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This article investigates digital game play (gaming) as a specific media field (Bourdieu, 1984, p. 72), in which especially gaming capital (Consalvo, 2007) functions as a theoretical lens. We aim to analyse the specific practices that constitute and are constituted in and around gaming. This multitude of practices is theoretically qualified by the second generation of practice theorists, including (Bruchler & Postill, 2010; Reckwitz, 2002; Schatzki, 2008; Warde, 2005). The empirical data are drawn from qualitative studies of gamers and gaming practices (focus groups as well as participant observations), and function as exemplary cases that illustrate our theoretical arguments. Our purpose is to analytically operationalize field theory, by means of practice theory, to enhance our understanding of digital games as new media and the specific contexts and media practices herein.

Sharing (intimate) photos has become an integral part of close relationships in the age of social media. Most young peop le use social media as a way to establish and maintain strong social ties rather than as a way of connecting to public life. Th is pattern of use includes the sharing of photos and videos with intimate and sexual content, such as nudes, intimate situations, and other types of self-disclosure. Given that the primary public and academic interest has been related to situations where the process has gone wrong and people have been hurt, these photos and videos are often associated with risk, worries, and moral disdain. However, these cases are part of a broader range of social practices, which are for the most part unproblematic and mundane. Th e sharing of intimate photos should be acknowledged as part of a more general act of (mutual) self-disclosure to establish trust as well as an non-patalogical exploration of sexuality and social identities. In both cases, the sharing of intimate photos becomes part of more general processes of intimacy and close relationships that we should be careful not to reject or problematize as a whole. Accordingly, in this themed issue we would like to move beyond the stories of problem youth and move instead towards a more empirically grounded and systematic analysis of the complex ways in which the sharing of intimate photos becomes part of everyday life practices, including friendship, courtship, trust, and intimacy.A recent study based on Youthprofi le data (Ungeprofi lundersøgelsen) has shown that around 14 pct. of Danes aged 12-25 receive nude images that they know to be shared without consent (Harder et al., 2019). It further showed that 80 pct. of the receivers of

Highly aestheticized pictures of food circulate on Instagram often with a focus on elegance and composition, particularly as restaurants compete to make their food and interiors Instagrammable. Recently, a counter-tendency has appeared in which restaurants attempt to brand themselves through different aesthetics and discourses. This chapter analyzes the Instagram profile of chef and restauranteur Umut Sakarya, the owner of Guldkroen (the Golden Inn). His account presents food in a grotesque, humorous, and often provocative manner and it is argued—based on a theoretical Bourdieusian perspective—that using Instagram in this manner functions to brand the chef and restaurant as rebellious.

In recent years, Danish television drama series have become an internationally acclaimed export success. This article analyses the development on the domestic market lying behind this international recognition. A change in production dogmas has formed the characteristics of these successful Danish drama series, and over the last 20 years, state-owned public service provider DR has successfully developed a Sunday evening slot, within which their television drama series attract ‘the entire nation’. This success has also inspired other Danish broadcasters/production companies. We investigate the characteristics of these productions and the development of their audience profiles across age, gender and educational level.