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Week 12: Crowdsourcing in Times of Crisis

Welcome back and this marks the final week of Yapping with Gladys ✨

It's been a journey and for today we will talk about crisis. You're probably thinking of natural disasters like floods or earthquakes right? But did you know? Crisis doesn't exactly means natural disaster.

I grew up watching anime and for many anime fans, one event I still remember clearly is the 2019 Kyoto Animation (KyoAni) arson attack. For those unfamiliar, Kyoto Animation is one of Japan's most beloved animation studios, responsible for works such as Violet Evergarden, K-On!, and A Silent Voice. The attack shocked fans worldwide, not only was the studio devastated the whole anime community were.

What happened afterwards was something I had never seen before.

Within hours, social media platforms became a mourning space, where fans shared information and coordinated support. Fans translated news updates from Japan News, shared verified donation links, created tribute artwork, and helped spread awareness globally. Rather than relying solely on traditional media, information flowed through thousands of interconnected users across Twitter, Reddit, Discord, Facebook, and other online communities.

img from https://news.cgtn.com/news/2019-07-19/Pray-for-KyoAni-Heartbreaking-loss-for-anime-fans-and-industry-Is7NsZolzy/index.html

This reflects the concept of crowdsourcing, where large groups of people collectively contribute information, resources, or labour towards a shared goal (Riccardi, 2016). While crowdsourcing is often associated with disaster mapping during earthquakes or floods, the KyoAni response demonstrates that digital communities can also mobilise around cultural and emotional crises.

What makes crowdsourcing powerful is not simply the technology itself, but the network behind it. According to Riccardi (2016), crowdsourced responses allow communities to react quickly because information and resources are distributed across many participants instead of being controlled by a single organisation. KyoAni fans became information sharers, translators, fundraisers, and advocates all at the same time.

img from https://www.gofundme.com/f/help-kyoani-heal

The fundraising campaign organised by Sentai Filmworks managed to collect over millions of dollars from fans who donated to support Kyoto Animation's recovery. What began as individual acts of support quickly evolved into a global networked effort. This demonstrates how digital citizenship extends beyond instead of just consuming content online.

What I find particularly interesting is how this differs from older forms of crisis response. In the past, support often depended on governments, charities, or news organisations acting as intermediaries. Today, social media allows communities to organise support. This reflects what Jenkins (2006) describe as participatory culture, where individuals actively contribute knowledge, resources, and collective problem-solving rather than remaining passive audiences.

However, crowdsourcing is not always about responding after tragedy.

img from https://primaryimmune.org/get-involved/raise-awareness-and-funds-idf/diy-gaming

A more recent example can be seen in the VTuber community through Ironmouse. Over the years, Ironmouse has organised large-scale charity fundraising campaigns supporting the Immune Deficiency Foundation, raising millions of dollars through livestreams and community participation. Unlike KyoAni, which involved a sudden crisis, Ironmouse's campaigns address an ongoing challenge related to health awareness and support.

Looking at both cases together reveals something important: crowdsourcing is not limited to emergency situations. Digital communities can mobilise around immediate disasters and long-term social issues. Whether donating money, sharing information or simply amplifying awareness, community members become active contributors rather than passive observers.

At the same time, crowdsourcing is not perfect. Information shared during crisis can sometimes be inaccurate, emotional reactions can spread faster than verified facts, and platforms themselves influence what information becomes visible. As Meier (2015) argues, digital humanitarianism creates new opportunities for participation, but it also requires careful verification and responsible use of information. Simply having more people involved does not automatically guarantee better outcomes.

So where does this leave digital citizenship?

I think through out the weeks, it reminds us that digital citizenship is not just about posting online. It is about recognising how digital networks allow ordinary people to support one another when it matters most. Whether it is anime fans helping a beloved studio recover after tragedy or a VTuber community raising millions for charity, crowdsourcing shows how collective action can emerge from shared passion and connection.

Maybe the most powerful thing about social media isn't the technology itself.

It's you. The one reading behind the screens who choose to come together when someone needs help. ❤️

#mda20009 #DigitalCitizenship #Crowdsourcing #KyotoAnimation #KyoAni #AnimeCommunity #Ironmouse #VTuber #DigitalCommunities #SocialMedia #ParticipatoryCulture #NetworkedPublics #CrisisCommunication #MediaStudies #Youtube

Week 11: Digital Citizenship and Conflict — Social Media Governance

Andddd welcome back to another week of Yapping with Gladys ✨

If you've ever played a competitive online game, you've probably experienced this before.

