Male gays in the female gaze: women who watch m/m pornography

This paper draws on a piece of wide-scale mixed-methods research that examines the motivations behind women who watch gay male pornography. To date there has been very little interdisciplinary research investigating this phenomenon, despite a recent survey by PornHub (one of the largest online porn sites in the world) showing that gay male porn is the second most popular choice for women porn users out of 25+ possible genre choices. While both academic literature and popular culture have looked at the interest that (heterosexual) men have in lesbian pornography, considerably less attention has been paid to the consumption of gay male pornography by women. Research looking at women's consumption of pornography from within the Social Sciences is very focused around heterosexual (and, to a lesser extent, lesbian) pornography. Research looking more generally at gay pornography/erotica (and the subversion of the ‘male gaze’/concept of ‘male as erotic object’) often makes mention of female interest in this area, but only briefly, and often relies on anecdotal or observational evidence. Research looking at women's involvement in slashfic (primarily from within media studies), while very thorough and rich, tends to view slash writing as a somewhat isolated phenomenon (indeed, in her influential article on women's involvement in slash, Bacon-Smith talks about how ‘only a small number’ of female slash writers and readers have any interest in gay literature or pornography more generally, and this phenomenon is not often discussed in more recent analyses of slash); so while there has been a great deal of very interesting research done in this field, little attempt has been made to couch it more generally within women's consumption and use of pornography and erotica or to explore what women enjoy about watching gay male pornography. Through a series of focus groups, interviews, and an online questionnaire (n = 275), this exploratory piece of work looks at what women enjoy about gay male pornography, and how it sits within their consumption of erotica/pornography more generally. The article investigates what this has to say about the existence and nature of a ‘female gaze’

COVID-19 trajectories among 57 million adults in England: a cohort study using electronic health records

BACKGROUND: Updatable estimates of COVID-19 onset, progression, and trajectories underpin pandemic mitigation efforts. To identify and characterise disease trajectories, we aimed to define and validate ten COVID-19 phenotypes from nationwide linked electronic health records (EHR) using an extensible framework. METHODS: In this cohort study, we used eight linked National Health Service (NHS) datasets for people in England alive on Jan 23, 2020. Data on COVID-19 testing, vaccination, primary and secondary care records, and death registrations were collected until Nov 30, 2021. We defined ten COVID-19 phenotypes reflecting clinically relevant stages of disease severity and encompassing five categories: positive SARS-CoV-2 test, primary care diagnosis, hospital admission, ventilation modality (four phenotypes), and death (three phenotypes). We constructed patient trajectories illustrating transition frequency and duration between phenotypes. Analyses were stratified by pandemic waves and vaccination status. FINDINGS: Among 57 032 174 individuals included in the cohort, 13 990 423 COVID-19 events were identified in 7 244 925 individuals, equating to an infection rate of 12·7% during the study period. Of 7 244 925 individuals, 460 737 (6·4%) were admitted to hospital and 158 020 (2·2%) died. Of 460 737 individuals who were admitted to hospital, 48 847 (10·6%) were admitted to the intensive care unit (ICU), 69 090 (15·0%) received non-invasive ventilation, and 25 928 (5·6%) received invasive ventilation. Among 384 135 patients who were admitted to hospital but did not require ventilation, mortality was higher in wave 1 (23 485 [30·4%] of 77 202 patients) than wave 2 (44 220 [23·1%] of 191 528 patients), but remained unchanged for patients admitted to the ICU. Mortality was highest among patients who received ventilatory support outside of the ICU in wave 1 (2569 [50·7%] of 5063 patients). 15 486 (9·8%) of 158 020 COVID-19-related deaths occurred within 28 days of the first COVID-19 event without a COVID-19 diagnoses on the death certificate. 10 884 (6·9%) of 158 020 deaths were identified exclusively from mortality data with no previous COVID-19 phenotype recorded. We observed longer patient trajectories in wave 2 than wave 1. INTERPRETATION: Our analyses illustrate the wide spectrum of disease trajectories as shown by differences in incidence, survival, and clinical pathways. We have provided a modular analytical framework that can be used to monitor the impact of the pandemic and generate evidence of clinical and policy relevance using multiple EHR sources. FUNDING: British Heart Foundation Data Science Centre, led by Health Data Research UK

Perspectives: What Is Myth?

Perspective

Prison Break general gabbery: extra-hyperdiegetic spaces, power, and identity in Prison Break

This article examines the interdependent relationship among the text, its producers, and "extra-hyperdiegetic space" constructed around the romantic relationship between Michael and Sara, the central protagonists of the Prison Break television series. The Prison Break creators have created extensive digital and analogue platforms to create an extended textual experience that constructs a close text-audience relationship. The digital and analogue platforms construct a space that is inhabitable by fans, one in which to express their own desires. This article explores the online material generated by fans (the most prevalent artifact of this extended space is the Prison Break fan fiction) as well as material released outside the story by producers on their blogs and official promo sites related the show and examines the interconnected (however mediated) relationship among these different spaces in relation to the increasingly romanticized and melodramatic relationship between Michael and Sara

‘Dogfuck rapeworld’: Omegaverse fanfiction as a critical tool in analyzing the impact of social power structures on intimate relationships and sexual consent

© 2018, © 2018 Informa UK Limited, trading as Taylor & Francis Group. This article examines the Omegaverse–a subgenre of sexually explicit fanfiction–and its engagement with issues of socially constructed power differentials and sexual consent. I argue that sexually explicit fanfiction, and the Omegaverse in particular, can be used as a critical tool to examine the relationship between power and consent in accessible ways which allow for affective, emotional and intellectual engagement with these issues. I approach the Omegaverse as a body of work marked by intertextuality, where individual stories are in dialogue with not only the source material but also each other and with writers and readers’ knowledge of the real world. I apply sexual script theory to the analysis of three Omegaverse fanfiction stories to examine how such stories articulate and explore disjunctures between sexual scripts at the socially and culturally mediated, interpersonal and individual levels. I draw from theories of sexual consent and insights from Fan Studies to show how the Omegaverse offers strategies for negotiating meaningfully consensual intimate relationships within wider power structures and dominant sexual scripts

Watching Television Without Pity: The productivity of online fans

Increasingly, online fan sites are providing instant feedback to television writers and scriptwriters, who are starting to pay more attention to the chatter of “the boards. ” At the same time, the boards have become a marketing strategy for TV shows that takes advantage of interactivity to create fan communities and build viewer loyalty. Drawing on a case study of the popular web site TelevisionWithoutPity.com, this article explores the way in which online viewer activity doubles as a form of value-enhancing labor for television producers in two ways: by allowing fans to take on part of the work of making a show interesting for themselves and by providing instant (if not necessarily statistically representative) feed-back to producers. Based on interviews with producers and contributors to a bulletin board they frequent, the article explores both sides of interactivity: the promise of shared control and the ability to off-load some market research labor onto viewers