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This essay analyses fan reactions to the sexual abuse allegations brought forward against Michael Jackson in Leaving Neverland ( Dan Reed, 2019 ). In particular, it focuses on fans' production of nonfiction media produced in defense of Jackson, trying to restore the artist's reputation by discrediting his accusers. Based on textual and content analysis of videos by The Michael Jackson Innocent Project (MJIP) and its wider network, this essay positions these videos within the context of documentaries and nonfiction programs produced on the singer. Arguing that the videos represent a form of "forensic fandom," the essay maintains that fans stage a "media tribunal" against Jackson's accusers to defend the singer. Because of their biased argumentation, however, fans reinforce myths about disingenuous allegations of sexual violence.

Editorial for "Fandom Histories," edited by Philipp Dominik Keidl and Abby S. Waysdorf, special issue, Transformative Works and Cultures, no. 37 (March 15, 2022).

With its unprecedented scale and consequences the COVID-19 pandemic has generated a variety of new configurations of media. Responding to demands for information, synchronization, regulation, and containment, these "pandemic media" reorder social interactions, spaces, and temporalities, thus contributing to a reconfiguration of media technologies and the cultures and polities with which they are entangled. Highlighting media's adaptability, malleability, and scalability under the conditions of a pandemic, the contributions to this volume track and analyze how media emerge, operate, and change in response to the global crisis and provide elements toward an understanding of the post-pandemic world to come.

French critic Serge Daney was a central figure in film, television and media criticism of the second half of the twentieth century. He died of AIDS in 1992, just as the concept of queer cinema entered international film studies and just before the start of the digital era that has transformed film culture. This collection of new essays investigates the legacy of Daney's work alongside considerations of feminist, queer and digital cinephilia and contemporary practices of film curation.

In the digital media ecology, archives are changing. Artists, curators, critics and scholars assume the role of accidental archivists. They shape cinema's futures by salvaging precarious repositories and making them matter in new ways. In the process, the cinema's public, a democratic body seemingly scattered about platforms and niches in a post-pandemic world, re-emerges as a political force. Accidental Archivism brings together programmatic statements and proposals to explore an artistic space between archiving and activism, a space where remnants of the past become the building blocks of new ways of making, showing, teaching and thinking cinema.