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“It is hard to look at increasing trends in media consumption of all types, media multitasking and rates of ADHD in young people and not conclude that there is a decrease in their attention span,

Emerging research suggests that watching short, fast-paced videos makes it harder for kids to sustain activities that don’t offer instant—and constant—gratification.

One of the few studies specifically examining TikTok-related effects on the brain focused on Douyin, the TikTok equivalent in China, made by the same Chinese parent company, ByteDance Ltd. It found that the personalized videos the app’s recommendation engine shows users activate the reward centers of the brain, as compared with the general-interest videos shown to new users.

Brain scans of Chinese college students showed that areas involved in addiction were highly activated in those who watched personalized videos.

It also found some people have trouble controlling when to stop watching.

attention. “If kids’ brains become accustomed to constant changes, the brain finds it difficult to adapt to a nondigital activity where things don’t move quite as fast,”

A TikTok spokeswoman said the company wants younger teens to develop positive digital habits early on, and that it recently made some changes aimed at curbing extensive app usage. For example, TikTok won’t allow users ages 13 to 15 to receive push notifications after 9 p.m. TikTok also periodically reminds users to take a break to go outside or grab a snack.

Kids have a hard time pulling away from videos on YouTube, too, and Google has made several changes to help limit its use, including turning off autoplay by default on accounts of people under 18.

When kids do things that require prolonged focus, such as reading or solving math problems, they’re using directed attention

This function starts in the prefrontal cortex, the part of the brain responsible for decision making and impulse control.

“Directed attention is the ability to inhibit distractions and sustain attention and to shift attention appropriately. It requires higher-order skills like planning and prioritizing,”

Kids generally have a harder time doing this—and putting down their videogame controllers—because the prefrontal cortex isn’t fully developed until age 25.

“We speculate that individuals with lower self-control ability have more difficulty shifting attention away from favorite video stimulation,

“In the short-form snackable world, you’re getting quick hit after quick hit, and as soon as it’s over, you have to make a choice,” said Mass General’s Dr. Marci, who wrote the new book “Rewired: Protecting Your Brain in the Digital Age.” The more developed the prefrontal cortex, the better the choices.

Dopamine is a neurotransmitter that gets released in the brain when it’s expecting a reward. A flood of dopamine reinforces cravings for something enjoyable, whether it’s a tasty meal, a drug or a funny TikTok video.

“TikTok is a dopamine machine,” said John Hutton, a pediatrician and director of the Reading & Literacy Discovery Center at Cincinnati Children’s Hospital. “If you want kids to pay attention, they need to practice paying attention.”

Researchers are just beginning to conduct long-term studies on digital media’s effects on kids’ brains. The National Institutes of Health is funding a study of nearly 12,000 adolescents as they grow into adulthood to examine the impact that many childhood experiences—from social media to smoking—have on cognitive development.

she predicts they will find that when brains repeatedly process rapid, rewarding content, their ability to process less-rapid, less-rewarding things “may change or be harmed.”

“It’s like we’ve made kids live in a candy store and then we tell them to ignore all that candy and eat a plate of vegetables,”

“We have an endless flow of immediate pleasures that’s unprecedented in human history.”

Parents and kids can take steps to boost attention, but it takes effort

Swap screen time for real time. Exercise and free play are among the best ways to build attention during childhood,

“Depriving kids of tech doesn’t work, but simultaneously reducing it and building up other things, like playing outside, does,”

Practice restraint.

“When you practice stopping, it strengthens those connections in the brain to allow you to stop again next time.”

Use tech’s own tools. TikTok has a screen-time management setting that allows users to cap their app usage.

Ensure good sleep. Teens are suffering from a sleep deficit.

TikTok accounts run by the propaganda arm of the Chinese government have accumulated millions of followers and tens of millions of views, many of them on videos editorializing about U.S. politics without clear disclosure that they were posted by a foreign government.

The accounts are managed by MediaLinks TV, a registered foreign agent and Washington D.C.-based outpost of the main Chinese Communist Party television news outlet, China Central Television. The largest of them are @Pandaorama, which features cute videos about Chinese culture, @The…Optimist, which posts about sustainability, and @NewsTokss, which features coverage of U.S. national and international news.

In the run-up to the 2022 elections, the @NewsTokss account criticized some candidates (mostly Republicans), and favored others (mostly Democrats). A video from July began with the caption “Cruz, Abbott Don’t Care About Us”; a video from October was captioned “Rubio Has Done Absolutely Nothing.” But @NewsTokss did not target only Republicans; another October video asked viewers whether they thought President Joe Biden’s promise to sign a bill codifying abortion rights was a “political manipulation tactic.” Nothing in these videos disclosed to viewers that they were being pushed by a foreign government.

any Chinese play for Taiwan would be accompanied by TikTok aggressively pushing content in America designed to divide public opinion and weaken America’s commitment to Taiwan’s defense.

With all the official GOP machinations against gay marriage, it seems like if McConnell wanted that bill to fail, he could have pressured two Republican senators to vote against it. He said nothing. Trump said nothing. DeSantis said nothing. There was barely a whimper of protest from those who could have influenced this. Mike Lee and Ted Cruz engaged in theatrics, but no one actually used their power to stop this.

They let it pass because they don’t care and they want it to go away as an issue. And that goes for the MAGA GOP as well. Opposition to it in politics is all theater and will have a shelf life in riling up the base.

Evangelical religious convictions might be for one man + one woman marriage. But, the civil/political situation is far different from that and it’s worth recognizing where the GOP actually stands. They could have stopped this. They didn’t. That point should be clear, especially to their evangelical base who looks to the GOP to save America for them.

Over the past four years, more than 1,600 cybercrime cases on TikTok have been reported to authorities, said Kuber Kadayat, a Nepal police spokesman. He said most of the complaints were related to sharing nude photos or financial extortion.

Last week, the government said it would require social-media companies running platforms used in Nepal to set up liaison offices in the country.

India banned TikTok—citing threats to national security—along with dozens of other Chinese apps in 2020 after a clash between Indian and Chinese troops on the countries’ disputed border.

