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In March 2019 actors Lori Loughlin and Felicity Huffman were among wealthy parents charged in a university entry fraud scheme that ensured privileged children gained entry to coveted institutions, dubbed 'Operation Varsity Blues'. Drawing on celebrity and criminology studies, this paper discusses how Loughlin and Huffman have been mediated as 'de-celebrified' but also as mothers who have threatened their children's futures and consequently, have also been de-mothered. Whilst transgressive celebrity mothers such as Britney Spears exemplify the narrative of the de-celebrified, de-mothered star, in the cases of Loughlin and Huffman, because they famously played the mother characters Aunt Becky (Full House), and Lynette Scavo (Desperate Housewives), their de-mothering is amplified and complicated via this performative mothering on screen. The negative resonance of Huffman and Loughlin's transgressive maternal behaviour is mediated through social media hashtags and memes that compare their personal criminal actions in the 'Operation Varsity Blues' scandal with their alter egos. Huffman and Loughlin must now negotiate both their de-celebrification and their de-mothering in the intersecting realms of celebrity and motherhood, amplified and complicated by the intensive mothering roles that have defined their careers. [ABSTRACT FROM AUTHOR]

Background and objective: Point-of-care lateral flow device antigen testing has been used extensively to identify individuals with active SARS-CoV-2 infection in the community. This study aimed to evaluate the diagnostic accuracy of two point-of-care tests (POCTs) for SARS-CoV-2 in routine community care. Methods: Adults and children with symptoms consistent with suspected current COVID-19 infection were prospectively recruited from 19 UK general practices and two COVID-19 testing centres between October 2020 and October 2021. Participants were tested by trained healthcare workers using at least one of two index POCTs (Roche-branded SD Biosensor Standard™ Q SARS-CoV-2 Rapid Antigen Test and/or BD Veritor™ System for Rapid Detection of SARS-CoV-2). The reference standard was laboratory triplex reverse transcription quantitative PCR (RT-PCR) using a combined nasal/oropharyngeal swab. Diagnostic accuracy parameters were estimated, with 95% confidence intervals (CIs), overall, in relation to RT-PCR cycle threshold and in pre-specified subgroups. Results: Of 663 participants included in the primary analysis, 39.2% (260/663, 95% CI 35.5% to 43.0%) had a positive RT-PCR result. The SD Biosensor POCT had sensitivity 84.0% (178/212, 78.3% to 88.6%) and specificity 98.5% (328/333, 96.5% to 99.5%), and the BD Veritor POCT had sensitivity 76.5% (127/166, 69.3% to 82.7%) and specificity 98.8% (249/252, 96.6% to 99.8%) compared with RT-PCR. Sensitivity of both devices dropped substantially at cycle thresholds ≥30 and in participants more than 7 days after onset of symptoms. Conclusions: Both POCTs assessed exceed the Medicines and Healthcare products Regulatory Agency target product profile's minimum acceptable specificity of 95%. Confidence intervals for both tests include the minimum acceptable sensitivity of 80%. In symptomatic patients, negative results on these two POCTs do not preclude the possibility of infection. Tests should not be expected to reliably detect disease more than a week after symptom onset, when viral load may be reduced. Registration: ISRCTN142269. [ABSTRACT FROM AUTHOR]

Cultural institutions are continually responding and adapting to the pandemic and climate change, from operational challenges in times of lockdown and natural disasters, to rapid response collecting practices that document these 'unprecedented times'. As part of their response, some of these institutions—known as LAM (Libraries and Museums)— have harnessed participatory media such as Facebook and purpose-built digital sites that simultaneously collect, curate and often exhibit life narratives in public archives of crises. This practice can be described reductively as crowdsourcing; however, I conceptualise curators' rapid response collecting efforts of Covid-19 and climate change life narratives on participatory media platforms as crowd coaxing, and those who respond to the crowd coax are citizen storytellers, who co-publish archives of crisis with the institution. Whilst this is not without ethical and structural challenges, the National Museum of Australia's participatory website, 'Momentous' and associated Facebook public group pages: 'Bridging the Distance: Sharing our Covid-19 pandemic experiences' and 'Fridge Door Fire Stories' show how such crowd coaxing practices create archives of crisis populated by citizen storytellers who exert agency within the traditional power dynamics of institutional frameworks and national identity for a more diverse historical record. [ABSTRACT FROM AUTHOR]