Flow

Christina N. Baker applies Audre Lorde’s musing on collective liberation to the film One Night in Miami to pose there is power in unity.

Alyx Vesey analyzes how artistic entrepreneurship in the music industry through the use of merchandise has changed in the wake of COVID-19 concert cancellations, as well as how this merchandise forms part of “a consumerist response to societal collapse.”

Using Charmed and One Day at a Time as case studies, Crystal Camargo examines the ways in which representation in Latinx reboots is complicated and constructed by their white “original” texts.

Cynthia Meyers theorizes the “family brand,” discussing examples from The Adventures of Ozzie and Harriet to Keeping Up with the Kardashians.

Andres Lombana-Bermudez reflects on how Colombian public school systems utilized Information Communication Technologies (ICT) throughout the COVID-19 pandemic.

Lauren Rouse and Mel Stanfill examine COVID-19 fan fiction on the Archive of Our Own to see whose experiences of the virus are present—and absent—in these stories.

Amanda C. Cote challenges the idea that women in gaming is a new trend, exploring how a continual surprise at women’s presence in gaming communities undermines their historical contributions in the field.

Eleanor Patterson analyzes Hulu’s initial aim of adapting broadcast distribution logics into streaming distribution and the service’s contemporary shift to an “Adult Disney” service.