Nepal isn’t the first to cite concerns about the content shared on the app. Pakistan has banned the app multiple times after authorities received complaints of indecent content, later lifting the bans after receiving promises from TikTok to better control the content. In August, Senegal blocked access to the app citing hateful and subversive content being shared on it.

In other words, Instagram is giving us the ick: that feeling when a romantic partner or crush does something small but noticeable—like wearing a fedora—that immediately turns you off forever.

“People who aren’t influencers only use [Instagram] to watch other people make big announcements,” Lee Tilghman, a former full-time Instagram influencer, told me over the phone. “My close friends who aren’t influencers, they haven’t posted in, like, two years.”

although Instagram now has 2 billion monthly users, it faces an existential problem: What happens when the 18-to-29-year-olds who are most likely to use the app, at least in America, age out or go elsewhere? Last year, The New York Times reported that Instagram was privately worried about attracting and retaining the new young users that would sustain its long-term growth—not to mention whose growing shopping potential is catnip to advertisers.

Over the summer, these frustrations boiled over. An update that promised, among other things, algorithmically recommended video content that would fill the entire screen was a bridge too far. Users were fed up with watching the app contort itself into a TikTok copycat that prioritized video and recommended posts over photos from friends

. Internal documents obtained by The Wall Street Journal show that Instagram users spend 17.6 million hours a day watching Reels, Instagram’s TikTok knockoff, compared with the 197.8 million hours people spend watching TikTok every day. The documents also revealed that Reels engagement has declined by 13.6 percent in recent months, with most users generating “no engagement whatsoever.”

Instagram may not be on its deathbed, but its transformation from cool to cringe is a sea change in the social-media universe. The platform was perhaps the most significant among an old generation of popular apps that embodied the original purpose of social media: to connect online with friends and family. Its decline is about not just a loss of relevance, but a capitulation to a new era of “performance” media, in which we create online primarily to reach people we don’t know instead of the people we do

. Lavish brand deals, in which an influencer promotes a brand’s product to their audience for a fee, have been known to pay anywhere from $100 to $10,000 per post, depending on the size of the creator’s following and their engagement. Now Tilghman, who became an Instagram influencer in 2015 and at one point had close to 400,000 followers, says she’s seen her rate go down by 80 percent over the past five years. The market’s just oversaturated.

The author Jessica DeFino, who joined Instagram in 2018 on the advice of publishing agents, similarly began stepping back from the platform in 2020, feeling overwhelmed by the constant feedback of her following. She has now set up auto-replies to her Instagram DMs: If one of her 59,000 followers sends her a message, they’re met with an invitation to instead reach out to DeFino via email.

would she get back on Instagram as a regular user? Only if she “created a private, personal account — somewhere I could limit my interactions to just family and friends,” she says. “Like what Instagram was in the beginning, I guess.”

That is if, by then, Instagram’s algorithm-driven, recommendation-fueled, shopping-heavy interface would even let her. Ick.

For some, the only speech they feel should be truly public should also be “professional.” Hence: LinkedIn, where the only associated image is a professional headshot, and the only conversations are those related to work.

Which is how some people really would like to navigate the public sphere: with total freedom and total impunity

Twitter is where you could publicly (if often anonymously) fight, troll, dunk, harass, joke, and generally speak without consequence; it’s also where the mundane status update/life musing (once the foundation of Facebook) could live peacefully.

Twitter was for publicly observing — through the scroll, but also by tweeting, retweeting, quote tweeting — while remaining effectively invisible, a reply-guy amongst reply-guys, a troll amongst trolls.

The Facebook of the 2010s was for broadcasting ideological stances under your real name and fighting with your close and extended community about them; now it’s (largely) about finding advice (and fighting about advice) in affinity groups (often) composed of people you’ve never met.

It rewards the esoteric, the visually witty, the mimetic — even more than Twitter.

Tiktok is for monologues, for expertise, for timing and performance. It’s without pretense.

On TikTok, you don’t reshare memes, you use them as the soundtrack to your reimagining, even if that reimagining is just “what if I do the same dance, only with my slightly dorky parents?

Instagram is serious and sincere (see: the success of the social justice slideshow) and almost never ironic — maybe because static visual irony is pretty hard to pull off.

Like YouTube, far fewer people are posting than consuming, which means that most people aren’t speaking at all.

And then there’s Instagram. People think Instagram is for extroverts, for people who want to broadcast every bit of their lives, but most Instagram users I know are shy — at least with public words. Instagram is where parents post pictures of their kids with the caption “these guys right here” or a picture of their dog with “a very good boy.”

The text doesn’t matter; the photo speaks loudest. Each post becomes overdetermined, especially when so readily viewed within the context of the greater grid

The more you understand your value as the sum of your visual parts, the more addictive, essential, and anxiety-producing Instagram becomes.

That emphasis on aesthetic perfection is part of what feminizes Instagram — but it’s also what makes it the most natural home for brands, celebrities, and influencers.

a static image can communicate a whole lifestyle — and brands have had decades of practice honing the practice in magazine ads and catalogs.

And what is an influencer if not a conduit for brands? What is a celebrity if not a conduit for their own constellation of brands?

If LinkedIn is the place where you can pretend that your whole life and personality is “business,” then Instagram is where you can pretend it’s all some form of leisure — or at least fun

A “fun” work trip, a “fun” behind-the-scenes shot, a brand doing the very hard work of trying to get you to click through and make a purchase with images that are fun fun fun.

On the flip side, Twitter was where you spoke with your real (verified) name — and with great, algorithm-assisted importance. You could amass clout simply by rephrasing others’ scoops in your own words, declaring opinions as facts, or just declaring. If Twitter was gendered masculine — which it certainly was, and is arguably even more so now — it was only because all of those behaviors are as well.

Instagram is a great place to post an announcement and feel celebrated or consoled but not feel like you have to respond to people

The conversation is easier to both control and ignore; of all the social networks, it most closely resembles the fawning broadcast style of the fan magazine, only the celebs control the final edit, not the magazine publisher

Celebrities initially glommed to Twitte

But its utility gradually faded: part of the problem was harassment, but part of it was context collapse, and the way it allowed words to travel across the platform and out of the celebrity’s control.

