean, heal your hurts and soothe your soul. (West) We note that there is no problem in personifying the body of water as this directly correlates to international movements to the legal personhood of waterways, such as the Whanganui River in Aotearoa (New Zealand), or recognition as a living entity such as the Yarra River in Victoria. What should be noted, however, is that within the context of international instruments like the United Nations Declaration on the Rights of Indigenous Peoples and various national and state policies, First Nations people (in particular Traditional Owners) are central to the representation of engagement with water (Pelizzon et al.). In this context it would include a culturally mediated guardianship on who may bathe in the waters, which speaks to a respect for cultural traditions and consultation for permission to use the waters. There is an ongoing tension for First Nations people attempting to negotiate this preferred power-sharing with local, state, and national governments while their Country continues to be desecrated by ignorant and selfish visitors. Despite lack of support from the state, First Nations peoples regularly attempt to exert their own environmental governance and authority over sacred sites on their Country, with one way being through the use of signs informing guests of the nature of the area. Similar to our special lakes in Bundjalung Country, Kuku Yalanji people from the Daintree have the Blue Hole Pool, which is a healing and birthing place reserved for women’s business. Kuku Yalanji Traditional Owners have struggled for years to protect this site, as non-Indigenous people have decided to make the pool a regular swimming spot. Multiple erected signs are constantly dismissed and a boom gate installed to stop vehicles has been broken multiple times by disgruntled visitors. (Hollis) Protecting these lakes has hit another obstacle with the rise of #traveltok in the 2020s, a subsection of media on the user-generated short form video-sharing app TikTok dedicated to sharing the best spots to travel. All someone has to search for is ‘swimming hole daintree’, and videos show overwhelmingly non-Indigenous tourists (of all genders) sharing their travels to the Blue Hole Pool. One video shows a girl with her friends trespassing past the aforementioned boom gate (TikTok a), and another video shows a young man filming himself in the sacred women’s pool with the caption “Add this to your bucket list in Queensland!” (TikTok b). Ironically, a number of commenters note that he would have had to ignore numerous signs warning him to not swim. However, the video still garnered 2,200 likes, and over 700 people have saved the video. A similar search for ‘Ti Tree Lake’ reveals comparable content. The first video belongs to a young woman, Rhiannon, presumably in her early 20s, who declares in a voiceover that “this is one of the best places to swim in Australia”, before listing off the health and wellbeing benefits of the Tea Tree-infused lake (TikTok c). While she acknowledges in the second half of the video that the lake is “valued” by Indigenous women after birth, she fails to name Bundjalung people for her audience of 508,000 views, and instead closes her content on how nice her hair felt afterwards. Through this type of media content creation, a young white woman has assumed the right to promote one of Bundjalung Nation’s most significant sites. Another video nearby in the search list shows a young man bathing in our women’s lake (TikTok d). West and Rhiannon are certainly not alone in their shaping of the lake as a natural healing place through a lens of wellbeing language. A letter to the editor complaining of men using the lake took a far different approach to a gender prohibition, adding dismay that the lake was being used by men seeking random sexual hook-ups. In speaking of the significance of the Country, the author writes, “once upon a time it was an Aboriginal birthing ground. Yeah fellas, a sacred women’s area”. Ironically the concern of what had been ‘lost’ was also framed through a nostalgic appreciation where 20 years ago I used to come here with my girlfriends and we would swim in the tea-tree lake, dive deep to retrieve the mineral rich mud from the bottom and lie in the sun until it had dried. It was the ultimate day spa. (Leonard) While noting this conversational tone, there is nevertheless a deep disjuncture between a sacred women's area and a day spa. We argue that the significance of Tea Tree lakes is not open to appropriation through reinterpretation, not through a female empowerment and revitalisation agenda nor a neo-spiritual agenda which arose in the 2015 media discussion on a non-Aboriginal Victorian couple’s decision to give birth in Taylors Lake, reported by the Byron Shire News. In the paper’s next weekly edition, they gave voice to Arakwal custodians who commented: Taylors Lake or Ti Tree Lake is the most significant Aboriginal women's site in the Byron Shire … . The lake belongs to all Bundjalung women and holds deep spiritual significance to us, and our men never go there out of respect … . This woman speaks about her respect for Aboriginal culture but did not ask our permission. We were horrified when we saw the picture in the paper of this man in the sacred women's lake. (Kay cited in C222morrow) This last example particularly exemplifies the attempted ‘elimination’ of First Peoples through the attempted appropriation and assimilation of Indigenous practice. This absorption of the practice of bathing in these lakes into non-Indigenous practices attempts to displace Indigenous peoples from our Country, our sacred sites, and our knowledge. Through the re-framing of these places as ‘wellness’ tools or feminist liberation, we are experiencing the continued colonisation of our special places, which are our birthright as encultured female members of First Nations groups. Calls to Action There is a trend in academic literature which provides the scope of problems which plague Indigenous peoples. Our article concludes not with a restatement of the issues, but with a series of Calls to Action. Every day that we do not empower Traditional Owners in the management of their own Country is another day that sites such as Ti Tree Lake are desecrated and culturally significant plants like bulam are exploited. This requires individual and broader systemic change: Non-Indigenous peoples seeking healing and enlightenment from Country must be mindful that they are guests in those spaces. Wilfully ignoring Indigenous protocols or seeing protocols as a “pick and mix” option devalues Country. Social media guidelines for platforms such as TikTok must include avenues to flag or remove or add warnings for culturally insensitive content. This requires ongoing collaboration with First Nations people to further refine what content breaches these guidelines. Content creators must also adapt to community feedback. There must be legal recognition of Indigenous Cultural and Intellectual Property (ICIP) regarding First Nations’ knowledge of Country. First Nations people must be empowered to economically benefit from their knowledge as business owners and entrepreneurs utilising their individual, familial, and communal knowledge. Local, state, and national governments must empower Traditional Ecological Governance systems. Acknowledgement is not enough, sovereignty and land back. #notyourdamndayspa. References Australian Tea Tree Oil Industry Association. “About Australian Tea Tree Oil.” 10 June 2023 <https://teatree.org.au/teatree_about.php>. Bird-Rose, Deborah. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996. Brown, Jamie. “Bringing Tea-Tree Oil Out of the Swamp.” Financial Review 17 Apr. 1994. <https://www.afr.com/companies/bringing-tea-tree-oil-out-of-the-swamp-19940117-kate3>. 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On 12 March 2020, Philippine President Rodrigo Duterte announced a lockdown of Manila to stop the spread of COVID-19. The cities, provinces, and islands of the Philippines remained under various levels of community quarantine for the remainder of the year. Under the strictest lockdown measures, known as Enhanced Community Quarantine (ECQ), no one aged below 21 or over 60 years was allowed out, a curfew was implemented between 10pm and 5am, and only one person per household, carrying a quarantine pass, was allowed to go out for essential items (Bainbridge & Vimonsuknopparat; Ratcliffe & Fonbuena). The policing of these measures was strict, with a heavy reliance on police and military to enforce health protocols (Hapal). In early April, Duterte warned that violators of the lockdown who caused trouble could be shot (Reuters). Criticisms concerning the dissemination of information about the pandemic were exacerbated when on 5 May, 2020, Filipinos lost an important source of news and entertainment as the country’s largest media network ABS-CBN was shut down after the government denied the renewal of its broadcast franchise (Gutierrez; “ABS-CBN”; “Independent Broadcaster”). The handling of the pandemic by the Duterte government has been characterised by inaction, scapegoating, and framed as a war on an existential threat (Hapal). This has led to feelings of frustration, anger, and despair that has impacted and been incorporated into the artistic expression of some Filipino creatives (Esguerra, “Reflecting”). As they did in the rest of the world, social media platforms became a vital source of entertainment for many facing these harsh lockdown measures in the Philippines in 2020. Viral forms included the sharing of videos of recipes for whipped Dalgona coffee and ube-pandesal on TikTok, binge-watching KDramas like Crash Landing on You on Netflix, playing Animal Crossing on Nintendo Switch, and watching Thailand’s Boys’ Love genre web series 2Gether: The Series on YouTube. Around the world, many arts and cultural organisations turned to online platforms to continue their events during the COVID-19 pandemic. #RomanceClass, a Filipino community of authors, artists, and actors who consume, produce, and enact mostly self-published English-language romance fiction in the Philippines, also turned to these platforms to hold their community’s live literature events. This article analyses this shift by #RomanceClass. It contends that, due to their nature as an independent, born-digital literary organisation, they were able to adapt swiftly and effectively to online-only events in response to the harshness of the Filipino lockdown, creating new forms of artistic innovation by adopting the aesthetics of Zoom into their creative practice (for example, name tags and gallery camera view). This aesthetic swiftly became familiar to people all over the world in 2020, and adopting digital platforms encodes within it the possibility for a global audience. However, while #RomanceClass are and have been open to a global audience, and their creative innovations during the pandemic have clearly been informed by