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In Just Like Us: Digital Debates on Feminism and Fame, Caitlin E. Lawson examines the rise of celebrity feminism, its intersections with digital culture, and its complicated relationships with race, sexuality, capitalism, and misogyny. Through in-depth analyses of debates across social media and news platforms, Lawson maps the processes by which celebrity culture, digital platforms, and feminism transform one another. As she analyzes celebrity-centered stories ranging from \"The Fappening\" and the digital attack on actress Leslie Jones to stars' activism in response to #MeToo, Lawson demonstrates how celebrity culture functions as a hypervisible space in which networked publics confront white feminism, assert the value of productive anger in feminist politics, and seek remedies for women's vulnerabilities in digital spaces and beyond. Just Like Us asserts that, together, celebrity culture and digital platforms form a crucial discursive arena where postfeminist logics are unsettled, opening up more public, collective modes of holding individuals and groups accountable for their actions.

This project integrates Reproductive Justice (RJ) commitments with insights from networked misogyny to describe the digital coercion strategies of Crisis Pregnancy Centers (CPCs) for people living in rural areas in the United States. Abortion access is increasingly mediated by commercial search engines (Mejova et al., 2022). The authors analyzed public CPC marketing strategy documents against data from over three hundred search queries across seven states with large rural populations. Taking Google search results as rhetorical artifacts, data reveals that states with restrictive abortion laws empower CPC search result visibility in several ways. CPCs disproportionately impact people who are the most reliant on internet mediation for abortion access—a population sharing significant overlap with people living in abortion deserts in rural areas.

Aurat March [Women’s March] is an annual event organised in various cities across Pakistan to observe International Women’s Day. Since its inception in 2018, the March has been condemned by conservative religious and political segments of society for reasons relating to propriety. This commentary explores how placards predominantly form the object of censure in the movement’s backlash. By reflecting on discourses on mainstream and social media, I first assess the use of placards in constructing networks of feminist voices. I then assess the (re)production of anti-feminist discourses, sparked by commentary on (select) placards and doctored images to promote dis/misinformation campaigns through the convergence of networked misogyny. Placards at Aurat March have therefore constructed a space for resistance—both by the movement and in retaliation to it—shifting the placard to a site of networked struggles over feminist and women’s participation in public spaces.