Instagram was just so much simpler, the communication so clearly in the celebrity wheelhouse. There is very little context collapse on Instagram — it’s all curation and control. As such, you can look interesting but say very little.

What’s left, across all platforms, is fragmented. News and punditry are everywhere online, but audiences are siloed; podcasts are more popular than ever, and millions of younger people online have turned to influencers and creators on Instagram and especially TikTok as trusted sources of news.

Social media, especially Twitter, has sometimes been an incredible news-gathering tool; it has also been terrible and inefficient, a game of do your own research that involves batting away bullshit and parsing half truths, hyperbole, outright lies, and invaluable context from experts on the fly. Social media’s greatest strength is thus its original sin: These sites are excellent at making you feel connected and informed, frequently at the expense of actually being informed.

At the center of these pleas for a Twitter alternative is a feeling that a fundamental promise has been broken. In exchange for our time, our data, and even our well-being, we uploaded our most important conversations onto platforms designed for viral advertising—all under the implicit understanding that social media could provide an unparalleled window to the world.

What comes next is impossible to anticipate, but it’s worth considering the possibility that the centrality of social media as we’ve known it for the past 15 years has come to an end—that this particular window to the world is being slammed shut.

a “web 2.0” revolution in “user-generated content,” offering easy-to-use, easily adopted tools on websites and then mobile apps. They were built for creating and sharing “content,”

As the original name suggested, social networking involved connecting, not publishing. By connecting your personal network of trusted contacts (or “strong ties,” as sociologists call them) to others’ such networks (via “weak ties”), you could surface a larger network of trusted contacts

The whole idea of social networks was networking: building or deepening relationships, mostly with people you knew. How and why that deepening happened was largely left to the users to decide.

That changed when social networking became social media around 2009, between the introduction of the smartphone and the launch of Instagram. Instead of connection—forging latent ties to people and organizations we would mostly ignore—social media offered platforms through which people could publish content as widely as possible, well beyond their networks of immediate contacts.

Social media turned you, me, and everyone into broadcasters (if aspirational ones). The results have been disastrous but also highly pleasurable, not to mention massively profitable—a catastrophic combination.

A social network is an idle, inactive system—a Rolodex of contacts, a notebook of sales targets, a yearbook of possible soul mates. But social media is active—hyperactive, really—spewing material across those networks instead of leaving them alone until needed.

The authors propose social media as a system in which users participate in “information exchange.” The network, which had previously been used to establish and maintain relationships, becomes reinterpreted as a channel through which to broadcast.

The toxicity of social media makes it easy to forget how truly magical this innovation felt when it was new. From 2004 to 2009, you could join Facebook and everyone you’d ever known—including people you’d definitely lost track of—was right there, ready to connect or reconnect. The posts and photos I saw characterized my friends’ changing lives, not the conspiracy theories that their unhinged friends had shared with them

Twitter, which launched in 2006, was probably the first true social-media site, even if nobody called it that at the time. Instead of focusing on connecting people, the site amounted to a giant, asynchronous chat room for the world. Twitter was for talking to everyone—which is perhaps one of the reasons journalists have flocked to it

on Twitter, anything anybody posted could be seen instantly by anyone else. And furthermore, unlike posts on blogs or images on Flickr or videos on YouTube, tweets were short and low-effort, making it easy to post many of them a week or even a day.

soon enough, all social networks became social media first and foremost. When groups, pages, and the News Feed launched, Facebook began encouraging users to share content published by others in order to increase engagement on the service, rather than to provide updates to friends. LinkedIn launched a program to publish content across the platform, too. Twitter, already principally a publishing platform, added a dedicated “retweet” feature, making it far easier to spread content virally across user networks.

When we look back at this moment, social media had already arrived in spirit if not by name. RSS readers offered a feed of blog posts to catch up on, complete with unread counts. MySpace fused music and chatter; YouTube did it with video (“Broadcast Yourself”)

From being asked to review every product you buy to believing that every tweet or Instagram image warrants likes or comments or follows, social media produced a positively unhinged, sociopathic rendition of human sociality.

Other services arrived or evolved in this vein, among them Reddit, Snapchat, and WhatsApp, all far more popular than Twitter. Social networks, once latent routes for possible contact, became superhighways of constant content

Although you can connect the app to your contacts and follow specific users, on TikTok, you are more likely to simply plug into a continuous flow of video content that has oozed to the surface via algorithm.

In the social-networking era, the connections were essential, driving both content creation and consumption. But the social-media era seeks the thinnest, most soluble connections possible, just enough to allow the content to flow.

This is also why journalists became so dependent on Twitter: It’s a constant stream of sources, events, and reactions—a reporting automat, not to mention an outbound vector for media tastemakers to make tastes.

“influencer” became an aspirational role, especially for young people for whom Instagram fame seemed more achievable than traditional celebrity—or perhaps employment of any kind.

social-media operators discovered that the more emotionally charged the content, the better it spread across its users’ networks. Polarizing, offensive, or just plain fraudulent information was optimized for distribution. By the time the platforms realized and the public revolted, it was too late to turn off these feedback loops.

The ensuing disaster was multipar

Rounding up friends or business contacts into a pen in your online profile for possible future use was never a healthy way to understand social relationships.

when social networking evolved into social media, user expectations escalated. Driven by venture capitalists’ expectations and then Wall Street’s demands, the tech companies—Google and Facebook and all the rest—became addicted to massive scale

Social media showed that everyone has the potential to reach a massive audience at low cost and high gain—and that potential gave many people the impression that they deserve such an audience.

On social media, everyone believes that anyone to whom they have access owes them an audience: a writer who posted a take, a celebrity who announced a project, a pretty girl just trying to live her life, that anon who said something afflictive

When network connections become activated for any reason or no reason, then every connection seems worthy of traversing.

people just aren’t meant to talk to one another this much. They shouldn’t have that much to say, they shouldn’t expect to receive such a large audience for that expression, and they shouldn’t suppose a right to comment or rejoinder for every thought or notion either.