transcultural online trends, this article argues that their adoption of digital platforms and creative innovations represented a continuation of their existing ethos, producing material explicitly intended for a Filipino audience, and more specifically, their existing community, prioritising community connection over any more expansive marketing efforts (McAlister et al.). The Live Literature of #RomanceClass The term #RomanceClass refers to a biblio-community of authors, readers, artists, and actors, all involved in the production and consumption of English-language romance novels in the Philippines. #RomanceClass began online in 2013 via a free writing class run predominantly on Facebook by author Mina V. Esguerra (for more on this, see McAlister et al.). As the community has developed, in-person events have become a major part of the community’s activities. However, as a born-digital social formation, #RomanceClass has always existed, to some extent, online. Their comfort in digital spaces was key to their ability to pivot swiftly to the circumstances in the Philippines during the lockdowns in 2020. One of the most distinctive practices of #RomanceClass is their live reading events. Prior to 2020, community members would gather in April for April Feels Day, and in October for Feels Fest for events where local actors would read curated passages from community-authored romance novels, and audiences’ verbal and physical responses became part of the performance. The live readings represent a distinctive form of live literature – that is, events where literature is the dominant art form presented or performed (Wiles), a field which encompasses phenomena like storytelling festivals, author readings, and literary festivals (Dane; Harvey; Weber; Wilson). In October 2019, we interviewed several #RomanceClass community members and attended one of these live reading events, Feels Fest, where we observed that the nature of the event very clearly reflected the way the community functions: they are “highly professionalised, but also tightly bound on an affective level, regularly describing [themselves] as a found family” (McAlister et al. 404). Attendance at live readings is capped (50 people, for the event we attended). The events are thus less about audience-building than they are community-sustaining, something which they do by providing community comforts. In particular, this includes kilig, a Filipino term referring to a kind of affective romantic excitement, usually demonstrated by the audience members in reaction to the actors’ readings. While the in-person component is very important to the live reading events, they have always spanned online and offline contexts – the events are usually live-tweeted by participants, and the readings are recorded and posted to YouTube by an official community videographer, with the explicit acknowledgment that if you attended the event, you are more than welcome to relive it as many times as you want. (Readings which contain a high degree of sexual content are not searchable on YouTube so as not to cause any harm to the actors, but the links are made privately available to attendees.) However, the lockdown measures implemented in the Philippines in 2020 meant that only the online context was available to the community – and so, like so many other arts communities around the world, they were forced to adapt. We tend to think of platforms like Zoom as encoded with the potential to allow people into a space who might not have been able to access it before. However, in their transition to an online-only context, #RomanceClass clearly sought to prioritise the community-sustaining practices of their existing events rather than trying in any major way to court new, potentially global, audiences. This prioritisation of community, rather than marketing, provided a space for #RomanceClass authors to engage cathartically with their experiences of lockdown in the Philippines (Esguerra, “Reflecting”). Embracing the Zoom Aesthetic: #RomanceClass in 2020 #RomanceClass’s first online event in 2020 was April Feels Day 2020, which occurred not long after lockdown began in the Philippines. Its production reflects the quick transition to an online-only co-presence space. It featured six books recently published by community authors. For each, the author introduced the book, and then an actor read an excerpt – a different approach to that hitherto taken in live events, where two actors, playing the roles of the romantic protagonists, would perform the readings together. Like the in-person live readings, April Feels Day 2020 was a synchronous event with a digital afterlife. It was streamed via Twitch, and participants could log on to watch and join the real-time conversations occurring in the chat. Those who did not sign up for a Twitch account could still watch the stream and post about the event on Twitter under the hashtag #AprilFeelsDay2020. After the event, videos featuring each book were posted to YouTube, as they had been for previous in-person live reading events, allowing participants to relive the experience if they so desired, and for authors to use as workshopping tools to allow them to hear how their prose and characters’ voices sounded (something which several authors reported doing with recordings of live readings in our interviews with them in 2019). April Feels Day 2020 represented a speedy pivot to working and socialising from home by the #RomanceClass community, something enabled by the existing digital architecture they had built up around their pre-pandemic live reading events, and their willingness to experiment with platforms like Twitch. However, it also represented a learning experience, a place to begin to think about how they might adapt creatively to the circumstances provoked by the global pandemic. They innovated in several ways. For instance, they adopted mukbang – a South Korean internet phenomenon which has become popular worldwide, wherein a host consumes a large amount of food while interacting with their audience in an online audiovisual broadcast – in their Mukbang Nights videos, where a few members of #RomanceClass would eat food and discuss their books (Anjani et al.). Food is a beloved part of both #RomanceClass events and books (“there’s lots of food, always. At some point someone always describes what the characters are eating. No exceptions”, author Carla de Guzman told us when we interviewed her in 2019), and so their adoption of mukbang shows the ways in which their 2020 digital events sought to recreate established forms of communal cohesion in a virtual co-presence space. An even more pointed example of this is their Hello, Ever After web series, which drew on the growing popularity of born-digital web series in Southeast Asia and other virtual performances around the globe. Hello, Ever After was both a natural extension of and significantly differed from #RomanceClass in-person live events. Usually, April Feels Day and October Feels Fest feature actors reading and performing passages from already published community books. By contrast, Hello, Ever After featured original short scripts written by community authors. These scripts took established characters from these authors’ novels and served as epilogues, where viewers could see how these characters and their romances fared during the pandemic. Like in-person live reading events – and unlike the digital April Feels Day 2020 – it featured two actors playing virtually side-by-side, reinforcing that one of the key pleasures derived from the reading events is the kilig produced through the interaction between the actors playing against each other (something we also observed in our 2019 fieldwork: the community has developed hashtags to refer specifically to the live reading performance interactions of some of their actors, such as #gahoates, in reference to actors Gio Gahol and Rachel Coates). The scenes are purposefully written as video chats, which allows not only for the fact that the actors were unable to physically interact with each other because of the lockdowns, but also tapped into the Zoom communication aesthetic that commandeered many people’s personal and professional communications during COVID-19 restrictions. Although the web series used a different video conferencing technology, community member Tania Arpa, who directed the web series episodes, adapted the nameplate feature that displayed the characters’ names to more closely align with the Zoom format, demonstrating #RomanceClass’s close attentiveness to developments in the global media environment. Zoom and other virtual co-presence platforms became essentially universal in 2020. One of their affordances was that people could virtually attend events from anywhere in the world, which encodes in it the possibility of reaching a broader, more global audience base. However, #RomanceClass maintained their high sensitivity to the local Filipino context through Hello, Ever After. By setting episodes during the Philippines’ lockdown, emphasised by the video chat mise en scène, Hello, Ever After captures the nuances of the sociopolitical and sometimes mundane aspects of the local pandemic response. Moreover, the series features characters known to and beloved by the community, as the episodes function as epilogues to #RomanceClass books, taking place in what An Goris calls the “post-HEA” [happily ever after] space. #RomanceClass books are available digitally – and have a readership – outside the Philippines, and so the Hello, Ever After web series is theoretically a text that can be enjoyed by many. However, the community was not necessarily seeking to broaden their audience base through Hello, Ever After; it was community-sustaining, rather than community-expanding. It built on the extant repository of community knowledge and affect by using characters that #RomanceClass members know intimately and have emotional connections to, who are not as familiar and legible to those outside the community, intended for an audience with a level of genre knowledge (McAlister et al.; Fletcher et al.). While the pandemic experience these characters were going through was global, as the almost universal familiarity with the Zoom aesthetic shows, Hello, Ever After was highly attentive to the local context. Almost all the episodes featured “Easter eggs” and dialogues that pointed to local situations that only members of the targeted Filipino audience would understand and be familiar with, echoing the pandemic challenges of the country’s present reality. Episodes featured recurrent themes like dissatisfaction with the government’s slow response and misaligned priorities, anger towards politicians exacerbating the impact of the pandemic with poor health and transportation policies, and recognition of voluntary service and aid rendered by private individuals. For example, the first episode, Make Good Days, an epilogue to Mina V. Esguerra’s novel What Kind of Day, focusses on the challenges “essential worker” hero