Social problems scholars have pointed to sensitive depictions of social problems like smoking, rape, and spousal abuse on television as evidence of the success of movements devoted to those causes. Media scholars have countered that the pressure on television producers to hew to formula inevitably leads to stereotypical depictions of social problems. We appraise these two perspectives by way of an analysis of the portrayal of date rape on teen television dramas over the course of 2 decades. We show that, for a period, advocates did secure portrayals of date rape that were in line with a feminist antirape agenda. However, that depiction yielded to one in which date rape figured as a narrative device, used to tell audiences something about the show's characters or their situation, not to tell them something about rape. Developments in teen serials' content and especially their form led eventually to antifeminist portrayals, in which rapes were portrayed as unjust but routine events. Behind these developments, however, were demands on television writers to produce not formula, but novelty. We conclude by theorizing more generally the effects of the demand for novelty on the depiction of social problems on television.
Video games have become a major source of entertainment across the globe. Along with this growth as a form of leisure, video game companies have recognized the importance of the communities and cultures that consumers build around their products. Fans establish identities linked to their gaming habits, whether they are playing games themselves or viewing games played by professionals. Fans also participate in communities, often facilitated through online forums. As part of this, fans discuss, express, and assess their relationship with the companies in charge of their hobbies. How do fans establish and negotiate trust with these companies and why might consumer trust to lapse? This project analyzes approximately 2,500 online forum posts from video game players and esports viewers to understand their perspectives on the companies involved in these spaces. Ultimately, the landscape appears to be developing increasing negativity where fans feel exploited and progressively concerned about company decisions. Fans have called into question the quality of video games and esports streams, motivations for specific decisions behind the scenes, and whether or not their actions as fans reward companies who are using them to meet a specific financial goal. A sense of common knowledge is developed that certain companies will make decisions at the perceived expense of the audience to increase profit. Although these sentiments are not present for all forum users, these discussions reveal increasing negative associations toward specific companies, games, and franchises.
Online spaces offer fan communities and content creators many outlets for expressing their interests, but they also tend to place users in positions where they encounter hostility, toxicity, and gatekeeping. In the case of online streaming on Twitch, users frequently encounter hostility based on identity and seek assistance from fellow users via social media. In this project, I highlight the ways that social media is used to try to organize against discriminatory cultures toward marginalized streamers. Ultimately, I find that much of the onus is placed directly on streamers themselves to circumvent, address, and keep themselves safe despite harassment. In this paper, I will argue that this feeds into the structures and cultures that allow racist and sexist hostilities in online and gaming spaces by placing responsibility – and blame – on individual users from marginalized backgrounds. Although the community is frequently supportive of users who seek advice for addressing hostility and there are attempts at raising awareness through collective online action, the lack of apparent resolution leaves many feeling that these experiences are inevitable, immutable, and within the realm of individual responsibility.
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