Facebook and all the rest enjoyed a massive rise in engagement and the associated data-driven advertising profits that the attention-driven content economy created. The same phenomenon also created the influencer economy, in which individual social-media users became valuable as channels for distributing marketing messages or product sponsorships by means of their posts’ real or imagined reach

That’s no surprise, I guess, given that the model was forged in the fires of Big Tech companies such as Facebook, where sociopathy is a design philosophy.

If change is possible, carrying it out will be difficult, because we have adapted our lives to conform to social media’s pleasures and torments. It’s seemingly as hard to give up on social media as it was to give up smoking en masse

Quitting that habit took decades of regulatory intervention, public-relations campaigning, social shaming, and aesthetic shifts. At a cultural level, we didn’t stop smoking just because the habit was unpleasant or uncool or even because it might kill us. We did so slowly and over time, by forcing social life to suffocate the practice. That process must now begin in earnest for social media.

Something may yet survive the fire that would burn it down: social networks, the services’ overlooked, molten core. It was never a terrible idea, at least, to use computers to connect to one another on occasion, for justified reasons, and in moderation

The problem came from doing so all the time, as a lifestyle, an aspiration, an obsession. The offer was always too good to be true, but it’s taken us two decades to realize the Faustian nature of the bargain.

when I first wrote about downscale, the ambition seemed necessary but impossible. It still feels unlikely—but perhaps newly plausible.

To win the soul of social life, we must learn to muzzle it again, across the globe, among billions of people. To speak less, to fewer people and less often–and for them to do the same to you, and everyone else as well

We cannot make social media good, because it is fundamentally bad, deep in its very structure. All we can do is hope that it withers away, and play our small part in helping abandon it.

I believe “Twitter poisoning” is a real thing. It is a side effect that appears when people are acting under an algorithmic system that is designed to engage them to the max. It’s a symptom of being part of a behavior-modification scheme.

The same could be said about any number of other figures, including on the left. Examples are found in the excesses of cancel culture and joyless orthodoxies in fandom, in vain attention competitions and senseless online bullying.

The human brain did not evolve to handle modern chemicals or modern media technology and is vulnerable to addiction. That is true for me and for us all.

Behavioral changes occur as a side effect of something called operant conditioning, which is the underlying mechanism of social media addiction. This is the core mechanism analogous to the role alcohol plays in alcoholism.

In the case of digital platforms, the purpose is usually “engagement,” a concept that is hard to distinguish from addiction. People receive little positive and negative jolts of social feedback — getting followed or liked, or being ignored or even humiliated.

Before social media, that kind of tight feedback loop had rarely been present in human communications outside of laboratories or marriages. (This is part of why marriage can be hard, I suspect.)  

was around when Google and other companies that operate on the personalized advertising model were created, and I can say that at least in the early days, operant conditioning was not part of the plan.

What happened was that the algorithms that optimized the individualized advertising model found their way into it automatically, unintentionally rediscovering methods that had been tested on dogs and pigeons.

There is a childish insecurity, where before there was pride. Instead of being above it all, like traditional strongmen throughout history, the modern social media-poisoned alpha male whines and frets.

What do I think are the symptoms of Twitter poisoning?

o be clear, whiners are much better than Stalins. And yet there have been plenty of more mature and gracious leaders who are better than either

When we were children, we all had to negotiate our way through the jungle of human power relationships at the playground

When we feel those old humiliations, anxieties and sadisms again as adults — over and over, because the algorithm has settled on that pattern as a powerful way to engage us — habit formation restimulates old patterns that had been dormant. We become children again, not in a positive, imaginative sense, but in a pathetic way.

Twitter poisoning makes sufferers feel more oppressed than is reasonable in response to reasonable rules. The scope of fun is constricted to transgressions.

Unfortunately, scale changes everything. Taunts become dangerous hate when amplified. A Twitter-poisoned soul will often complain of a loss of fun when someone succeeds at moderating the spew of hate.

the afflicted lose all sense of proportion about their own powers. They can come to believe they have almost supernatural abilities

The degree of narcissism becomes almost absolute. Everything is about what someone else thinks of you.

These observations should inform our concerns about TikTok. The most devastating way China might use TikTok is not to misdirect our elections or to prefer pro-China posts, but to generally ramp up social media disease, so as to make Americans more divided, less able to talk to one another and less able to put up a coordinated, unified front.

uide society. Whether that idea appeals or not, when technology degrades the minds of those same engineers, then the result can only be dysfunction.

Jaron Lanier is a computer scientist who pioneered research in virtual reality and whose books include “Ten Arguments for Deleting Your Social Media Accounts Right Now.” He is Microsoft’s “prime unifying scientist” but does not speak for the company.

It was followed by TikTok, the Chinese-owned video site, which uses machine-learning models to predict engagement and make recommendations to users.

“We see a difference for each platform because each platform has different mechanisms for virality on it,” said Jeff Allen, a former integrity officer at Facebook and a founder and the chief research officer at the Integrity Institute. “The more mechanisms there are for virality on the platform, the more we see misinformation getting additional distribution.”

The institute calculated its findings by comparing posts that members of the International Fact-Checking Network have identified as false with the engagement of previous posts that were not flagged from the same accounts

Facebook, according to the sample that the institute has studied so far, had the most instances of misinformation but amplified such claims to a lesser degree, in part because sharing posts requires more steps. But some of its newer features are more prone to amplify misinformation, the institute found

Facebook’s amplification factor of video content alone is closer to TikTok’s, the institute found. That’s because the platform’s Reels and Facebook Watch, which are video features, “both rely heavily on algorithmic content recommendations” based on engagements, according to the institute’s calculations.

Instagram, which like Facebook is owned by Meta, had the lowest amplification rate. There was not yet sufficient data to make a statistically significant estimate for YouTube, according to the institute.

Following what it described as Meta’s unsatisfactory response to its complaints, Match began canceling Meta advertising for some of its apps, such as Tinder, in October. It has since halted all Reels advertising and stopped promoting its major brands on any of Meta’s platforms. “We have no desire to pay Meta to market our brands to predators or place our ads anywhere near this content,” said Match spokeswoman Justine Sacco.