Someone misses a skill shot.

Someone types "GG end mid" after five minutes 😭

As someone who spends far too much time playing Dota 2, I've always joked that getting flamed is just part of the experience. Trash talk, frustration, and arguments seem almost built into competitive gaming culture. I started wondering where to draw the line between competitive banter and online harassment. One minute you’re trying to enjoy a rank game, next up someone is yelling in voice chat, telling you to “go uninstall” and typing slurs in chat. Gaming communities can be some of the funniest and welcoming spaces online… but also the most hostile.

When people talk about digital citizenship, we often focus on positive ideas like participation, community, and inclusion. Did you know? Digital communities is also a space for conflict. Online conflict is about power: who gets to speak, who gets heard, and who feels safe enough to participate.

One example can be seen in Esports communities themselves. While gaming is often presented as an inclusive hobby, research has consistently found that women, LGBTQ+ individuals, and gender-diverse players experience significantly higher levels of online harassment (Haslop et al., 2021).

The problem is that online harassment has become deeply normalised in many digital communities. Harassment is often dismissed as “just banter” or “part of gaming culture,” which makes toxic behaviour easier to tolerate. According to Haslop, O’Rourke, and Southern (2021), women and gender-diverse users are disproportionately targeted by online hostility and harassment. This reflects broader patterns found across social media, where abuse often mirrors offline inequalities and prejudices.

What makes online harassment particularly difficult to address is that it is often networked rather than individual. Marwick and Caplan (2018) argue that harassment frequently occurs through communities that share tactics, language, and targets. Instead of receiving one hateful message, individuals may face hundreds or thousands of attacks from people connected through online networks.

img from https://www.cbc.ca/news/canada/british-columbia/feminist-gamer-sarkeesian-1.4078975

But… Good News! Online communities are now finding ways to push back. Advocacy organisations, moderation tools, reporting systems are being used to stop harassment and raise awareness. A well-known example is the Gamergate controversy, where women working in gaming like game developers, journalists, and critics such as Anita Sarkeesian became targets of organised harassment campaigns.

While supporters often framed the movement as a discussion about ethics in gaming journalism, it has also become a significant example of networked harassment, intimidation, and exclusion within gaming culture. 👑

What the dog doin'?? 😭🥀😂😂 #dota2 #Dota #gamingcommunity #fyp #reels

Despite how we see individuals respond to harassment through humour, advocacy, and community action. Vitis and Gilmour (2017) found that women have used social media itself as a tool to challenge and expose harassment, turning platforms that were once used against them into spaces of resistance.

This also raises questions about social media governance. Who is responsible for creating safer online spaces? Is it the responsibility of users, moderators, platforms, governments, or all of them together? Platforms like Twitch, Discord, and online games all have moderation systems, reporting tools, and community guidelines. But at the same time, smaller communities like Discord Servers also govern themselves through moderators, server rules, and community norms. Sometimes these systems work well. Other times… not so much 😭

img from https://www.facebook.com/eSafetyOffice/posts/the-new-online-safety-act-2021-which-commenced-last-month-has-put-in-place-a-wor/283331913903883/

The introduction of legislation such as Australia's Online Safety Act 2021 reflects growing recognition that platforms cannot simply remain neutral observers. At the same time, platform moderation remains challenging because communities often develop their own norms, cultures, and expectations.

gif from https://tenor.com/view/reddysh-flex-flex-muscle-gamer-girl-girl-gif-26124473

This week's topic changed how I think about digital citizenship. I used to associate it with participation and engagement, now it’s about responsibility. A community is not defined only by who joins it, but by who feels comfortable staying. It comes down to understanding that online communities don’t magically become everyone's “safe spaces”. Gaming communities have given me some of my favourite friendships, funniest memories, and most chaotic Discord calls at 2am. Whether it’s moderating a Discord server, calling out harassment, or simply choosing not to join toxic pile-ons, digital citizenship is about recognising that our actions contribute to the culture of the communities we participate in.

