“…Thus, this two-step process involved coding each tweet into one of the four categories of disability portrayal (wondrous, sentimental, exotic, and realistic) outlined by Garland-Thomson (2002), and open coding tweets within each category to develop subcategories that contextualized the meaning of the tweets (Hsieh & Shannon, 2005). Garland-Thomson’s categories have not previously been used in this manner as sport media is often examined through supercrip, inspiration porn, charity, or other typologies (Cherney et al, 2015; Rees et al, 2019), and is applied to coverage of elite-level athletes (e.g., Paralympians; see Beacom et al, 2016; Brittan, 2017; McGillivray et al, 2021; Mitchell et al, 2021; Silva & Howe, 2012). Given that this was not an examination of the representation of disabled athletes but rather disability representation in and around sport, we felt confident that this framework would not only provide clear categories, but also that the categories were broad enough that all tweets would be able to be appropriately coded.…”