The Journal set up the test accounts after observing that the thousands of followers of such young people’s accounts often include large numbers of adult men, and that many of the accounts who followed those children also had demonstrated interest in sex content related to both children and adults

The Journal also tested what the algorithm would recommend after its accounts followed some of those users as well, which produced more-disturbing content interspersed with ads.

The Canadian Centre for Child Protection, a child-protection group, separately ran similar tests on its own, with similar results.

Meta said the Journal’s tests produced a manufactured experience that doesn’t represent what billions of users see. The company declined to comment on why the algorithms compiled streams of separate videos showing children, sex and advertisements, but a spokesman said that in October it introduced new brand safety tools that give advertisers greater control over where their ads appear, and that Instagram either removes or reduces the prominence of four million videos suspected of violating its standards each month. 

The Journal reported in June that algorithms run by Meta, which owns both Facebook and Instagram, connect large communities of users interested in pedophilic content. The Meta spokesman said a task force set up after the Journal’s article has expanded its automated systems for detecting users who behave suspiciously, taking down tens of thousands of such accounts each month. The company also is participating in a new industry coalition to share signs of potential child exploitation.

“Our systems are effective at reducing harmful content, and we’ve invested billions in safety, security and brand suitability solutions,” said Samantha Stetson, a Meta vice president who handles relations with the advertising industry. She said the prevalence of inappropriate content on Instagram is low, and that the company invests heavily in reducing it.

Even before the 2020 launch of Reels, Meta employees understood that the product posed safety concerns, according to former employees.

Robbie McKay, a spokesman for Bumble, said it “would never intentionally advertise adjacent to inappropriate content,” and that the company is suspending its ads across Meta’s platforms.

Meta created Reels to compete with TikTok, the video-sharing platform owned by Beijing-based ByteDance. Both products feed users a nonstop succession of videos posted by others, and make money by inserting ads among them. Both companies’ algorithms show to a user videos the platforms calculate are most likely to keep that user engaged, based on his or her past viewing behavior

The Journal reporters set up the Instagram test accounts as adults on newly purchased devices and followed the gymnasts, cheerleaders and other young influencers. The tests showed that following only the young girls triggered Instagram to begin serving videos from accounts promoting adult sex content alongside ads for major consumer brands, such as one for Walmart that ran after a video of a woman exposing her crotch. 

When the test accounts then followed some users who followed those same young people’s accounts, they yielded even more disturbing recommendations. The platform served a mix of adult pornography and child-sexualizing material, such as a video of a clothed girl caressing her torso and another of a child pantomiming a sex act.

Experts on algorithmic recommendation systems said the Journal’s tests showed that while gymnastics might appear to be an innocuous topic, Meta’s behavioral tracking has discerned that some Instagram users following preteen girls will want to engage with videos sexualizing children, and then directs such content toward them.

Instagram’s system served jarring doses of salacious content to those test accounts, including risqué footage of children as well as overtly sexual adult videos—and ads for some of the biggest U.S. brands.

Preventing the system from pushing noxious content to users interested in it, they said, requires significant changes to the recommendation algorithms that also drive engagement for normal users. Company documents reviewed by the Journal show that the company’s safety staffers are broadly barred from making changes to the platform that might reduce daily active users by any measurable amount.

The test accounts showed that advertisements were regularly added to the problematic Reels streams. Ads encouraging users to visit Disneyland for the holidays ran next to a video of an adult acting out having sex with her father, and another of a young woman in lingerie with fake blood dripping from her mouth. An ad for Hims ran shortly after a video depicting an apparently anguished woman in a sexual situation along with a link to what was described as “the full video.”

Current and former Meta employees said in interviews that the tendency of Instagram algorithms to aggregate child sexualization content from across its platform was known internally to be a problem. Once Instagram pigeonholes a user as interested in any particular subject matter, they said, its recommendation systems are trained to push more related content to them.

Part of the problem is that automated enforcement systems have a harder time parsing video content than text or still images. Another difficulty arises from how Reels works: Rather than showing content shared by users’ friends, the way other parts of Instagram and Facebook often do, Reels promotes videos from sources they don’t follow

In an analysis conducted shortly before the introduction of Reels, Meta’s safety staff flagged the risk that the product would chain together videos of children and inappropriate content, according to two former staffers. Vaishnavi J, Meta’s former head of youth policy, described the safety review’s recommendation as: “Either we ramp up our content detection capabilities, or we don’t recommend any minor content,” meaning any videos of children.

At the time, TikTok was growing rapidly, drawing the attention of Instagram’s young users and the advertisers targeting them. Meta didn’t adopt either of the safety analysis’s recommendations at that time, according to J.

Stetson, Meta’s liaison with digital-ad buyers, disputed that Meta had neglected child safety concerns ahead of the product’s launch. “We tested Reels for nearly a year before releasing it widely, with a robust set of safety controls and measures,” she said. 

After initially struggling to maximize the revenue potential of its Reels product, Meta has improved how its algorithms recommend content and personalize video streams for users

Among the ads that appeared regularly in the Journal’s test accounts were those for “dating” apps and livestreaming platforms featuring adult nudity, massage parlors offering “happy endings” and artificial-intelligence chatbots built for cybersex. Meta’s rules are supposed to prohibit such ads.

The Journal informed Meta in August about the results of its testing. In the months since then, tests by both the Journal and the Canadian Centre for Child Protection show that the platform continued to serve up a series of videos featuring young children, adult content and apparent promotions for child sex material hosted elsewhere. 

As of mid-November, the center said Instagram is continuing to steadily recommend what the nonprofit described as “adults and children doing sexual posing.”

Meta hasn’t offered a timetable for resolving the problem or explained how in the future it would restrict the promotion of inappropriate content featuring children. 

The Journal’s test accounts found that the problem even affected Meta-related brands. Ads for the company’s WhatsApp encrypted chat service and Meta’s Ray-Ban Stories glasses appeared next to adult pornography. An ad for Lean In Girls, the young women’s empowerment nonprofit run by former Meta Chief Operating Officer Sheryl Sandberg, ran directly before a promotion for an adult sex-content creator who often appears in schoolgirl attire. Sandberg declined to comment. 

