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The COVID-19 pandemic has disrupted the ‘real’ world and substantially impacted the virtual world and thus the Internet ecosystem. It has caused a significant exogenous shock that offers a wealth of natural experiments and produced new data about broadband, clouds, and the Internet in times of crisis. In this chapter, we characterise and evaluate the evolving impact of the global COVID-19 crisis on traffic patterns and loads and the impact of those on Internet performance from multiple perspectives. While we place a particular focus on deriving insights into how we can better respond to crises and better plan for the post-COVID-19 ‘new normal’, we analyse the impact on and the responses by different actors of the Internet ecosystem across different jurisdictions. With a focus on the USA and Europe, we examine the responses of both public and private actors, with the latter including content and cloud providers, content delivery networks, and Internet service providers (ISPs). This chapter makes two contributions: first, we derive lessons learned for a future post-COVID-19 world to inform non-networking spheres and policy-making; second, the insights gained assist the networking community in better planning for the future.

One of the most marginalized communities in India is the Lesbian, Gay, Bisexual and Transgender (LGBT) community which commonly experiences discrimination. Many studies have countered that the LGBT community faces high discrimination in the banking and financing industry. As a result, this study concentrates on this marginalized community and its acceptance and continuation habit regarding mobile wallets. Consequently, this study has considered continuance intentions as a response to confirm the progress of the mobile-wallet industry. Also, this study tried to study the relationship between behavioral intention (BI) and continuous intention (CI) which is seriously lacks in the library of literature. The research operationalized the stimulus–organism–response (SOR) framework for the conceptual model and surveyed 100 self-proclaimed members of the LGBT community in India. The analysis has been done using the partial least structure (PLS). The findings demonstrate that variables like perceived trust (PT) directly influence the BI. On the other hand, variables like perceived ease of use (PEoU), social influence (SI), and satisfaction (S) doesn’t influence BI of the LGBT Community. The main outcome was a favorable association between BI and CI. It will help the stakeholders to understand how important this new market avenue is and how it can be explored. To ensure safe and secure transactions, a group think tank composed of important parties (financial institutions, mobile-wallet providers, the government, security specialists, etc.) should make recommendations. Mobile-wallet providers will attain benefit from this study’s understanding of user categories and ability to tailor their service offers as per the community.

Purpose – The Columbine and Virginia Tech shootings have presented new challenges in how the media covers school shootings. These events have transformed Eric Harris, Dylan Klebold, and Seung-Hui Cho not only from disgruntled youth to school killers, but also into actors, writers, and directors of their own narrative.

Methodology/approach – This article focuses on the role of the masculine identity and underlying messages in the communicative process of the shooters. Further examination looks at what particular messages the shooters are communicating through the media. This includes an analysis into their journals, internet postings, and videos that were left behind as archives of the performative scripts. Finally, reflection is presented in terms of which parts of the shooters’ messages are or are not communicated and why.

Findings – This article considers the differences in the Columbine and Virginia Tech cases in terms of who is controlling the information that gets released to the public. In the case of Columbine, information was or was not released by the Jefferson County Sheriff's Office, whereas in the case of Virginia Tech, nearly all decisions regarding material release was made by the media (particularly NBC News).

Originality/value of paper – This article applies Muschert and Ragnedda's (2010) examination of cultural scripts to two benchmark cases, examining the mediatization of the shooters’ own words.

During the second decade of the twenty-first century, the phenomenon of ‘kawaii metal’ has garnered significant attention in English-language mainstream press alongside more limited discussion in metal journalism. An ostensible fusion of metal and Japanese aidoru ‘idol’ music, kawaii metal artists frequently juxtapose the traditional aesthetics of kawaii ‘cuteness’ with those of metal, emphasising a combination of influences distinctly Eastern and Western. Prominent among kawaii metal artists, Babymetal have generated substantial press coverage in the Anglophone world. Despite emanating from the Japanese idol industry and singing almost exclusively in Japanese, touring the United States, and Europe (producing live CDs and DVDs recorded in the United States and United Kingdom) have made Babymetal one of the most visible Japanese bands in Anglo-America. This chapter explores Babymetal's fusion of idol and metal by analysing the lyrics for the band's first two albums, Babymetal (2014) and Metal Resistance (2016). Following an introduction to kawaii metal through the lens of Anglo-American press, the author elucidates Babymetal's origins as a sub-unit of the idol group Sakura Gakuin. With this background established, the author investigates the use of wordplay and themes relating to childishness and adolescence in the lyrics on Babymetal's debut album. Examining the lyrics of the band's second album illuminates a more thorough integration of idol and metal tropes, including more English-language lyrics, seemingly designed to align Babymetal with a more global metal audience, managing the interplay of Western and Eastern influences.

The portrayal of female superheroes is not a new phenomenon. To this day Lynda Carter's portrayal of Wonder Woman (1975–1979) is venerated (Hanley, 2014) as one of the first portrayals of a ‘super’ female character swathed in popularity and renowned in comic book lore. More recently, several superhero narratives, with women at the helm, have been adapted for the series format including Supergirl, Batwoman and Jessica Jones.

However, until the introduction of Wonder Woman (Jenkins, 2017), film narratives with a female superhero at the centre have been non-existent. In 2019, Captain Marvel was released as part of the Marvel cinematic universe (MCU). Due to its connection to the MCU and the successful Avengers film franchise, the character Captain Marvel, played by Brie Larson, has a built-in familiarity with audiences.

From its first introduction, it is evident that there is a definitive feminist slant to the character and the narrative of Captain Marvel. Therefore, this chapter analyses the comment threads of three fan-made YouTube videos on Captain Marvel. These videos specifically address the feminist overtone as depicted. Specifically, the chapter considers fan reactions to the representation of feminism. The data are analysed through discourse analysis under the guise of Jacques Lacan's mirror theory and Henry Jenkins's participatory culture. Jenkins further notes the connection between, amongst other aspects, the interpretation and the meaningful participation (2015, p. 2) in the specific fandom. The concept of ‘suspension of disbelief’ will also be used as part of the analysis, as well as Henry Jenkins' participatory culture.