Focussing in detail on one key component of the infodemic surrounding COVID-19, this article traces the dissemination dynamics of rumours that the pandemic outbreak was somehow related to the rollout of 5G mobile telephony technology in Wuhan and around the world. Drawing on a mixture of quantitative and qualitative methods including time-series analysis, network analysis and in-depth close reading, our analysis shows the dissemination of the rumour on Facebook from its obscure origins in pre-existing conspiracist groups through greater uptake in more diverse communities to substantial amplification by celebrities, sports stars and media outlets. The in-depth tracing of COVID-related mis- and disinformation across social networks offers important new insights into the dynamics of online information dissemination and points to opportunities to slow and stop the spread of false information, or at least to combat it more directly with accurate counterinformation.

Amongst the most prominent uses of Twitter is its role in the discussion of widely televised events: Twitter's own statistics for 2011, for example, list major entertainment spectacles (the MTV Music Awards and the BET Awards) and sports matches (the UEFA Champions League final and the FIFA Women's World Cup final) amongst the events generating the most tweets per second during the year. During such major media events, Twitter is used most predominantly as a technology of fandom: it serves as a backchannel to television and other streaming audiovisual media, enabling users offer their own running commentary on the universally shared media text of the event as it unfolds live. This article examines the use of Twitter as a technology for the expression of shared fandom in the context of a major, internationally televised annual media event: the Eurovision Song Contest. Our analysis draws on comprehensive data sets for the 'official' event hashtags, #eurovision, #esc, and #sbseurovision. Using innovative methods that combine qualitative and quantitative approaches to the analysis of Twitter data sets containing several hundreds of thousands, overall patterns of participation to discover how audiences express their fandom throughout the event are examined. Such analysis is able to provide a unique insight into the use of Twitter as a technology for fandom and for what in cultural studies research is called 'audiencing': the public performance of belonging to the distributed audience for a shared media event. The work points to Twitter as an important new medium facilitating the connection and communion of fans.

This article describes the emerging genre of ‘social news’ – characterised by a ‘born-digital’ form of journalism which is both symptomatic of and a pragmatic response to the logics of social media. The article outlines the genre’s key formal characteristics, illustrating them through discussions of three key Australia-based publications – BuzzFeed Oz News, Junkee, and Pedestrian.tv. The analysis of these examples indicates that social news departs from traditional journalistic norms around objectivity, instead exhibiting a strong and explicit positionality, and actively critiquing ideas like ‘balance’. The article argues that social news demonstrates the progressive potential of new forms of journalism that have emerged from the same technological and economic developments that have caused the crisis in the news business. It concludes with a more elaborated description of the social news genre, with suggestions for further research.

This article is a brief review and critique of the main scholarly approaches to thinking about popular forms of news in the late 20th and early 21st centuries, particularly in regards to broadcast television. Rather than advocating the merits of either popular or `hard' news, it discusses the possibility of finding (or revisiting) a critical approach to popular news and current affairs1 journalism that charts a suitable middle ground: one that can accommodate the emergence of popular informational programs (e.g. The Awful Truth, The Daily Show) and one that moves away from the sometimes too simplistic binary discourses that have tended to become characteristic of recent debates over `tabloidization'.

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