Through its own tests, the Canadian Centre for Child Protection concluded that Instagram was regularly serving videos and pictures of clothed children who also appear in the National Center for Missing and Exploited Children’s digital database of images and videos confirmed to be child abuse sexual material. The group said child abusers often use the images of the girls to advertise illegal content for sale in dark-web forums.

The nature of the content—sexualizing children without generally showing nudity—reflects the way that social media has changed online child sexual abuse, said Lianna McDonald, executive director for the Canadian center. The group has raised concerns about the ability of Meta’s algorithms to essentially recruit new members of online communities devoted to child sexual abuse, where links to illicit content in more private forums proliferate.

“Time and time again, we’ve seen recommendation algorithms drive users to discover and then spiral inside of these online child exploitation communities,” McDonald said, calling it disturbing that ads from major companies were subsidizing that process.

That has made him the most popular influencer among American Gen-Zers, according to a twice-yearly survey of 14,500 of the country’s teenage boys and girls by Piper Sandler, a finance company that researches consumer data. Teachers have reported boys as young as 11 praising and emulating him.

The corporate gig, as a social media director for a tech platform, was a revelation. “I could just show up to work and do work,” Ms. Tilghman said. After she was done, she could leave. She didn’t have to be a brand. There’s no comments section at an office job.

In 2019, a Morning Consult report found that 54 percent of Gen Z and millennial Americans were interested in becoming influencers. (Eighty-six percent said they would be willing to post sponsored content for money.)

If social media has made audiences anxious, it’s driving creators to the brink. In 2021, the TikTok breakout star Charli D’Amelio said she had “lost the passion” for posting videos. A few months later, Erin Kern announced to her 600,000 Instagram followers that she would be deactivating her account @cottonstem; she had been losing her hair, and her doctors blamed work-induced stress

Other influencers faded without fanfare — teens whose mental health had taken too much of a hit and amateur influencers who stopped posting after an algorithm tweak tanked their metrics. Some had been at this for a decade or more, starting at 12 or 14 or 19.

She posted less, testing out new identities that she hoped wouldn’t touch off the same spiral that wellness had. There were dancing videos, dog photos, interior design. None of it stuck. (“You can change the niche, but you’re still going to be performing your life for content,” she explained over lunch.)

Ms. Tilghman’s problem — as the interest in the workshop, which she decided to cap at 15, demonstrated — is that she has an undeniable knack for this. In 2022, she started a Substack to continue writing, thinking of it as a calling card while she applied to editorial jobs; it soon amassed 20,000 subscribers. It once had a different name, but now it’s called “Offline Time.” The paid tier costs $5 a month.

Casey Lewis, who helms the After School newsletter about Gen Z consumer trends, predicts more pivots and exits. TikTok has elevated creators faster than other platforms and burned them out quicker, she said.

Ms. Lewis expects a swell of former influencers taking jobs with P.R. agencies, marketing firms and product development conglomerates. She pointed out that creators have experience not just in video and photo editing, but in image management, crisis communication and rapid response. “Those skills do transfer,” she said.

the popular suffix “maxxing” for “maximizing” (e.g., “I’m burritomaxxing” instead of “I’m eating a lot of burritos”) is drawn from the incel idea of “looksmaxxing,” or “maximizing attractiveness” through surgical or cosmetic techniques.

Then there’s the word “cucked” for “weakened” or “emasculated.” If the taqueria is out of burritos, you might be “tacocucked,” drawing on the incel idea of being sexually emasculated by more attractive “chads.

These slang terms developed on 4chan precisely because of the site’s anonymity. Since users don’t have identifiable aliases, they signal their in-group status through performative fluency in shared slang

there’s a dark side to the site as well — certain boards, like /r9k/, are known breeding grounds for incel discussion, and the source of the incel words being used today.

finally, we have the word “sigma” for “assertive male,” which comes from an incel’s desired position outside the social hierarchy.

Memes and niche vocabulary become a form of cultural currency, fueling their proliferation.

From there, those words filter out to more mainstream websites such as Reddit and eventually become popularized by viral memes and TikTok trends. Social media algorithms do the rest of the work by curating recommended content for viewers.

Because these terms often spread in ironic contexts, people find them funny, engage with them and are eventually rewarded with more memes featuring incel vocabulary.

Creators are not just aware of this process — they are directly incentivized to abet it. We know that using trending audio helps our videos perform better and that incorporating popular metadata with hashtags or captions will help us reach wider audiences

kids aren’t actually saying “cucked” because they’re “blackpilled”; they’re using it for the same reason all kids use slang: It helps them bond as a group. And what are they bonding over? A shared mockery of incel ideas.

These words capture an important piece of the Gen Z zeitgeist. We should therefore be aware of them, keeping in mind that they’re being used ironically.

In the early days of his campaign, Mr. Biden’s team envisioned setting up its own digital media empire. It posted videos to his official YouTube channel, conducted virtual forums and even set up a podcast hosted by Mr. Biden, “Here’s the Deal.”

those efforts were marred by technical glitches and lukewarm receptions, and they never came close to rivaling the reach of Mr. Trump’s social media machine.

So the campaign pivoted to a different strategy, which involved expanding Mr. Biden’s reach by working with social media influencers and “validators,

Perhaps the campaign’s most unlikely validator was Fox News. Headlines from the outlet that reflected well on Mr. Biden were relatively rare, but the campaign’s tests showed that they were more persuasive to on-the-fence voters than headlines from other outlets

the “Rebel Alliance,” a jokey nod to Mr. Parscale’s “Death Star,” and it eventually grew to include the proprietors of pages like Occupy Democrats, Call to Activism, The Other 98 Percent and Being Liberal.

2. Tune Out Twitter, and Focus on ‘Facebook Moms’

“The whole Biden campaign ethos was ‘Twitter isn’t real life,’” Mr. Flaherty said. “There are risks of running a campaign that is too hyper-aware of your own ideological corner.”

As it focused on Facebook, the Biden campaign paid extra attention to “Facebook moms” — women who spend a lot of time sharing cute and uplifting content

“Our goal was really to meet people where they were,”

3. Build a Facebook Brain Trust

“When people saw a Fox News headline endorsing Joe Biden, it made them stop scrolling and think.”