Ben (played by Raphael Robes) faces as a local politician’s speechwriter, who has been tasked to draft a memorial speech for his boss to deliver in honour of an acquaintance who has succumbed to COVID-19. He has developed a “3:00 habit” of a Zoom call with his partner Naya (Rachel Coates), mirroring the “3:00 habit” or “3:00 Prayer to the Divine Mercy” many Catholic Filipino devotees pray and recite daily at that specific hour, a habit reinforced through schools, churches, and media, where entertainment shows allow time for the prayer to be televised. Ben and Naya’s conversation in this particular 3:00 call dwells on what they think Filipino citizens deserve, especially from local government officials who repeatedly fail them (Baizas; Torres). They also discuss the impact that the pandemic has had on Naya’s work life. She runs a tourism and travel business – which is the way that the two characters met in What Kind of Day – which she has been forced to close because of the pandemic. Naya grieves not just for the dream job she has had to give up, but also sympathises with the enormous number of Filipinos who suddenly became unemployed because of the economy closing down (Tirona). Hello, Ever After draws together the political realities of living in the Philippines during the pandemic with the personal, by showing the effects of these realities on characters like Ben and Naya, who are well-known to the #RomanceClass community. #RomanceClass books encompass a wide variety of protagonists, and so the episodes of Hello, Ever After were able to explore how the lives of health workers, actors, single parents, students, scientists, office workers, development workers, CEOs and more could be impacted by the pandemic and the lockdowns in the Philippines. They also allowed the authors to express some of their personal frustrations with living through quarantine, something they admit fueled some parts of the scripts (“Behind the Scenes: Hello, Ever After”). #RomanceClass novels like What Kind of Day all end happily, with the romantic protagonists together (in contrast to a lot of other Filipino media, which ends unhappily – for more on this, see McAlister et al.). Make Good Days and the other episodes of Hello, Ever After reflect the grim realities of pandemic life in the Philippines; however, they do not undercut this happy ending, and instead seek to reinforce it. Through Hello, Ever After, the community literally seeks to “make good days” for themselves by creating opportunities to access the familiar comfort and warmth of kilig scenes. Kilig refers to a kind of affective romantic emotion that usually has a physical manifestation (Trinidad, “Shipping”; “Kilig”). It does not have an equivalent word or phrase in English, but can be used as a noun to denote a thrilling state of excitement or as an adjective to describe moments or scenes that evoke this feeling. Creating and becoming immersed in kilig is central to #RomanceClass texts and events: authors attempt to produce kilig through their writing, and actors attempt to provoke it during live reading performances (something which, as mentioned above, was probably made more difficult in the one-actor live readings of the fully online Aprils Feels Day 2020, as much of the kilig is generated by the interactions between the actors). Kilig scenes are plentiful in Hello, Ever After. For instance, in Make Good Days, Naya asks Ben to name a thing he hated before the pandemic that he now misses. He replies that he misses being stuck in traffic with her – that he still hates traffic, but he misses spending that time with her. Escapism was a high priority for many people and communities creating art during the 2020 lockdowns. Given this, it is interesting that #RomanceClass chose to create kilig in their web series by leaning into the temporal moment and creating material specifically revolving around the lockdown in the Philippines, showing couples like Ben and Naya supporting each other and sharing their pandemic-caused burdens. Hello, Ever After both reflected the harsh reality in which the community found themselves but also gave them something to cling to in the hardest days of lockdown, showing that kilig could be found even in the toughest of circumstances when both characters and community members found themselves separated. Conclusion As a community which began in a digital space, #RomanceClass was well-positioned to pivot to an online-only environment during the pandemic, even though in-person events had become such a distinctive part of their community outputs. They experimented and innovated significantly in 2020, producing a range of digital outputs, including the Hello, Ever After web series. On the surface, this does not seem especially unusual: many arts organisations innovated digitally during the pandemic. What was particularly notable about #RomanceClass’s digital outputs, however, was that they were not designed to be marketing tools. They were not actively courting a new audience; rather, outputs like Hello, Ever After were designed to be community-sustaining, providing the existing audience comfort, familiarity, and kilig in a situation (local and global) that was not in any way comfortable or familiar. We Will Be Okay is the title of the second Hello, Ever After video, an epilogue to Celestine Trinidad’s Ghost of a Feeling: a neat summary of the message the episodes offered to the #RomanceClass audience through these revisitings of beloved characters and relationships. As we have discussed elsewhere, #RomanceClass is a professionalised community, but their affective ties are very strong (McAlister et al.). Their digital outputs during the pandemic showed this, and demonstrated again the way their community bonds are reinforced through their repeated re-engagement with their texts, just as their pre-pandemic forms of live literature did. There was kilig to be found in revisiting well-known couples, even in depressing circumstances. As the community engage together with these new epilogues and share their affective reactions, their social ties are reinforced – even when they are forced to be separated. References “ABS-CBN: Philippines’ Biggest Broadcaster Forced Off Air.” BBC, 5 May 2020. 22 Mar. 2021 <http://www.bbc.com/news/world-asia-52548703>. Anjani, Laurensia, et al. “Why Do People Watch Others Eat Food? An Empirical Study on the Motivations and Practices of Mukbang Viewers.” Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems. April 2020. DOI: 10.1145/3313831.3376567. Bainbridge, Amy, and Supattra Vimonsuknopparat. “This Is What Life Is Like in the Philippines amid One of the World’s Toughest Coronavirus Lockdowns.” ABC News, 29 Apr. 2020. 22 Mar. 2021 <http://www.abc.net.au/news/2020-04-29/philippines-social-volcano-threatening-to-erupt-amid-covid-19/12193188>. Baizas, Gaby. “‘Law Is Law Unless Friends Kayo’: Netizens Slam Gov’t Double Standards.” Rappler, 13 May 2020. 22 Mar. 2021 <http://www.rappler.com/nation/netizens-reaction-law-is-law-double-standards-government-ecq-guidelines>. “Behind the Scenes: Hello, Ever After.” Facilitated by Mina V. Esguerra. RomanceClass, 7 Aug. 2020. 22 Mar. 2021 <http://www.youtube.com/watch?v=3-9FuCSX08M>. Dane, Alexandra. “Cultural Capital as Performance: Tote Bags and Contemporary Literary Festivals.” Mémoires du Livre 11.2 (2020). <http://www.erudit.org/fr/revues/memoires/2020-v11-n2-memoires05373/1070270ar.pdf>. Esguerra, Mina V. What Kind of Day. Self-published, 2018. ———. “Reflecting on Hello, Ever After.” Mina V. Esguerra, 23 April 2021. 17 May 2021 <http://minavesguerra.com/news/reflecting-on-hello-ever-after/>. Fletcher, Lisa, Beth Driscoll, and Kim Wilkins. “Genre Worlds and Popular Fiction: The Case of Twenty-First Century Australian Romance.” Journal of Popular Culture 51.4 (2018): 997-1015. Goris, An. “Happily Ever After… and After: Serialisation and the Popular Romance Novel.” Americana: The Journal of American Popular Culture 12.1 (2013). 22 Mar. 2021 <http://www.americanpopularculture.com/journal/articles/spring_2013/goris.htm>. Gutierrez, Jason. “Philippine Congress Officially Shuts Down Leading Broadcaster.” New York Times, 10 July 2020. 22 Mar. 2021 <http://www.nytimes.com/2020/07/10/world/asia/philippines-congress-media-duterte-abs-cbn.html>. Hapal, Karl. “The Philippines’ COVID-19 Response: Securitising the Pandemic and Disciplining the Pasaway.” Journal of Current Southeast Asian Affairs (2021). <http://doi.org/10.1177/1868103421994261>. Harvey, Hannah. “On the Edge of the Storytelling World: The Festival Circuit and the Fringe.” Storytelling, Self, Society 4.2 (2008): 134-151. “Independent Broadcaster ABS-CBN Shut Down by Philippines Government in ‘Crushing Blow’ to Press Freedom.” ABC News, 6 May 2020. 22 Mar. 2021 <http://www.abc.net.au/news/2020-05-06/philippines-news-outlet-closure-abs-cbn-duterte/12218416>. “Make Good Days.” Dir. Tania Arpa. RomanceClass, 26 June 2020. 22 Mar. 2021 <http://www.youtube.com/watch?v=6bqpij-S7DU&t=5s>. McAlister, Jodi, Claire Parnell, and Andrea Anne Trinidad. “#RomanceClass: Genre World, Intimate Public, Found Family.” Publishing Research Quarterly 36 (2020): 403-417. Ratcliffe, Rebecca, and Carmela Fonbuena. “Millions in Manila Back in Lockdown as Duterte Loses Control of Coronavirus Spread.” The Guardian, 4 Aug. 2020. 22 Mar. 2021 <http://www.theguardian.com/world/2020/aug/04/millions-in-manila-philippines-back-in-lockdown-as-duterte-loses-control-of-coronavirus-spread>. Reuters. “‘Shoot Them Dead’ – Philippine Leader Says Won’t Tolerate Lockdown Violators.” CNBC, 2 April 2020. 22 Mar. 2021 <https://www.cnbc.com/2020/04/02/philippines-duterte-threatens-to-shoot-lockdown-violators.html>. Tirona, Ana Olivia A. “Unemployment Rate Hits Record High in 2020.” Business World, 9 Mar. 2021. 22 Mar. 2021 <http://www.bworldonline.com/unemployment-rate-hits-record-high-in-2020/>. Torres, Thets. “5 Times the Government Disobeyed and Ignored Their Own Laws.” NoliSoli, 13 May 2020. 22 Mar. 2021 <http://nolisoli.ph/80192/ph-government-disobeyed-and-ignored-their-own-laws-ttorres-20200513/>. Trinidad, Andrea Anne. “‘Kilig to the Bones!’: Kilig as the Backbone of the Filipino Romance Experience.” Paper presented at the International Association for the Study of Popular Romance conference, 2020. ———. “‘Shipping’ Larry Stylinson: What Makes Pairing Appealing Boys Romantic?” Paper presented at the International Association for the Study of Popular Romance conference, 2018. Trinidad, Celestine. Ghost of a Feeling. Self-published, 2018. Weber, Millicent. Literary Festivals and Contemporary Book Culture. Cham: Palgrave, 2018. “We Will Be Okay.” Dir. Tania Arpa. RomanceClass, 3 July 2020. 22 Mar. 2021 <http://www.youtube.com/watch?v=Ed2SamGU3Tk>. Wiles, Ellen. “Live Literature and Cultural Value: Explorations in Experiential Literary Ethnography.” PhD thesis. University of Stirling, 2019. Wilson, Michael. Storytelling and Theatre: Contemporary Professional Storytellers and Their Art. Houndsmills: Palgrave, 2005.

