News journalism has traditionally focused on the ‘inverted pyramid’—the idea that readers/viewers respond to the most salient facts in any news article (Pottker, J Stud 4(4):501–511, 2003) and that within that there are generally accepted news values that focus on ‘newness’ and conflict (Galtung and Ruge; Harcup and O’Neill, J Stud 2(2):261–280, 2001, J Stud 18(12):1470–1488, 2017). The development of digital media technologies has challenged these traditions—both in terms of challenges to the journalistic field from citizens such as Ahva’s ‘inbetweeners’ (J Pract 11(2–3):142–159, 2017) or Bruns’ (International handbook of internet research. Springer, Dordrecht, 2009) ‘produsers’. This chapter however will look at in the past couple of years how those defining themselves as journalists are using the digital sphere to reconceptualise these basic tools of journalism. The 24/7 culture in which ‘breaking news’ has become less of a marker of distinction for professional journalism (Mast and Tennerman, J Stud 22(6):689–701, 2021) has proved an opportunity for a reexamination of normative assumptions around hard news, with a reinvention of narrative news discourses. This chapter will examine two case studies from the BBC. First, the December 2021 ‘Outside Source’ explainer videos of the controversy over whether the UK government held parties against Covid rules during the pandemic. These 3–4 minute clips, presented by former World Service journalist Ros Atkins, were watched more than 11 million times in nine days, far more than any other digital news series (Topping, Skewering number 10 over Christmas parties has made Ros Atkins a star. The Guardian. Accessed January 10, 2022, from https://www.theguardian.com/media/2021/dec/13/skewering-no-10-over-christmas-parties-has-made-ros-atkins-a-bbc-star , 2021) but did not break news, and used a linear narrative to recap recent events. This corresponds with Kulkarni et al. (J Pract 1–19, 2022) who found that focus groups did not respond to the inverted pyramid, which was meeting the needs of journalists rather than their audiences. The BBC later described Atkins’ approach as making ‘live TV work as an on-demand digital product’ (Topping, Skewering number 10 over Christmas parties has made Ros Atkins a star. The Guardian. Accessed January 10, 2022, from https://www.theguardian.com/media/2021/dec/13/skewering-no-10-over-christmas-parties-has-made-ros-atkins-a-bbc-star , 2021). Second, the chapter will look at another deconstruction of the news narrative on digital—the use of personalisation and memes through the work of Sophia Smith Galer, another former World Service journalist, on TikTok. Smith Galer’s take on the Ever Given ship blocking the Suez Canal, parodying a popular sea shanty (itself another meme), saw her gain one million views on TikTok within eight hours. The journalism however had all been sourced through the BBC’s Reality Check. Smith Galer’s work later won Innovation of the Year at the 2021 British Journalism Awards. The chapter will consider how these new forms of digital journalism have challenged traditional narratives and the interaction with audiences. It will also consider whether the World Service has proved a habitat for such innovative forms of digital journalism to be adapted.