Ultimately, he said, the campaign’s entire digital strategy — the Malarkey Factory, the TikTok creators and Facebook moms, the Fortnite signs and small-batch creators — was about trying to reach a kinder, gentler version of the internet that it still believed existed.

“I had the freedom to go for the jugular,” said Rafael Rivero, a co-founder of Occupy Democrats and Ridin’ With Biden, another big pro-Biden Facebook page.

“It was sort of a big, distributed message test,” Mr. Flaherty said of the Rebel Alliance. “If it was popping through Occupy or any of our other partners, we knew there was heat there.”

These left-wing pages gave the campaign a bigger Facebook audience than it could have reached on its own. But they also allowed Mr. Biden to keep most of his messaging positive, while still tapping into the anger and outrage many Democratic voters felt.

4. Promote ‘Small-Batch Creators,’ Not Just Slick Commercials

the Biden campaign found that traditional political ads — professionally produced, slick-looking 30-second spots — were far less effective than impromptu, behind-the-scenes footage and ads that featured regular voters talking directly into their smartphones or webcams about why they were voting for Mr. Biden.

“The things that were realer, more grainy and cheaper to produce were more credible.”

In addition to hiring traditional Democratic ad firms, the campaign also teamed up with what it called “small-batch creators” — lesser-known producers and digital creators, some of whom had little experience making political ads

5. Fight Misinformation, but Pick Your Battles

The campaign formed an in-house effort to combat these rumors, known as the “Malarkey Factory.” But it picked its battles carefully, using data from voter testing to guide its responses.

“The Hunter Biden conversation was many times larger than the Hillary Clinton email conversation, but it really didn’t stick, because people think Joe Biden’s a good guy,”

the campaign’s focus on empathy had informed how it treated misinformation: not as a cynical Trump ploy that was swallowed by credulous dupes, but as something that required listening to voters to understand their concerns and worries before fighting back

On the messaging app Signal, the page owners formed a group text that became a kind of rapid-response brain trust for the campaign.

“We made a decision early that we were going to be authentically Joe Biden online, even when people were saying that was a trap.”

Though Hoover’s settings bop around America from Boston to New York to Texas to Vermont, the only contextual references pertain to pop culture, social media and the occasional local attraction.

Politics are confined to the daunting gulf between haves and have-nots, and even when Hoover’s striving heroines find themselves among the haves, their hearts remain forever with the have-nots.

In these novels what matters more than anything else is hardship: Hardship is everywhere, women must suffer, women can heal, and those who make it through all this have the capacity to find themselves/love/happiness. The reader can’t help feeling that the heroine/Hoover is speaking to me/for me/like me.

Fiction of this sort reflects a strain in the culture that has shifted from a fascination with the other — the rich, the powerful, the exclusive — to a more inward preoccupation with the self and the desire to see oneself reflected in the stories one consumes

Women’s popular fiction of the ’80s, when the glitter and glamour of “Dallas” and “Dynasty” dominated prime-time TV, offers a sharp contrast. In best sellers of that period, the settings jetted from Monte Carlo to Capri to Rodeo Drive, populated by the rich, famous and destined-to-be. Heroines could have been peeled off the cover of Cosmopolitan magazine

As with TikTok testimonials of adolescent mental health challenges and group-chat confessions, it’s about “relatability” and the willingness to reveal all. Even celebrities must bare all

I never shed a tear while reading Sheldon, but that wasn’t the point. The point was exuberant voyeurism, the literary equivalent of “Lifestyles of the Rich and Famous.” The heroines’ lives were nothing like mine nor were they meant to be. That’s what made them so absurdly entertaining.

Colleen Hoover paints on a more intimate canvas. Her stories aren’t about attaining worldly power on a grand scale, but about finding power within

Hoover offers readers an emotional road map to recovery from imposter syndrome, domestic abuse, betrayal, victimization. It’s a very different kind of achievement.

In a country where economic inequalities can seem insurmountable and systems of power ever more remote, this may be the best her hard-knock heroines — and readers — can hope for.

For readers invested in characters who are like themselves — if perhaps more beautiful and with more exciting sex lives — the emotional payoff can still feel hard-earned. And, just possibly, the story could happen to them.

No, says the other camp, led by Jonathan Haidt; the kids are not all right, their devices are partly to blame, and here are the studies showing why.

we should not wait for the replication crisis in the social sciences to resolve itself before we consider the question of whether the naysayers are on to something. And normal powers of observation and imagination should be sufficient to make us at least wary of smartphones.

These powerful instruments represent a technological advance on par with that of the power loom or the automobile

The achievement can be difficult to properly appreciate because instead of exerting power over physical processes and raw materials, they operate on social processes and the human psyche: They are designed to maximize attention, to make it as difficult as possible to look away.

they have transformed the qualitative experience of existing in the world. They give a person’s sociality the appearance and feeling of a theoretically endless open network, while in reality, algorithms quietly sort users into ideological, aesthetic, memetic cattle chutes of content.

Importantly, the process by which smartphones change us requires no agency or judgment on the part of a teen user, and yet that process is designed to provide what feels like a perfectly natural, inevitable, and complete experience of the world.

Smartphones offer a tactile portal to a novel digital environment, and this environment is not the kind of space you enter and leave

One reason commonly offered for maintaining our socio-technological status quo is that nothing really has changed with the advent of the internet, of Instagram, of Tiktok and Youtube and 4Chan

It is instead a complete shadow world of endless images; disembodied, manipulable personas; and the ever-present gaze of others. It lives in your pocket and in your mind.