Introduction There are many competing explanations for why people are drawn to conspiracy theories. Increasingly, conspiracy theories are mainstream sites of cultural engagement (Barkun). Conspiracy theorising, then, is part of, or at least brushes up against, people’s daily sense-making practices. However, many still think of conspiracy theorising and the communities that form around them as deviant, pathological or deficient (Swami et al.). In this article, we argue that we need to shift from a model of a deficient and deviant understanding of conspiracy theorising to understand these practices as part of our everyday behavioural and social repertoires. We argue that part of this shift means attending to the sensory and felt experience of conspiracy thinking, as a bodily and affective experience, as a site of pleasure. Centring pleasure as an explanatory framework for conspiracy theorising does not foreclose other explanations. Rather we argue that pleasure operates as a broader explanatory framework within which these competing explanations can also offer insight. We do not aim to provide an empirical account of the #FreeBritney movement in this article, but instead use it as an example through which we can begin to develop pleasure as a potential explanatory framework for understanding conspiracy theorising. To argue for the centrality of ‘pleasure’ in conspiracy theories, we draw on scholarship from fandom studies to ask, “What can the ‘Free Britney’ movement tell us about the pleasures of conspiracy?” We pay particular attention to how conspiracy theorising can be understood as a site of pleasure and, at times, hope, which in turn transform conspiracy theories into ‘sticky’ cultural sites (Ahmed). The centring of pleasure as a driver of conspiracy theorising also points to possible alternative approaches to countering the affective pull of conspiracy theories. Why #FreeBritney? This article focusses on the #FreeBritney community as an example for several reasons. #FreeBritney sits outside many of the political concerns that often characterise conspiracy theories; that is, it is neither left nor right in its orientation. Additionally, #FreeBritney was initially written off as nonsense by mainstream media outlets and commentators. For example, in the first version of TikToker Abbie Richards’s viral chart that categorises conspiracy theories, #FreeBritney is in the same category as UFOs and not something that ‘actually happened’ (Richards), meaning Richards did not believe the central claim of the #FreeBritney movement, that Britney wished to end an abusive conservatorship, was real. Similar coverage was evident in other press, including by Maria Sherman for Jezebel, which describes the #FreeBritney theory as “dubiously sourced” and as “mak[ing] gargantuan assumptions about mental health without much concrete evidence” (Sherman). Despite the derision, #FreeBritney persisted, and the claims made in the initial, instigating episode of Britney’s Gram (a fan-created podcast) have been borne in court, affirmed by Spears herself, and in numerous pieces of investigative reporting (Stark and Day). The #FreeBritney Context So, how did we get to #FreeBritney? In early 2008, after a string of increasingly erratic public appearances, Britney Spears was placed into a conservatorship arrangement. Conservatorships are typically reserved for the elderly and mentally ill, or those without the capacity to care for them themselves. Spears’s conservatorship meant that she could not make any personal or financial decisions for herself. Spears’s conservatorship was overseen by her father and court-appointed lawyers who benefited financially by allegedly exploiting the arrangement (Day and Abrams). Until 2021, Spears remained under the conservatorship, while continuing to work. These working arrangements included world tours, TV appearances and a long-running Las Vegas residency where she performed a 90-100 minute show several times per week (Jacobs). Rumours marked the beginning of Spears’s conservatorship that it was an attempt to exploit Spears financially while keeping her under parental control (Jacobs). This is evidenced by her thwarted attempt to acquire legal representation, where the court ultimately ruled that she was too unwell to retain her own counsel (Coscarelli et al.). Rumours of a broader conspiracy designed to entrap Spears in the conservatorship only gained widespread traction in 2019, resulting in the birth of the #FreeBritney movement. The growth of #FreeBritney discourse can be traced to an April 2019 episode of the podcast Britney’s Gram (Barker and Babs). Britney’s Gram was initially a ‘close reading’ of Spears’s Instagram focussed on parsing her captions, images, and emoticon use. In the podcast's special ‘emergency’ episode, episode 75, titled “#FreeBritney”, the nature of the conspiracy regarding Spears’s conservatorship took shape. The ‘emergency’ episode of the podcast responded to a tip called into the Britney’s Gram hotline. The anonymous source claims to be a paralegal who worked on legal documents related to the conservatorship throughout their employment. The paralegal claims that the conservatorship is “disturbing to say the least”. The show goes on to lay out a timeline of key events that support their assertion that Spears is being kept in the conservative against her will. Their claims are supported by a ‘close reading’ of Spears’s output, including her Instagram account and her public appearances, both official and unofficial. The hosts assemble their theory from a diverse range of sources, but their iterative theory building is underscored by the hosts’ empathetic reading, “what if it were me?” Fandom and the Collective Feelings of Conspiracy The #FreeBritney movement offers an opportunity to reflect on the parallels and intersections between fandom culture and conspiracy. It also allows us to consider what contemporary fan practices might tell us about the appeal of engaging in conspiracy. While #FreeBritney as a movement has extended far beyond the reach of the Britney Spears fandom, its roots began in the everyday fan practices that are not unique to the singer's supporters. Identifying as a ‘fan’ of a celebrity, a band, television show, film franchise, or other popular cultural texts has become a mainstream activity in recent decades, moving from a more subcultural or fringe practice (Gray et al.). Fan practices often include developing a repertoire of knowledge of their chosen fandom. This repertoire allows them to conduct close readings of these ‘texts’, which include relevant images and social media content (Hills), and look for patterns, consistencies and inconsistencies — what Jason Mittell (52) calls ‘forensic fandom’. Fans also create their own paratexts drawing on their fandom-specific knowledge to create work such as fanfiction, fan videos (fanvids), blogs, dedicated social media accounts, podcasts (such as Britney’s Gram) and other texts that fans may also analyse (Geraghty). Much like engaging in conspiracy, participating in fandom is also a broad continuum in terms of commitment, and depth of engagement. Some fans are more peripheral to the fandom, casually engaged, and only broadly aware of close reading practices that may be normalised for those within the more engaged inner circle of the fandom. However, these more casual fans may also draw on and consume paratext created by more avid fans. Creators of popular and well-made paratexts can even become renowned in social media spaces within fan communities for their creations (Hills). This mirrors conspiracy thinking, where believers range from curious about the conspiracy to committed and embedded in the conspiracy community. Like fandoms, the more active participants in the conspiracy can become established and well-known in the community for disseminating information and knowledge. For example, many followers of the QAnon conspiracy receive most of their information through secondary QAnon social media influencers who interpret ‘Qdrops’ rather than interpret the cryptic message board posts themselves (Conner and MacMurray). Scholarship examining fandom and fan experiences has emphasised the key role of pleasure for fans in developing this fan expertise (McCann and Southerton). In particular, the practices of close textual reading and familiarity with the fandom's texts, symbols, and key players offer a sense of community and collective feeling. As McCann and Southerton report in their study on queer shipping among One Direction fans (when fans invest emotional energy in the relationship, the ‘ship’, between two characters or celebrities), pleasure is collective rather than individual and emerges from a sense of belonging and shared investment. While, as we have discussed, the differing levels of involvement and investment can create hierarchy, and therefore potential conflict within fandom, scholarship on fandom has argued that fans primarily take pleasure in the feeling of community, support and belonging (McCann and Southerton; Geraghty; Pearson). Fan spaces are spaces in which collective feelings can be heightened, as participants take pleasure in experiencing something that thousands of others are feeling simultaneously — whether it be in person at a concert or, increasingly, in social media communities. The pleasures of fandom also go beyond momentous occasions like a singer's album launch or a celebrity scandal. Fans can cultivate pleasure in the mundane practices of fandom by building a sense of building and momentum, by using their close reading to predict imminent events (e.g. attempting to discern what Instagram posts might be hinting that a popstar is going to put out a new album) or undertaking rereading of old material to reinterpret meanings in new contemporary light. The pleasures of anticipation are central to these fan practices, with close reading offering endless rewards. Conspiracy theorists operate similarly, even when an anticipated event does not come to fruition. When the predictions of the mysterious Q that tell of mass arrests of prominent enemies of the movement fail to eventuate, rather than lose belief in Q’s prophetic power, the believers find explanation and new events to anticipate (Butler and Martin). Is #FreeBritney a Conspiracy? While it is tempting to situate #FreeBritney firmly within the domain of fan studies, we argue that while later borne out by facts, it can also be understood as a conspiracy theory. Conspiracy theories are united by a focus on and fear of a larger malevolent actor, who uses the power vested in institutions to control the narrative about the conspiracy, and indeed the conspiracy itself (Melley). In #FreeBritney, the stakes are a little lower, with the clearest villains being Spears’s immediate family, who appear to have financially benefited from her conservatorship. Nevertheless, the conspiracy involves elements of control, not only over Spears herself but the media, the criminal justice system, and the medical professionals diagnosing and treating Spears, as well as any close friends and staff. As with other conspiracies, power is exercised through social institutions to ‘cover up’ the conspiracy itself and any damage it is causing (Barkun; Melley). If conspiracies are secret, how then are they detected? Key to conspiracy theorising is the ‘close reading’ or ‘forensic’ examination (Mittell) of various texts to spot inconsistencies and gaps in authenticity that disrupt the dominant narrative. This is a hallmark of conspiracy theorising, which relies on “the interpretation of half-hidden cIues, tell-tale signs, and secret messages” (Melley 16). Within #FreeBritney, close reading is most obviously applied to her Instagram account and extends to various court courts, interviews, and media reporting. This analysis allows for these inconsistencies to build an alternative explanation while using a corpus of evidence available to everyone. Where Is the Pleasure? Where can we locate the sources of pleasure in #FreeBritney? To be clear, we are arguing for an understanding of pleasure that is not eroticised but rather found in the arguably mundane practises of conspiracy. The close, detailed sifting through evidence required to build a conspiracy theory is pleasurable in a number of ways. These practices are pleasurable in and of themselves — developing deep knowledge assembling the threads in the conspiracy theory holds the individual in a continual site of possibility and potential. The space of ‘what if’ where nothing is certain and outcomes can be constantly refigured allows conspiracy theorists to exist in expectation, in ‘looking forward to’ as one would a long-awaited holiday. The pleasure is in anticipating the event, but not necessarily in the resolution of the conspiracy itself. The momentum and anticipation in fan communities are remarkably similar to those of conspiracy theory communities, creating a pleasurable affective atmosphere (Anderson) that circulates in and through digital practices. The ‘close reading’ practice we describe is also pleasurable through proximity and intimacy. Close reading allows for a point of entry and connection to the broader #Free Britney community, where close readings are contributed, the readings of others are affirmed, and these individual contributions are incorporated into the fabric of the community. Close reading also provides proximity and a sense of intimate familiarity with Spears herself. Close reading is only made possible through deep knowledge, through being able to understand Spears’s self-presentation, mediated through digital platforms like Instagram, as authentic or forced. The Internet also makes close reading more accessible and immediate. Instagram posts can be saved for later perusal, comments screenshotted, and deleted comments captured before they vanish. This work of understanding, interpreting, and building happens both in real time (as soon as content is posted) and retrospectively, using what is now known or agreed upon to go back and reinterpret old material, hunting for clues and signs previously missed. This is evident in a number of TikToks where fans closely interpret Britney’s movement to confirm their theories. In one video, Spears discusses the LGBTQIA+ community. The video is not particularly coherent, and in the comments, a fan writes, “If you need help, wear yellow and blink twice”, and “If you need help do two spins” (ABC News). In her next video, Spears appears wearing a yellow top and holding flowers; she blinks twice, then does two spins for the camera. Given what we now know about Spears’s situation at the time, it seems likely she was in dialogue with her fans, counting on their close reading, attention to detail, and emotional investment. While Spears’s abusive conservatorship was obviously of concern to fans, there is also pleasure in the moments of reading, knowing, and dialoguing with Spears, creating a parasocial intimacy (ABC News). These compounding pleasures are overlapping and mutually reinforcing and create what Ahmed would call a ‘sticky’ site of affective engagement. Ahmed’s conceptualisation of ‘stickiness’ often refers to negative affects, but we argue can apply to positive or pleasurable affectivities. Conclusion #FreeBritney began as a fringe fan concern. It was mocked, derided and dismissed, before being ultimately vindicated through legal action and the removal of the conservatorship. Legal action addressing the financial exploitation of Spears is underway (Day). In a video after the end of her conservatorship, Spears speaks to her fans through an Instagram video detailing her next steps (Sky News). She also thanks the #FreeBritney movement, saying, the Free Britney Movement, you guys rock! Honestly, my voice was muted and threatened for so long, and um I wasn’t able to speak up or say anything, and um because of you guys’ awareness and kind of knowing what was going on and delivering that news to the public for so long ... because of you, I honestly think you guys saved my life. Examining the #FreeBritney movement allows us to consider the role of pleasure in conspiracy theorising. Through this reading, we can also begin to understand conspiracy theorists in a more nuanced way. Those who believe in conspiracy theories are often characterised as fearful, anxious, and paranoid. However, there are pleasurable affectivities also associated with conspiracy theorising. While conspiracy theories most often circulate through and coalesce in online spaces, #FreeBritney demonstrates that theories also drive practice with fans protesting outside of Spears’s court hearings and taking steps to dismantle the conservatorship system more generally (Rolling Stone). Focussing on pleasure can also explain the derision directed towards conspiracy theories and their subscribers. Anti-fan communities provide a language to discuss the gleeful debunking and mocking of conspiracy theories. Pleasure is also a core part of anti-fandom, that is groups mobilised around their hate of something or someone (usually a celebrity with a fan following), and this anti-fandom mirrors many core fan practices (Pinkowitz). The anti-fan is smarter and more discerning than the fan and has the ‘right’ way of thinking, reasoning, and appreciating. The rational anti-fan understands that any clue in Spears’s videos is coincidental and that fans are over-involved, overreacting and out of touch. However, the pleasure of anti-fandom, and debunking more generally, cannot exist without the fan and the conspiracy theory. Thus, the pleasure of the anti-fan only exists in dialogue with the fan, or in this case, the perceived conspiracy theorist. Attending to conspiracy theories as a site of pleasure allows us to construct a deeper and more nuanced understanding of the seemingly magnetic pull of conspiracy theories. References ABC News. “Britney Spears’s Fans Claim She Is Pleading for Help through Her Social Media Videos.” 24 July 2020. <https://www.abc.net.au/news/2020-07-24/britney-spears-fans-claim-she-is-pleading-for-help/12488754>. Ahmed, Sara. Cultural Politics of Emotion. Edinburgh UP, 2014. Anderson, Ben. “Affective Atmospheres.” Emotion, Space and Society 2.2 (2009): 77–81. Barker, Tess, and Grey Babs. “75 #FREEBRITNEY.” Britney’s Gram, podcast, 75 (16 Apr. 2019). <https://soundcloud.com/user-405122914-411166228/74-freebritney>. Barkun, Michael. “Conspiracy Theories as Stigmatized Knowledge.” Diogenes 62.3-4 (2015): 114–20. Butler, Josh, and Sarah Martin. “Australian Online Anti-Vaccine Groups Switch to Putin Praise and Ukraine Conspiracies.” The Guardian 1 Mar. 2022. <https://www.theguardian.com/australia-news/2022/mar/02/australias-anti-vaccine-groups-switch-focus-to-putin-praise-and-ukraine-conspiracies>. Conner, Christopher T., and Nicholas MacMurray. “The Perfect Storm: A Subcultural Analysis of the QAnon Movement.” Critical Sociology (Nov. 2021). <http://dx.doi.org/10.1177/08969205211055863>. Coscarelli, Joe, et al. “Britney Spears Can Hire a New Lawyer of Her Choice, Judge Rules.” The New York Times 14 July 2021. <https://www.nytimes.com/2021/07/14/arts/music/britney-spears-conservatorship-lawyer.html>. Day, Liz. “Britney Spears Fights Father’s Fee Claim, Alleging Financial Misconduct.” The New York Times 19 Jan. 2022. <https://www.nytimes.com/2022/01/18/business/britney-spears-father-fees.html>. Day, Liz, and Rachel Abrams. “Investigation into Britney Spears Conservatorship Will Look into Her Finances.” The New York Times 2 Nov. 2021. <https://www.nytimes.com/2021/11/02/us/britney-spears-father-deposition.html>. Geraghty, Lincoln. “Introduction: Fans and Paratexts.” Popular Media Cultures: Fans, Audiences and Paratexts, ed. Lincoln Geraghty. Palgrave Macmillan UK, 2015. 1–14. Gray, Jonathan, et al. “Why Still Study Fans?” Fandom, Second Edition: Identities and Communities in a Mediated World, ed. Jonathan Gray et al. NYU P, 2017. 1–27. Hills, Matt. “Fiske’s ‘Textual Productivity’ and Digital Fandom: Web 2.0 Democratization versus Fan Distinction.” Participations 10.1 (2013): 130–53. Jacobs, Julia. “What Is Actually Happening with Britney Spears?” The New York Times 17 May 2019. <https://www.nytimes.com/2019/05/17/arts/music/britney-spears-conservatorship-mental-health.html>. McCann, Hannah, and Clare Southerton. “Repetitions of Desire: Queering the One Direction Fangirl.” Girlhood Studies 12.1 (2019): 49–65. Melley, Timothy. Empire of Conspiracy. Cornell UP, 2016. Mittell, Jason. Complex TV: The Poetics of Contemporary Television Storytelling. NYU P, 2015. Pearson, Roberta. “Fandom in the Digital Era.” Popular Communication 8.1 (2010): 84–95. Pinkowitz, Jacqueline M. “‘The Rabid Fans That Take [Twilight] Much Too Seriously’: The Construction and Rejection of Excess in Twilight Antifandom.” Transformative Works and Cultures 7 (2011): 1–17. Richards, Abbie. “The Conspiracy Chart.” Twitter 3 Oct. 2020. <https://twitter.com/abbieasr/status/1312512066071060480>. Rolling Stone. “#FreeBritney Rallies around the World.” 14 July 2021. <https://www.rollingstone.com/culture/culture-pictures/freebritney-rallies-britney-spears-conservatorship-photos-1197458/buk_1491/>. Sherman, Maria. “A Guide to the #FreeBritney Theory That Britney Spears Is Being Held against Her Will.” Jezebel 23 Apr. 2019. <https://jezebel.com/a-guide-to-the-freebritney-theory-that-britney-spears-1834216480>. Sky News. “Britney Spears Thanks Fans in Instagram Video after Conservatorship Ends.” 17 Nov. 2021. <https://news.sky.com/video/video-im-not-here-to-be-a-victim-britney-spears-speaks-after-end-of-conservatorship-12470545>. Stark, Samatha, and Liz Day. “‘Controlling Britney Spears’ Reveals Details of Her Life under Conservatorship.” The New York Times 2 Nov. 2021. <https://www.nytimes.com/article/controlling-britney-spears.html>. Swami, Viren, et al. “Associations between Belief in Conspiracy Theories and the Maladaptive Personality Traits of the Personality Inventory for DSM-5.” Psychiatry Research 236 (2016): 86–90.

Barbie was the largest worldwide film release of 2023, dominating the box office with over $1 billion in earnings (PRNewswire). The reported marketing budget was over $150 million, which was greater than the $145 million spent on making the film (Adekaiyero). While marketing and public relations (PR) differ in approach and goals, the overall goal for Barbie was evident in the campaign: get fans excited for the film release. The number of collaborations, events, and advertisements executed for the Barbie campaign was extensive, with the convergence of traditional and digital media interplaying seamlessly. The vast majority of PR and marketing professionals were talking about the campaign as a superior example for the field to follow for the purposes of fuelling a passionate target audience. This article examines the public relations strategies that heightened fan interest in Barbie and reaffirms Barbie as a cultural icon. By analysing the most noteworthy components of the Barbie campaign that were highlighted in articles and PR blog posts, valuable insights are shared regarding how audience participation cultivates the success of cultural phenomena. These insights underscore the symbiotic relationship between PR practitioners and fans. PR’s Role in Barbie The film industry recognises the pivotal role PR plays in getting people to the theatre, especially in a post-COVID-19 world where it is estimated that only eight percent of US citizens go often to the theatres as of 2022, with over half never going to the movie theatres (Statista Research). Another factor that has affected movie-going trends is the accessibility of streaming services. A poll from HarrisX found that two-thirds of US adults prefer to wait for movies that premiere in theatres to be released on streaming (Maglio). It’s also becoming clear that the ‘Barbenheimer’ opening weekend is a box office standout, as 2024 box office numbers are predicted to drop by over one billion dollars (D’Alessandro). This was determined by the movies that have come out as of March 24, with anticipated titles like Madame Web and Argyle tanking, and Dune: Part Two being the best thus far with an $80 million at the box office (Carras). That is less than half of what Barbie made on opening weekend at $162 million (Fischer). Evidently, the hype around ‘Barbenheimer’ is a topic that continues to be investigated, as reports of fan anecdotes and fan made content continue coming out (D’Alessandro). Before ‘Barbenheimer’ became the plan for fans, the PR for Barbie started before production began. Presumably, those outside of PR and marketing professions assume that trailers are the starting point for promoting a film, but it starts at the beginning of the film’s creation, when rumours and press releases come out revealing who is going to work on the project (Qiang). At the 2021 CinemaCon, Warner Bros made the announcement that a live-action Barbie movie would come to theatres in the summer of 2023 (Soares). The film’s director and main star, Greta Gerwig and Margot Robbie, were signed onto the project in 2020, and the full cast list was shared in 2022, which built excitement with fans because of the names attached to the project indicating the star power interest (Murphy). Pre-production is key in starting to build