Because at the end of the day, the strongest online communities are not the loudest ones. They're the ones where more people feel welcome to participate. ♥️

#MDA20009 #DigitalCitizenship #SocialMediaGovernance #OnlineHarassment #AlgorithmCulture #Gamergate #DigitalCommunities #PlatformGovernance #InternetCulture #OnlineSafety #Cyberbullying #WomenInGaming #TwitchCommunity #DiscordCommunity #GamingCulture #DigitalEthics #InfluencerCulture #Youtube

Week 10: Gaming Communities, Social Gaming and Live Streaming: Twitch

Welcome back to another week of Yapping with Gladys ✨ This week is my personal fav!! Do you want to know why? It's Gaming Related!!! SO THAT MEANS DOTAAAA!!!

For me, Dota 2 has never been just a game.

gif from https://tenor.com/view/dota-dota2-invoker-nyx-rave-gif-25637997 It’s Discord calls at 2am. It’s screaming “WHY DID YOU GO IN???” and then immediately queuing again like nothing happened 😭 It’s pretending we’re all professional TI analysts during draft phase and suddenly becoming silent the moment someone feeds first blood. Somehow, gaming isn’t just about playing anymore instead it’s about the communities formed around it.

img from https://www.twitch.tv/esl_dota2

Gaming communities today exist across multiple platforms. We don’t just play games :3 We stream them, clip them, discuss them on Discord, watch tournaments together, and learn strategies from creators online. According to Taylor (2018), live streaming platforms like Twitch have transformed gaming into a form of social broadcasting, where gameplay becomes entertainment, performance, and community all at once.

For me, one of the biggest examples of this is watching The International and ESL every year with friends on Discord. Even if we’re all physically in different places, it still feels like we’re experiencing the event together. Everyone becomes an “analyst” during the draft phase, spam pings when someone makes a bad play, and acts shocked when the team throws a winning game 😭 It’s chaotic, but that shared experience is what makes gaming communities feel so strong.

This reflects what Jenkins (2006) describes as knowledge communities where groups formed through shared interests, emotional investment, and the exchange of knowledge. In gaming culture, people constantly share strategies, patches, builds, memes, and gameplay experiences. Communities are built not just around the game itself, but around collective participation and interaction.

At the same time, platforms play a huge role in shaping these communities. Twitch, Discord, Steam, and YouTube are not just tools, instead they influence how players interact, communicate, and participate in gaming culture. This links to the idea of platformisation (Chia et al., 2020), where platforms become deeply integrated into social and cultural life. Gaming today is no longer limited to the game client itself; it exists across entire digital ecosystems.

Gaming communities can also create belonging and identity. Even though gaming culture has historically been associated with masculine spaces, online communities are becoming increasingly diverse. Players move between different communities depending on their interests, games, or friend groups. Sometimes the best part of gaming isn’t even the match itself and it’s the people you queue with.

img from https://sportfive.com/beyond-the-match/insights/the-international-11-a-win-for-singapore

So what does this say about digital citizenship?

I think gaming communities show that digital citizenship is not just about being online hehe it’s participation, collaboration, and shared culture. Whether it’s helping new players, moderating communities, streaming gameplay, or simply yelling at your friends in Discord VC during ranked games, these interactions shape how digital communities function.

Gaming today is social, networked, and collaborative. Some of my best memories aren’t from winning games, but from those late-night Discord calls, watching tournaments together and just enjoying the moment.

Maybe playing a game isn’t just about overcoming obstacles Maybe it’s about who you’re playing (and shouting) with. Here’s a bonus video to end this week! It’s me at my first Dota 2 Event with my discord friends and the crowd is amazing! It was my first time viewing it live outside of Twitch! See you guys next week!

#MDA20009 #GamingCommunities #Dota2 #Twitch #DigitalCitizenship #Esports #Discord #GameCulture #Youtube

Week 9: Digital Citizenship and Software literacy: Instagram Filters

Andddd welcome back to another week of Yapping with Gladys ✨

Remember when filters were just… fun? Like the iconic dog ears, rainbow tongue, or the filter with the huge eyes and mouth where you literally can’t see the rest of your face 😭 Thinking about it now may kinda be cringe and honestly, I still use that one whenever I don’t want to show my face but still want to post something funny. But don’t you think filters feel very different now?

64 likes, 5 comments - lens.list on August 6, 2025: "Take us back! 😩✨ Who remembers the OG Snapchat Lenses? The flower crowns, iconic Dog F

Growing up, one of my favourite things to do whenever I visited Japan or even the local arcades was taking Purikura photos with friends. If you've never seen them before, Purikura are Japanese photo booths that automatically enlarge your eyes, smooth your skin, slim your face, and basically turn you into the cutest anime character imaginable. At the time, it felt harmless and fun. Nobody actually believed they looked like that after stepping out of the booth.

