This paper analyzes how female teen YouTubers manage intimacy and trust in the narration of their personal lives and the ways in which this is perceived by followers. The analysis of two case studies of popular teen YouTubers from Portugal and Brazil – SofiaBBeauty and Manoela Antelo, respectively – revealed that their presentation is anchored in discourses about whom they are with and where they are, what they are doing, and their personal tastes and styles. Through their comments on the videos, followers express trust connections with the vloggers, based on a sense of proximity, a desire for exclusivity in their relationship, relatability with banal aspects, and recognition as cultural intermediaries. These case studies have demonstrated strong similarities in the vloggers’ practices of constructing intimacy and consequent trust with peer audiences, bearing great resemblance with older YouTubers from central cultures. Although Sofia and Manoela put forward different class performances, the trust they inspire in their followers is a fundamental form of capital for both.

Sharenting, or the practice of sharing one’s parenting or information about one’s children on social media, occurs in an increasingly platformized digital culture, where visual formats are central across participatory and commercial repositories. This paper investigates the articulation between sharenting as performed by celebrities and the wider construction of children’s digital identities. Through qualitative content analysis, this research looks at how Cristiano Ronaldo, the most-followed individual on Instagram since 2018, his partner, and his mother shared information about his children on that social media platform between 2018 and 2020. Through manual exploration, we searched for Ronaldo’s children across a variety of digital spaces. Our analysis reveals that sharenting on Instagram engages audiences through the portrayal of children as the parents’ extended self. Content from Instagram and news media is appropriated in vernacular and commercial digital spaces for conflicting affects: the cute father-son dyad, and the son as extension of the uber-famous, vain father. This extreme case shows how the digital identities of children of celebrities are widely public, formed by the everyday, intimate content of the family’s life, which is persistent and collectively recreated by news media, vernacular culture, and commercial platforms.

The field of microcelebrity is increasingly monetised, professionalised, and institutionalised, with the growing recognition of content creators as social media influencers. This article looks at the integration of branded content within youth digital culture, where participatory possibilities for self-expression are more and more entwined with consumer culture. It seeks to discuss how digital producers understand brand culture and how audiences negotiate the meanings of the commercialism inserted in their content. We look at the case of SofiaBBeauty, a successful young Portuguese youtuber, who has been vlogging since she was 12. The article analyses her association with brands in 12 videos in 2017 (vlog, haul, giveaway, Q&A, first impression, etc.), and the comments by the users showing acceptance and appraisal of, negotiation, or criticism towards, the brand and/or the youtuber. We explore the way Sofia connects her self-presentation with products/brands to appear close to her young audiences, and brands her persona as she is growing up to adulthood; how she presents her commercial recommendations as genuine and pregnant with affect, and whether the audience accepts it or not; as well as how she positions herself in the global YouTube community of practice, where connection with brands aggrandizes her persona in the eyes of the audience. Sofia’s videos create a post-feminist subject where consumption is articulated with independence, capability, and empowerment (Banet-Weiser, 2011), while engaging her audiences in a commodification process (Berryman & Kavka, 2017).

Audiências e cross-media: estudo de padrões de consumo de notícias em Portugal

Meninas no YouTube: participação, celebrização e cultura do consumo