excitement for any movie, but how Barbie approached pre-release with its trailers continued to build the mystery surrounding the movie’s plot. The first teaser trailer was released as part of the series of trailers ahead of Avatar: The Way of Water (2022) – a highly anticipated sequel since Avatar broke all-time box office records in 2009 (Soares; Romano). Then, on 4 April 2023, character posters were released alongside the second trailer, which still didn’t reveal much about the plot, but did incorporate snippets of dialogue that were indicative of a more PG-13 sense of humour (Soares). The character posters quickly became the Internet’s new favourite meme because of the taglines that gave some insight into the Barbies and Kens in the movie (Hudgins). Joining in on the trend didn’t require Photoshop; Warner Bros. partnered with PhotoRoom to create the interactive barbieselfie.ai generator, which was used over 13 million times since it was released on April 3 – a day ahead of the character posters (Barr). In PR and marketing campaigns, earned media success is the goal, meaning that the social media buzz happens organically. Movie trailer spots and particular partnerships, as sometimes partners will pay to collaborate more on one side of the deal, are examples of paid media, which is most of what the marketing budget supports. In an interview with Variety, Josh Goldstine, Warner Bros. president of global marketing, used the terms ‘earned media’ and ‘paid media’ to talk about the different elements of the Barbie campaign (Rubin). These terms are rooted in the public relations lexicon of the PESO (paid media, earned media, shared media, and owned media) model, and evolve as multimedia channel opportunities expand (Detrich). Understanding where media types fit in the PESO Model ensures that a PR campaign has a holistic approach in reaching its target audience, or rather, ‘publics’, as a way of identifying consumers as co-creators (Pieczka). For context, the PESO Model was coined by Gini Detrich in 2014, and it became popularised because it is a comprehensible, yet high-level framework categorising converged media (Brandpoint). Applying this model helps better understand the strategy and goals of PR, marketing, and advertising campaigns, and in the case of Barbie, figuring out where certain campaign comments fit in the model allows outsiders a means to ascertain the audience mapping. The terms ‘audience’ and ‘publics’ are often treated as synonymous in describing a group of consumers, but in the PR field, the key difference is that the former is passive in receiving PR messages, while the latter describes having an active response (Knighton and Wakefield). Having “an active response” means being invited or motivated to take action as part of two-way communication (Knighton and Wakefield), and fans can use social media to voice their excitement and participate in unplanned trends, with ‘Barbenheimer’ being a prime example. Appealing to fans as the intended public of the Barbie campaign was crucial. The selfie AI generator was only the beginning in a series of earned media efforts. Barbie had over one hundred brand deals licenced before the movie was released in late July, with the licencing for products ranging from clothing brands to entertainment and lifestyle (Addley). All of the pink collaborations reignited Barbiecore as a fashion trend (Dockerman). Mattel having multiple partnerships enabled the notice around Barbie to have a life of its own as fans (Rubin). Essentially, the role of PR in Barbie aligns with what Barbie represents, which is to give the public a combination of empirical and imaginative thought to take action (Pieczka), or in other words, ‘you can be anything’ with Barbie. Fig. 1: PESO model of Barbie campaign milestones. Fan Engagement: All Things Barbiecore Fan engagement is becoming an increasing focus of contemporary PR campaigns. The idea of what a “fan” is can vary but we have an inherent idea or assumption of what it means based on our standpoint, and academic definitions tend to revolve around being an “enthusiast” or “cultist” and “follower” (Hills). The research on the intersection of public relations and fandom is growing, as the need to better understand fandom audiences is pertinent to ideas of what being a fan means as an identity. Academic works that specify the relationship between fandom and public relations are actualised in two editions co-edited by Hutchins and Tindall (2016; 2021). The current state of PR theories does not recognise fan motivations that occur within fandom, meaning that two-way communication has altered the responses that are gathered from target audiences (Hutchins and Tindall). In the case of Barbie, the earned media response is indicative of great success, such as having over 7 million social media mentions in 2023 and over 227 million engagement actions (Galliot). Conversation surrounding ‘Barbiecore’ outfit ideas alone saw over 11 million views on TikTok (Smith). For movies, generating fan engagement is an obvious need. There are instances in the entertainment industry wherein movie fans or television fans mobilise out of passion to see certain ideas or wants fulfilled (Fraser and Buckler). The 2023 Writers Guild of America Strike taught the industry and the public many things about writing, wages, and AI, and how the strike relates to fan passions is that fans want to see quality, authentic writing, which AI cannot achieve (Lawler). The reveal of Greta Gerwig being part of Barbie as co-screenwriter and director made fans confused, yet excited, since Gerwig is well-known for feminist-centric movies (Dockterman). Fans love to support passionate creators who put thoughtful effort into the stories and characters, and with creating the first-ever live-action Barbie movie, the high feels to fill in were massive. Barbie has been around for sixty-five years and is one of the most recognisable toys on a global scale with 99 percent awareness (Weitzman). Though having over one hundred brand deals for promoting the movie can garner great fan appeal, having those deals does not promise success without consideration of what fans want. Barbie and Mattel have a long history, and the film “doesn’t miss a beat” – enabling the film to become enriched by acknowledging both Barbie’s successes and polarising feminism (Lord). The movie premiere showed how Barbie was more than a doll, with a sea of pink outfits going to watch the movie, the fan response was more than the marketing team hoped for in setting its goals (Rubin). Though the exact sales numbers on how the different licences succeeded or not are unavailable, the social media conversation and in-person dress-up were strong indicators of success beyond the numbers, as fans wanted to talk about Barbie and what the doll and movie meant to them (Keegan). The approach in doing so is not directly asking fans to get creative; it is an implicit open invitation for the public to contribute to the discourse (Piezka). Associate professor at Boston University, Amy Shanler, explains that Barbie is a well-executed campaign because “the best PR isn’t when you do your own Public Relations. It’s when other people are doing it for you” (qtd. in Laskowski). Barbie’s Fan Engagement Techniques In examining the Barbie campaign, the key ideas to note are: fulfilling the PESO Model, appealing to fan knowledge of Barbie (including the doll’s controversies), and leaving room for imagination. This draws on articles analysing the PR strategy by PR practitioners who are currently active in the field, along with insights from online articles with direct marketer interviews. The PESO Model, despite not being a long-standing PR framework, is the most widely used and talked about application not only for building PR campaigns but for being able to dissect major campaigns from the outside looking in. By applying the PESO Model to what is known about the Barbie campaign, not only are all aspects of the model met, but it is impactful in how strongly the Barbie identity and message are implemented. As mentioned, Barbie is a highly recognisable toy, and most people are familiar with Barbie dolls. Appealing to fan knowledge about Barbie, encompassing all of the positive and negative aspects of the doll, was an enjoyable factor of the movie. And in the weeks leading up to the movie, the mystery of the plot was alluring, yet fans were excited to see what Barbie lore would be included. Arguably, the most impactful aspect of a PR campaign is having strategies that can potentially inspire a public (target audience) to mobilise. ‘Barbenheimer’ was not part of the marketing plan, and neither was dressing up in Barbiecore to see the film, but because of the overwhelming success in earned media and shared media, these trends came to fruition and will be remembered as part of what made Barbie a global success. While Barbie had a massive marketing budget, the success that the campaign saw was rooted in fan engagement. The structure of the campaign, with its numerous collaborations, trailers that gave everything visually but nothing plot-wise, star-studded cast, and activities to involve fans like the selfie AI generator and wearing pink to automatically become a Barbie, built an unflappable excitement for a wide-ranging audience. Looking ahead, the PR and marketing industries can utilise the Barbie campaign as an example of fan collaboration by giving fans the tools to become co-creators. To be a successful campaign, knowing the converged media types that are necessary to implement for a diverse fan audience is essential in creating further accessibility. This means that employing the PESO Model structure ensures great reach, whether or not the campaign is backed by Mattel’s budget. The Barbie campaign was loud and unapologetically pink, and such authenticity is what makes fans empowered to embrace Barbie as a cultural icon. The excitement generated for Barbie can’t be easily replicated for other movies or products in terms of massive marketing budgets, but the core of appealing to fans can be studied and taken into consideration for future campaigns. The makings of success for Barbie are in how the campaign gave fans the tools to become collaborators in the campaign. References Addley, Esther. “From Airbnb to Xbox: Brand Barbie Goes for Big Bucks with 100 Partnerships.” The Guardian, 1 July 2023. <https://www.theguardian.com/film/2023/jul/01/from-airbnb-to-xbox-brand-barbie-goes-for-big-bucks-with-100-partnerships>. Adekaiyero, Ayomikun. “‘Barbie’ Reportedly Had a $150 Million Marketing Budget – More than the Movie’s Actual Budget.” Business Insider, 24 July 2023. <https://www.businessinsider.com/barbie-had-150-million-marketing-budget-2023-7>. Barr, Aaron. “‘Barbie’ AI Selfie Generator Goes Viral with 13m Users.” Marketing Dive, 27 July 2023. <https://www.marketingdive.com/news/barbie-ai-selfie-generator-13m-users /689191/>. Beckett, Lois. “How Did Barbie Do It? Warner’s Head of Marketing on Creating a ‘Pink Movement.’” The Guardian, 28 July 2023. <https://www.theguardian.com/film/2023/jul/28/warner-bros-marketing-head-josh-goldstine-barbie-pink-movement>. Brandpoint Staff. “Peso Model for PR: Paid, Earned, Shared, Owned Media.” Brandpoint, 5 Apr. 2024. <https://www.brandpoint.com/blog/earned-owned-paid-media/>. Carras, Christi. “Oscars Mark Last Hurrah for ‘Barbenheimer’ as 2024 Box Office Faces Uncertain Future.” Los Angeles Times, 9 Mar. 2024. <https://www.latimes.com/entertainment-arts/business/story/2024-03-09/oscars-2024-barbie-oppenheimer-box-office>. D’Alessandro, Anthony. “Domestic Box Office Expected to Drop by $1 Billion in 2024 amid Fewer Films & Waning Moviegoer Sentiment. But 31 Tentpoles Provide Hope.” Deadline, 31 Dec. 2023. <https://deadline.com/2023/12/box-office-2024-predictions-movies-cinemas-1235682149/>. Dietrich, Gini. “A 2024 Peso ModelTM Primer for Communicators.” Spin Sucks – Professional Development for PR and Marketing Pros, 28 Mar. 2024. <https://spinsucks.com/communication/pr-pros-must-embrace-the-peso-model/>. Dockterman, Eliana. “All the Barbie Partnerships, from Crocs to Burger King.” Time, 13 July 2023. <https://time.com/6294123/barbie-partnerships-crocs-burger-king/>. Dockterman, Eliana. “How Barbie Came to Life.” Time, 27 June 2023. <https://time.com/6289864/barbie-time-cover-story/>. Gaillot, Ann-Derrick. “Barbie vs. Oppenheimer in Social Media Numbers.” Meltwater, 13 Mar. 2024. <https://www.meltwater.com/en/blog/barbie-oppenheimer-social-media>. Hills, Matt. Fan Cultures. Routledge, 2005. Hudgins, Ryan. “Barbie Posters Have Become the Internet’s New Favorite Meme.” TODAY, 5 Apr. 