Today, filters are no longer just playful add-ons. They are powered by augmented reality (AR), which overlays digital elements onto the real world in real time (Azuma, 1997). Platforms like Snapchat and Instagram have transformed filters from obvious silly effects into subtle tools that reshape how we look and how we see ourselves.

If you think about it.. isn't that basically the ancestor of Instagram filters right?

What fascinates me is that beauty filters are not actually a new technology. The desire to digitally "improve" our appearance has existed for decades. What has changed is the scale, accessibility, and invisibility of the technology. Instead of visiting a photo booth once in a while, we now carry beauty filters in our pockets every day through Instagram, Snapchat, and TikTok.

img from https://yanabalci.medium.com/do-you-use-instagram-face-filters-for-stories-5d0f3ba75119

Back then, filters were clearly fake. Nobody thought the dog filter was supposed to make you prettier 😭 But now, many filters are designed to enhance appearance: smoother skin, sharper jawlines, bigger eyes, smaller noses. According to Rettberg (2014), filters don’t simply “remove” imperfections.. they create a new version of reality. What we’re seeing online is not necessarily the uglier version of us, but a carefully edited version of who we could be.

What makes the comparison between Purikura and Instagram filters particularly interesting is that they seem to represent two very different digital cultures. Purikura is a social activity with friends after school, at arcades, or while travelling. The cartoon-like features were obviously unrealistic, and that was part of the fun. Nobody was trying to convince others that they naturally looked like a kawaii anime character 😭. Instagram filters, on the other hand, are often tied to personal branding and influencer culture. Rather than looking fake, many modern filters aim to appear natural by subtly smoothing skin, reshaping facial features, or enhancing attractiveness without noticeable features. This connects to what scholars call aesthetic templates, a repeated visual standards that shape how users present themselves online. This also reflects Barker's (2020) argument that social media filters have shifted from a space of creative experimentation into something closer to a digital beauty pageant.

gif from https://tenor.com/view/jaemin-na-jaemin-nct-nct-dream-eye-roll-gif-23541815

The scary part? Filters are becoming harder to detect. What used to be obviously edited is now subtle and almost natural just like what Lavrence and Cambre (2020) describe as “ambient editing.” Because of this, people began comparing themselves to obviously fake images because they assume its real. This links to social comparison theory (Festinger, 1954), where repeated exposure to idealised images can negatively affect self-esteem and body image.

Over time, this may contribute to digitised dysmorphia (Coy-Dibley, 2016), where individuals feel pressure to alter their real appearance to match their filtered selves. Some people now even bring filtered selfies to cosmetic consultations 😭 What started as a funny social media feature has evolved into something that can shape identity, perception, and even physical choices offline.

So where does this leave digital citizenship? I think being a digital citizen today is not just about using technology responsibly... it’s also about understanding how technology quietly shapes our behaviours, standards, and self-perception. Filters can still be fun (trust me I’m never giving up the silly ones, I love using it to covering up my faces with my friends), but they also reflect larger cultural ideas about beauty and identity.

At the end of the day, maybe the question isn’t whether filters are “good” or “bad.” Maybe it’s about awareness. Because the next time we use a filter, a cute one or funny one.. it’s worth asking: what version of myself am I choosing to show online, and why?

#MDA20009 #DigitalCitizenship #InstagramFilters #AugmentedReality #SelfImage #MediaStudies #Snapchat #AestheticTemplates #Youtube

Week 8 : Digital Citizenship and Health Education: Body Modification on Visual Social Media

And… I'm back with another week of Yapping with Gladys! For this week, have you ever wondered? If social media is supposed to be a space for self-expression, why does it feel like everyone is following the same “look”?

It’s like we Scroll through Instagram and you’ll start to notice patterns: similar poses, body types, editing styles. This is not a coincidence. It reflects what scholars describe as aesthetic templates, where certain appearances are repeated because of clicks, views and fame.

In today’s digital culture, being seen online isn’t just luck, it's work. Influencers operate within microcelebrity culture, where they present themselves like a brand to gain attention. This involves visibility labour where we have to constantly curate content to fit what performs well (Marwick, 2013).

Over time, this becomes aesthetic labour, where creators adjust how they look, pose, and present themselves to match platform expectations.

This is where creators like Clara Dao become particularly interesting. I’m sure you’ve heard of her if you’ve been on the internet. She challenges unrealistic beauty standards by promoting body acceptance for being flat chested. Her content pushes back against the idea that only one curvy body deserves visibility. Of course she can’t stay relevant forever as she recently undergone surgery to enhance her chest.. well… that’s another story for another time

Duffy and Meisner (2022) talk about algorithmic (in)visibility, where content that doesn’t fit dominant norms may get less reach. So even when creators try to challenge beauty standards, the system itself can limit how far their message spreads. In this sense, the platform itself becomes a gatekeeper, subtly encouraging creators to align with what is considered “acceptable” or “engaging.”

This also connects to the idea of pornification, where female influencers are often expected to present themselves in sexualised or highly curated ways to gain attention (Drenten et al., 2019).And this isn’t just about trends… it affects how people see themselves. When we constantly see idealised versions of bodies such as big balloons, it creates pressure to match them.

From a public health perspective, this environment can contribute to body dissatisfaction and identity dissonance, where there is a gap between one’s real body and the idealised versions seen online. Over time, this may lead to more serious issues such as Body Dysmorphic Disorder (BDD), as individuals attempt to reconcile these differences. Social media, therefore, does not just reflect beauty standards as it actively produces and amplifies them.

At the same time, we’re not completely powerless. Carah and Dobson (2016) describe a kind of loop where users shape platform culture, while also being shaped by it.

Which means creators like Clara Dao do matter…even if they can’t fully escape the system, they can still challenge it.

So maybe digital citizenship here isn’t just about posting or engaging.

It’s understanding the structures that shape visibility, identity, and representation because at the end of the day…

We’re not just scrolling. We’re part of what decides what gets seen.

#mda20009 #mediastudies #claradao #bodypositivity #body dysmorphia #Youtube

Week 7 - Digital Citizenship Case Study: Social Media Influencers and the Slow Fashion Movement

Another Week~ Another Yapping with Gladys! Remember when buying clothes used to be simple?

Now it’s like… “Is this sustainable?” “Who made this?” “Do I actually need this or am I just influenced again 😭”

With the powahh of social media, even buying a cute outfit turns into a whole discussion like do we gatekeep, thrift, or just give in? Digital citizenship isn’t just about being respectful online! it’s how we use platforms to engage responsibly. In fashion, this connects closely to the slow fashion movement, which promotes sustainability, ethical labour, and mindful consumption. Instead of fast fashion’s “buy and throw away” culture, slow fashion encourages us to think about the impact behind what we wear (Domingos et al., 2022).

In Malaysia, influencers like Melissa Tan (@melissatan) promote such values. As a zero-waste advocate, she uses her platform to educate others about the environmental impact of fashion and promote more conscious choices. This reflects Vromen’s (2017) idea that digital citizenship today is shaped through everyday actions like posting, sharing, and influencing others.

It’s interesting because something as personal as your outfit can actually become a form of advocacy.

It’s not just individuals either. Communities like The Second Runway promote circular fashion by encouraging people to buy and sell pre-loved clothes. At the same time, activists like Venetia La Manna use social media to call out unethical labour practices, showing how digital platforms can be used to hold brands accountable.

But… (of course there’s a but 😭) influencer culture itself is built on trends, visibility, and consumption. So it creates a bit of a contradiction like.. can influencers really promote “buy less” while constantly promoting products? As Brewer (2019) suggests, slow fashion exists within a fast fashion world, making it hard to fully escape that system.

This is where corporate social responsibility (CSR) becomes important. Brands love to label themselves as “sustainable,” but not all of it is genuine. As digital citizens, we’re not just consuming content we should also question it. Is this actually ethical, or just greenwashing? (Kopnina, 2019)

At the end of the day, digital citizenship in slow fashion isn’t just about what we buy. It’s about how we use digital platforms to educate, question, and influence others.

So maybe the next time we see a “must-have” outfit… the real question is do we need it, or were we just convinced we do?

#fashion #MDA2009 #sustainable #slow fashion

Week 6: What is Digital Citizenship? Hashtag Publics, Political Engagement and Activism

Welcome back to another week of Yappings With Gladys!! Do you guys know what it actually means to be a “good” digital citizen?

🙋🏻‍♀️: Oh yeah I paid my taxes online!

LOL sike! It’s easy to think it just means being safe online and not spreading hate, but digital citizenship today goes far beyond that. It’s about how we participate, engage, and take responsibility online especially when it comes to social and political issues.