2023. <https://www.today.com/popculture/movies/barbie-posters-internets-new-favorite-meme-rcna78348>. Keegan, Matthew. “How Barbie Has Sustained as One of the Most Successful Toy Brands of All Time.” Campaign Asia, 9 Aug. 2023. <https://www.campaignasia.com/article/how-barbie-has-sustained-as-one-of-the-most-successful-toy-brands-of-all-time/485675>. Laskowski, Amy. “Why Are We Obsessed with Barbie? And Why Is Barbie Still Here?” Boston University, 19 July 2023. <https://www.bu.edu/articles/2023/why-are-we-obsessed-with-barbie/>. Lawler, Kelly. “Exclusive: Survey Says Movie and TV Fans Side with Striking Actors and Writers.” USA Today, 4 Aug. 2023. <https://www.usatoday.com/story/entertainment/tv/2023/08/02/sag-aftra-wga-hollywood-strikes-fans-side-with-actors-and-writers-survey/70506956007/>. Lord, M.G. Forever Barbie: The Unauthorized Biography of a Real Doll. 30th ed. Liveright Publishing Corporation, 2024. Maglio, Tony. “Two-Thirds of U.S. Adults Would Rather Wait to Watch Movies on Streaming.” IndieWire, 20 Mar. 2024. <https://www.indiewire.com/news/analysis/movies-on-streaming-not-in-theaters-1234964413/>. Murphy, Chris. “A Complete History of the ‘Barbie’ Movie.” Vanity Fair, 12 Apr. 2023. <https://www.vanityfair.com/hollywood/2023/04/a-complete-history-of-the-barbie-movie>. Pieczka, Magda. “Looking Back and Going Forward: The Concept of ‘the Public’ in Public Relations Theory.” Public Relations Inquiry 8.3 (2019): 225–244. <https://doi.org/10.1177/2046147x19870269>. “Public Relations and Participatory Culture Fandom, Social Media and Community Engagement.” Eds. Amber Hutchins and Natalie T.J. Tindall. Routledge, 2016. DOI: 10.4324/9781315766201. Qiang, Rico. “How Does Public Relations Work in the Film Industry.” Boston University, 19 Apr. 2022. <https://www.bu.edu/prlab/2022/04/19/how-does-public-relations-work-in-the-film-industry/>. Romano, Nick. “James Cameron Has Now Directed 3 of the 5 Highest-Grossing Movies Ever.” Entertainment Weekly, 27 Jan. 2023. <https://ew.com/movies/james-cameron-directed-3-of-5-highest-grossing-movies-ever-avatar-the-way-of-water/>>. Rubin, Rebecca. “Inside ‘Barbie’s’ Pink Publicity Machine: How Warner Bros.. Pulled off the Marketing Campaign of the Year.” Variety, 12 Nov. 2023. <https://variety.com/ 2023/film/box-office/barbie-marketing-campaign-explained-warner-bros-1235677922/>. Smith, Emily. “The Barbenheimer Phenomenon: What Social Data Tells Us.” Brandwatch, 3 Aug. 2023. <https://www.brandwatch.com/blog/barbenheimer/>. Soares, Isabella. “‘Barbie’: Release Date, Cast, Trailer, and Everything You Need To Know.” Collider, 17 Dec. 2023. <https://collider.com/barbie-movie-release-date-cast-trailer/>. Statista Research. “U.S.: Post-Pandemic Moviegoing Frequency 2022.” Statista, 29 June 2023. <https://www.statista.com/statistics/1316061/post-pandemic-moviegoing-frequency-us/>. Wakefield, Robert, and Devin Knighton. “Distinguishing among Publics, Audiences, and Stakeholders in the Social Media Era of Unanticipated Publics.” Public Relations Review 45.5 (2019). <https://doi.org/10.1016/j.pubrev.2019.101821>. Warner Bros. 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One of the commonplace and myopic reactions to the rise of televisual time-shifting via video-on-demand, DVD rental services, illegal downloads, and streaming media was to decree “the death of the communal television experience”. For many, new forms of watching television unconstrained by time-bound, regularly scheduled programming meant the demise of the predominant form of media liveness that existed commercially since the 1950s. Nevertheless, as time-shifting practices evolved, so have attendant notions of televisual temporality—including changing forms of liveness, shared experience, and the plastic and flexible nature of new viewing patterns (Bury & Li; Irani, Jefferies, & Knight; Turner; Couldry). Although these temporal conceptualisations are relevant to streaming media, in the few years since the launch of platforms such as Netflix, Hulu, and Amazon, what it means “to stream” has rapidly expanded. Social media platforms like Twitter, Facebook, Snapchat, YouTube, and TikTok allow users to record, share, and livestream their own content. Not only does social media add to the growing definition of streaming, but these streaming interactions are also predominately mobile (Munson; Droesch). Taken together, a live and social experience of time via audio-visual media is not lost but is instead reactivated through the increasingly mobile nature of streaming. In the following article, I examine how mobile streaming media practices are part of a construction of shared temporality that both draws upon and departs from conceptualisations of televisual and fixed streaming liveness. Accordingly, HQ Trivia—a mobile-specific streaming gameshow app launched in August 2017—demonstrates novel attempts at reimagining the temporally-bound live televisual experience while simultaneously offering new monetisation strategies via mobile streaming technologies. Through this example, I argue that pervasive Web-connectivity, streaming platforms, data collection, mobile devices, and mobile streaming practices form arrangements of valorisation that are temporally bound yet concomitantly mobile, allowing new forms of social cohesion and temporal control.A Brief History of Televisual TemporalityTime is at once something infinitely mysterious and inherently understood. As John Durham Peters concisely explains, “time lies at the heart of the meaning of our lives” (175). It is precisely due to the myriad ontological, phenomenological, and epistemological dimensions of time that the subject has long been the focus of critical inquiry. As part of the so-called spatial turn, Michel Foucault argues that theory formerly treated space as “the dead, the fixed, the undialectical, the immobile. Time, on the contrary, was richness, fecundity, life, dialectic” (70). While scholarly turns toward space and later mobility have shifted the emphasis of critical inquiry, time is not rendered irrelevant. For example, Doreen Massey defines spaces as the product of interrelations, as sphere of possibility and heterogeneous multiplicity, and as always under construction (9). Critical to these conceptualisations of space, then, is the element of time. Considering space not as a static container in which individual actors enter and leave but instead as a production of ongoing becoming demonstrates how space, mobility, and time are inexorably intertwined. Time, space, and mobility are also interrelated when it comes to conversations of power. Judy Wajcman and Nigel Dodd contend that temporal control is related to dynamics of power, in that the powerful are fast and the powerless slow (3). Questions of speed, mobility, and the control of time itself, however, require attention to the media that help construct time. Aspects of time may always escape human comprehension, yet, “Whatever time is, calendars and clocks measure, control, and constitute it” (Peters 176). Time is a sociotechnical construction, but temporal experience is bound up in more than just time-keeping apparatuses. Elucidated by Sarah Sharma, temporalities are not experienced as uniform time, but instead produced within larger economies of labor and temporal worth (8). To reach a more productive understanding of temporalities, Sharma offers power-chronography, which conceptualises time as experiential, political, and produced by social differences and institutions (15). Put another way, time is an experience structured by the social, economic, political, and technical toward forms of social cohesion and control.Time has always been central to the televisual. Though it is often placed in a genealogy with film, William Uricchio contends that early discursive imaginings and material experiments in television are more indebted to technologies such as the telegraph and telephone in promising live and simultaneous communication across distances (289-291). In essence, film is a technology of storage, related to 18th- and 19th-century traditions of conceptualising time as fragmented; the televisual is instead associated with the “contrasting notion of time conceived as a continuous present, as flow, as seamless” (Uricchio 295). Responding to Uricchio, Doron Galili asserts that the relationship between film and television is dialectical and not hierarchical. For Galili, the desire for simultaneity and storage oscillates—both are present, both remain separate from one another. It is the synthesis of simultaneity and storage that allows both to operate together as a technological and mediated vision of mastering time. Despite disagreements regarding how best to conceptualise early film and television, it is clear that the televisual furthered a desire for spatial and temporal coordination, liveness, and simultaneity.In recent years, forms of televisual “time-shifting” allow viewers to escape temporally-bound scheduling. In what is commonly periodised as TVIII, the proliferation of digital platforms, video-on-demand, legal and illegal downloads, and DVD players, and streaming media displaced more traditional forms of watching live television (Jenner 259). It is important to note that while streaming is often related to the televisual, the televisual-to-streaming shift is not a clean linear evolution. Televisual-style content persists in streaming, but streaming might be better defined as matrix media, where content is made available away from the television set (Jenner 260). Regardless, the rise of streaming media platforms such as Netflix, Hulu, and Amazon Prime is commonly framed as part of televisual temporal disruption, as scholars note the growing plurality of televisual-type viewing options (Bury and Li 594). Further still, streaming platforms are often defined as television, a recent example occurring when Netflix CEO Reed Hastings called the service a “global Internet TV network” in 2016.The changing landscape of streaming and time-shifting notwithstanding, individuals remain aware of the viewing patterns of others, and this anticipation impacts the coordination and production of the collective television experience (Irani, Jeffries, and Knight 621). Related to this goal is how liveness connects viewers to shared social realities as they are occurring and helps to create a collective sense of time (Couldry 355-356). This shared experience of the social is still readily available in a time-shifted landscape, in that even shows released via an all-at-once format (for example, Netflix’s Stranger Things) can rapidly become a cultural phenomenon. Moreover, livestreaming has become commonplace as alternative to cable television for live events and sports, along with new uses for gaming and social media. As Graeme Turner notes, “if liveness includes a sense of the shrinking temporal gap between oneself and the rest of the world, as well as a palpable sense of immediacy, then this is something we can find as readily online as in television”. To this end, the claim that streaming media is harbinger of the “death of liveness” is far too simplistic. Liveness vis-à-vis streaming is not something that ceases to exist—shared temporal experiences simply occur in new forms.HQ TriviaOne such strategy to reactive a more traditional form of televisual liveness through streaming is to make streaming more social and mobile. Launched in August 2017, HQ Trivia (later retitled HQ Trivia and Words) requires users, known as HQties, to download the app and log in at 3.00 pm and 9.00 pm Eastern Standard Time to join a live gameshow. In each session, gameshow hosts ask a series of 12 single-elimination questions with three answer choices. Any users who successfully answer all 12 questions correctly split the prize pool for the show, which ranges from $250 to $250,000. Though these monetary prizes appear substantial, the per-person winnings paid out are often quite low based on the number winners splitting the pool. In the short time since its inception, HQ has had high and low audience participation numbers and has also spawned a myriad of imitators, including Facebook’s “Confetti” gameshow.Mobile streaming via trivia gameshows are a return to forms of televisual liveness and participation often disrupted by the flexible nature of streaming. HQ’s twice-a-day events require users to re-adapt to temporal constraints to play and participate. Just as intriguing is that “HQ sees its biggest user participation—and largest prizes—on Sundays, especially if games coincide with national events, such as holidays, sports games or award shows” (Alcantara). Though it is difficult to draw conclusions