Digital citizenship is closely linked to traditional ideas of citizenship, where individuals have both rights and responsibilities. You and I both think that being online allows people to express opinions, share information, and engage with others globally right? According to the Council of Europe (2022), digital citizenship involves active and responsible participation in communities through digital platforms. This includes not only communication and content creation, but also engagement with real-world issues through online platforms.One of the most powerful ways this happens today is through hashtag publics. Hashtags act as more than just labels they are what scholars describe as “linguistic markers” that organise conversations and connect individuals around shared topics or causes. For example #SLAYYYY #MalaysiaFoodie! These allow users to form what are known as ad hoc publics, temporary communities that emerge around specific issues, events, or movements.

A clear example of this can be seen in #JusticeforZara, where social media users came together to raise awareness, share information, and express collective concern. Through the hashtag, individual voices became part of a larger conversation, creating a sense of “we” among people who may not even know each other, but are connected through a shared cause.

This shows how digital citizenship today often takes the form of participatory activism, where engagement happens through everyday actions like posting, sharing, and commenting.

This shift also reflects what Vromen (2017) talks about how political participation is moving away from long-term commitments like joining organisations, and towards more flexible, issue-based engagement. At the same time, Choi and Cristol (2021) point out that digital platforms can amplify marginalised voices, making participation more inclusive than before.

But… 😭 this kind of activism is still shaped by the platforms we use. Social media isn’t as neutral as it seems. Algorithms decide what trends, what gets seen, and whose voices get amplified. As Gillespie (2010) argues, platforms may present themselves as open spaces, but they actually structure how participation happens.

So in the end, being a digital citizen isn’t just about speaking up it’s also about understanding where, how, and why our voices are heard.

And maybe the real question is… are we just posting, or are we actually participating?

#MDA20009 #DigitalCitizenship #HashtagPublics #Activism #JusticeforZara #Platformisation #MediaStudies

Week 5 - Digital Community and Fandom: Reality TV Shows

Do you enjoy watching reality dating shows alone? Not really? Me too! The moment I open TikTok or Twitter after an episode, it instantly becomes a collective experience for me where I can openly discuss whether we love this couple or hate it. This sense of “we” is what transforms simple viewership into a digital fandom community.

The reality dating show I’d like to talk about is Single's Inferno. In this digital age, viewers often passively consume content while actively participating in shaping meaning online. A common thing people do is live tweeting. According to Mark Stewart (2020), live tweeting makes TV shows a community event that everyone shares. Viewers watch together, make jokes and discuss what's happening.

For example, X users share their reactions immediately like agreeing on which contestant is “toxic” or which couples are the fan favourite, with replies and retweets reinforcing a shared viewpoint. This real-time interaction strengthens the sense of a collective “we”, as discussed in research on fandom and identity work (2019), where individuals align themselves with a broader digital community through shared opinions and emotional responses.

In Single’s Inferno, fans often share opinions and participate in “shipping” culture. Fans form emotional attachments to contestants and couples, creating edits, commenting on chemistry, and even debating who “deserves” to be together. Deller (2019) talks about how reality TV and social media have come together, and these interactions show that audiences are taking the story beyond the screen. The show itself is just the beginning of where people really get involved online.

Too Hot To Handle also shows how fandom can turn into collective judgement space. Viewers who watch the show don't just see contestants break the rules; they also react, criticize, and meme it in real time. This supports Sheil's (2020) arguments that fans of reality TV in the Web 2.0 era are very involved, as they actively take part in discussions and interpretations. Fans often act like judges, upholding social norms about loyalty, relationships, and self-control.

Not gonna lie, these types of communities can also cause division, even though they make people feel like they belong. The same "we" that brings fans together can also split them into groups that disagree with each other, like different ships, different opinions, and even online backlash. This reflects the transformation of fan culture under social media, where participation is amplified but also more polarised (Transformation of Fan Culture Under the Influence of Social Media, 2021).

In the end, reality TV fandom shows how people can come together online by sharing their feelings, opinions, and interactions. Watching is no longer something that people do alone; it's now a social, group activity that is influenced by platforms, algorithms, and the people who watch. So maybe the real show isn't just what happens on screen, but what happens after that, when millions of people agree on what they saw.

#MDA20009 #RealityTV #SinglesInferno #TooHotToHandle #MediaStudies

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