from this correlation, the fact that HQ garners more players and attention during events and holidays complicates notions of mobile trivia as a primary form of entertainment. It is possible, perhaps, that HQ is an evolution to the so-called second screen experience, in which a mobile device is used simultaneously with a television. As noted by Hye-Jin Lee and Mark Andrejevic, the rise of the second screen often enables real-time monitoring, customisation, and targeting that is envisioned by the promoters of the interactive commercial economy (41). Second screens are a way to reestablish live-viewing and, by extension, advertising through the importance of affective economies (46). Affect, or a preconscious structure of feeling, is critical to platform monetisation, in that the capture of big data requires an infrastructuralisation of desire—in streaming media often a desire for entertainment (Cockayne 6). Through affective capture, users become willing to repeat certain actions via love for and connection to a platform. Put another way, big data collection and processing is often the central monetisation strategy of platforms, but capturing this data requires first cultivating user attachment and repeat actions.To this end, many platforms operate by encouraging as much user engagement as possible. HQ certainly endeavors for strong affective investment by users (a video search for “HQ Trivia winner reactions” demonstrates the often-zealous nature of HQties, even when winning relatively low amounts of prize money). However, HQ departs from the typical platform streaming model in that engagement with the app is limited to two games per day. These comparatively diminutive temporal appointments have substantial implications for HQ’s strategies of valorisation, or the process of apprehending and making productive the user as laborer in new times and spaces (Franklin 13). Media theorists have long acknowledged the “work of watching” television, in which the televisual is “a real economic process, a value-creating process, and a metaphor, a reflection of value creation in the economy as a whole” (Jhally and Livant 125). Televisual monetisation is predominately based on the advertising model, which functions to accelerate the selling of commodities. This configuration of capital accumulation is enabled by a lineage of privatisation of broadcasting; television is heralded as a triumph of deregulation, but in practice is an oligopolistic, advertising-supported system of electronic media aided by government policies (Streeter 175). By contrast, streaming media accomplishes capitalistic accumulation through the collection, storage, and processing of big data via cloud infrastructure. Cloud infrastructure enables unprecedented storage and analytic capacity, and is heavily utilised in streaming media to compress and transmit data packets.Although the metaphor of the cloud situates user data as ephemeral and free, these infrastructures are better conceptualised as a “digital enclosure”, which invokes the importance of privatisation and commodification, as well as the materiality and spatiality of data collection (Andrejevic 297). As such, streaming monetisation is often achieved through the multitude of monetisation possibilities that occur through the collection of vast amounts of user data. Streaming and mobile streaming, then, are similar to the televisual in that these processes monetise the work of watching; yet, the ubiquitous data collection of streaming permits more efficient forms of computational commodification.Mobile streaming media continues the lineage of ubiquitous immaterial labor—a labor form that can, and commonly is, accomplished by “filling the cracks” of non-work time with content engagement and accompanying data collection. HQ Trivia, nevertheless, functions as a notable departure from this model in that company has made public claims that the platform will not utilise the myriad user identification and location data collected by the app. Instead, HQ has engaged in brand promotions that include Warner Brothers movies Ready Player One and Rampage, along with a brief Nike partnership (Feldman; Perry). Here, mobile and temporal valorisation occurs through monetisation strategies more akin to traditional televisual advertising than the techniques of big data collection often utilised by platforms. Whether or not eschewing the proclivity toward monetising user data for a more traditional form of brand promotion will yield rewards for HQ remains to be seen. Nonetheless, this return to more conventional televisual monetisation strategies sets HQ apart from many other applications that rely on data collection and subsequent sale of user data for targeted advertisements.Affective attachment and the transformation of leisure times through mobile devices is critical not just to value generation, but also to the relationship between mobile streaming and temporal and mobile control. As previously noted, Sharma elucidates that time is part of biopolitical forms of control, produced and experienced differently. Nick Couldry echoes these sentiments, in that there are rival forms of liveness stemming from a desire for connectivity, and that these “types of liveness are now pulling in different directions” (360). Despite common positionings, the relationship between television and streaming media is not a neat linear evolution—television, streaming, and mobile streaming continue to operate both side-by-side and in conjunction with one another. The experience of time, nevertheless, operates differently in these media forms. Explained by Wendy Chun, television structures temporality through steady streams of information, the condensation of time that demands response in crisis, and the most powerful moments of “touching the real” via catastrophe (74). New media differs by instead fostering crisis as the norm, in that “crises promise to move users from banal to the crucial by offering the experience of something like responsibility; something like the consequences and joys of ‘being in touch’” (Chun 75). New media crisis is often felt via reminders and other increasingly pervasive prompts that require an immediate user response. HQ differs from other forms of streaming and mobile streaming in that the plastic and flexible nature of viewing is replaced by mobile notifications and reminders that one must be ready for twice-daily games or risk losing a chance to win.In contributing to a sense of new media crisis, HQ fosters novel expectations for the mobile streaming subject. Through temporally-bound mobile livestreaming, “networked smart screens are the mechanism by which time and space will be both overcome and reanimated” as the “real world” is transformed into a magical landscape of mobile desire (Oswald and Packer 286). There is a double-edged element to this transformation, however, in that power of HQ Trivia is the ability to reanimate space through a promise that users are able to win substantial prize money only if one remembers to tune in at certain times. Within HQ Trivia, the much-emphasised temporal freedom of streaming time-shifting is eschewed for more traditional forms of televisual liveness; at the same time, smartphone technologies permit mobile on-the-go forms of engagement. Accordingly, a more traditional televisual simultaneity reemerges even as the spaces of streaming are untethered from the living room. It is in this reemphasis of liveness and sharedness that the user is simultaneously empowered vis-à-vis mobile devices and made mobile streaming subject through new temporal expectations and forms of monetisation.As mobile streaming becomes increasingly pervasive, new experimental applications jockey for user attention and time. HQ Trivia’s model of eschewing data collection for more traditional televisual monetisation represents attempts to recreate mobile media engagement not through individual isolated audio-visual practices, but instead through a live and mobile experience. Consequently, HQ Trivia and other temporally-bound gameshow apps demonstrate a reimagined live televisual experience, and, in turn, a monetisation of mobile engagement through affective investment.ReferencesAlcantara, Chris. “Diving into HQ Trivia: The Toughest Rounds, the Best Time to Play and How Some Users Beat the Odds.” The Washington Post 5 Mar. 2018. <http://www.washingtonpost.com/graphics/2018/business/hq-trivia/?utm_term=.02dc389ae3a9>.Andrejevic, Mark. “Surveillance in the Digital Enclosure.” The Communication Review 10.4 (2007): 295-317.Bury, Rhiannon, and Johnson Li. “Is It Live or Is It Timeshifted, Streamed or Downloaded? 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Depuis 2017, le monde a vu un nouveau réseau social numérique venirs’ajouter à la liste de ceux déjà existant : TikTok. Outre un usage récréatif, la plateforme est devenue un outil transversal, servant la visibilité à la fois des entreprises, des groupes militants, des personnalités publiques et politiques mais également permettant à des communautés de se regrouper et d’échanger. Mobiliser un hashtag va permettre aux individus de se réunir et de se reconnaitre. C’est là le point de départ de cette thèse car l’utilisation de hashtag permet à TikTok de référencer du contenu afin de construire sa base de données. L’objectif est donc de comprendre le fonctionnement d’une mobilisation socio-numérique par et pour le grand public à l’aide d’un hashtag.L’étude s’axe sur une mobilisation lycéenne qui a eu lieu en France en 2020, le #lundi14septembre, lors de laquelle des filles ont réclamé le droit de se rendre au lycée vêtue d’un crop top.Ayant constaté l’illusion d’un espace public numérique et d’une dimension militante, cette thèse démontrera que les caractéristiques des mobilisations socio-numériques donnent lesentiment d’une parole plus égale sans pour autant s’inscrire dans un réel processus démocratique. En comprenant les enjeux derrière une mobilisation sur TikTok, ce travail démontrera que les mobilisations socio-numériques sont symptomatique de notre société moderne vers des nouvelles caractéristiques où l’individu prend le pas sur le collectif et la cause sociale devient secondaire à des recherches de visibilité, d’émancipation et de reconnaissance
Since 2017, the world has seen a new digital social network added to the list of existing ones: TikTok. In addition to recreational use, the platform has become a cross-disciplinary tool, serving the visibility of businesses, activist groups, public figures and politicians alike, but also enabling communities to come together and exchange. Mobilizing a hashtag allows individuals to come together and recognize each other. Thisis the starting point of this thesis, as the use of hashtags enables TikTok to reference content in order to build up its database. The aim is therefore to understand how socio-numerical mobilization by and for the general public works using a hashtag.The study focuses on a high school mobilization that took place in France in 2020, #lundi14septembre, during which girls demanded the right to go to school wearingcrop tops. Having noted the illusion of a digital public space and a militant dimension, this thesis will demonstrate that the characteristics of socio-numerical mobilizations give the feeling of amore equal voice without actually being part of a real democratic process. By understanding the stakes behind a mobilization on TikTok,this work will demonstrate that socio-numerical mobilizations are symptomatic of our modern society's move towards new characteristics where the individual takes precedence over the collective, and the social cause becomes secondary to the search for visibility, emancipation and recognition

The following concerns the “misinformation problem” on social media during the run-up to the 2020 U.S. presidential election. Employing data journalism techniques, it develops a form of cross-platform analysis that is attuned to both commensurability as well as platform specificity. It analyses the top-ranked political content on seven platforms and finds that each marginalizes mainstream media and mainstreams the fringe. TikTok parodies mainstream media, while 4chan and Reddit dismiss it and direct users to alternative influence networks and extreme YouTube content. Twitter prefers the hyperpartisan over it. Facebook’s “fake news” problem concerns declining amounts of mainstream media referenced. Instagram has influencers dominating user engagement. By comparison, Google Web Search buoys special interest sites. It concludes with a discussion of how platforms filter the content through increasing editorial intervention.