The price you pay for its availability—and the engine of its functioning—is that you are always available to it, as well. Unless you have a strength of will that eludes most adults, its emissaries can find you at any hour and in any place to issue your summons to the grim pleasure palace.

the self-restraint and self-discipline required to use a smartphone well—that is, to treat it purely as an occasional tool rather than as a totalizing way of life—are unreasonable things to demand of teenagers

these are unreasonable things to demand of me, a fully adult woman

To enjoy the conveniences that a smartphone offers, I must struggle against the lure of the permanent scroll, the notification, the urge to fix my eyes on the circle of light and keep them fixed. I must resist the default pseudo-activity the smartphone always calls its user back to, if I want to have any hope of filling the moments of my day with the real activity I believe is actually valuable.

for a child or teen still learning the rudiments of self-control, still learning what is valuable and fulfilling, still learning how to prioritize what is good over the impulse of the moment, it is an absurd bar to be asked to clear

The expectation that children and adolescents will navigate new technologies with fully formed and muscular capacities for reason and responsibility often seems to go along with a larger abdication of responsibility on the part of the adults involved.

adults have frequently given in to a Faustian temptation: offering up their children’s generation to be used as guinea pigs in a mass longitudinal study in exchange for a bit more room to breathe in their own undeniably difficult roles as educators, caretakers, and parents.

It is not a particular activity that you start and stop and resume, and it is not a social scene that you might abandon when it suits you.

And this we must do without waiting for social science to hand us a comprehensive mandate it is fundamentally unable to provide; without cowering in panic over moral panics

The pre-internet advertising world was vicious, to be sure, but when the “pre-” came off, its vices were moved into a compound interest account. In the world of online advertising, at any moment, in any place, a user engaged in an infinite scroll might be presented with native content about how one Instagram model learned to accept her chunky (size 4) thighs, while in the next clip, another model relates how a local dermatologist saved her from becoming an unlovable crone at the age of 25

developing pathological interests and capacities used to take a lot more work than it does now

You had to seek it out, as you once had to seek out pornography and look someone in the eye while paying for it. You were not funneled into it by an omnipresent stream of algorithmically curated content—the ambience of digital life, so easily mistaken by the person experiencing it as fundamentally similar to the non-purposive ambience of the natural world.

And when interpersonal relations between teens become sour, nasty, or abusive, as they often do and always have, the unbalancing effects of transposing social life to the internet become quite clear

For both young men and young women, the pornographic scenario—dominance and degradation, exposure and monetization—creates an experiential framework for desires that they are barely experienced enough to understand.

This is not a world I want to live in. I think it hurts everyone; but I especially think it hurts those young enough to receive it as a natural state of affairs rather than as a profound innovation.

so I am baffled by the most routine objection to any blaming of smartphones for our society-wide implosion of teenagers’ mental health,

In short, and inevitably, today’s teenagers are suffering from capitalism—specifically “late capitalism,

what shocks me about this rhetorical approach is the rush to play defense for Apple and its peers, the impulse to wield the abstract concept of capitalism as a shield for actually existing, extremely powerful, demonstrably ruthless capitalist actors.

This motley alliance of left-coded theory about the evils of business and right-coded praxis in defense of a particular evil business can be explained, I think, by a deeper desire than overthrowing capitalism. It is the desire not to be a prude or hysteric of bumpkin

No one wants to come down on the side of tamping off pleasures and suppressing teen activity.

No one wants to be the shrill or leaden antagonist of a thousand beloved movies, inciting moral panics, scheming about how to stop the youths from dancing on Sunday.

But commercial pioneers are only just beginning to explore new frontiers in the profit-driven, smartphone-enabled weaponization of our own pleasures against us

To limit your moral imagination to the archetypes of the fun-loving rebel versus the stodgy enforcers in response to this emerging reality is to choose to navigate it with blinders on, to be a useful idiot for the robber barons of online life rather than a challenger to the corrupt order they maintain.

The very basic question that needs to be asked with every product rollout and implementation is what technologies enable a good human life?

this question is not, ultimately, the province of social scientists, notwithstanding how useful their work may be on the narrower questions involved. It is the free privilege, it is the heavy burden, for all of us, to think—to deliberate and make judgments about human good, about what kind of world we want to live in, and to take action according to that thought.

I am not sure how to build a world in which childrens and adolescents, at least, do not feel they need to live their whole lives online.

whatever particular solutions emerge from our negotiations with each other and our reckonings with the force of cultural momentum, they will remain unavailable until we give ourselves permission to set the terms of our common life.

But the environments in which humans find themselves vary significantly, and in ways that have equally significant downstream effects on the particular expression of human nature in that context.

most of all, without affording Apple, Facebook, Google, and their ilk the defensive allegiance we should reserve for each other.

Adobe ADBE 7.19%increase; green up pointing triangle, maker of the Photoshop, released a new tool in Firefly, its generative-AI image suite, that lets you change and add in parts of a photo with AI imagery. Earlier this month, Google showed off a new Magic Editor, initially for Pixel phones, that allows you to easily manipulate a scene. And people are all over TikTok posting the results of AI headshot services like Try It On.

After testing a mix of AI editing and generating tools, I just have one question for all of you armchair philosophers: What even is a photo anymore?

I have always wondered what I’d look like as a naval officer. Now I don’t have to. I snapped a selfie and uploaded it to Adobe Firefly’s generative-fill tool. One click of the Background button and my cluttered office was wiped out. I typed “American flag” and in it went. Then I selected the Add tool, erased my torso and typed in “naval uniform.” Boom! Adobe even found me worthy of numerous awards and decorations.

Astronaut, fighter pilot, pediatrician. I turned myself into all of them in under a minute each. The AI-generated images did have noticeable issues: The uniforms were strange and had odd lettering, the stethoscope seemed to be cut in half and the backgrounds were warped and blurry. Yet the final images are fun, and the quality will only get better. 

In FaceApp, for iOS and Android, I was able to change my frown to a smile—with the right amount of teeth! I was also able to add glasses and change my hair color. Some said it looked completely real, others who know me well figured something was up. “Your teeth look too perfect.”

The real reality-bending happens in Midjourney, which can turn text prompts into hyper-realistic images and blend existing images in new ways. The image quality of generated images exceeds OpenAI’s Dall-E and Adobe’s Firefly.

it’s more complicated to use, since it runs through the chat app Discord. Sign up for service, access the Midjourney bot through your Discord account (via web or app), then start typing in prompts. My video producer Kenny Wassus started working with a more advanced Midjourney plugin called Insight Face Swap-Bot, which allows you to sub in a face to a scene you’ve already made. He’s become a master—making me a Game of Thrones warrior and a Star Wars rebel, among other things.

We’re headed for a time when we won’t be able to tell how manipulated a photo is, what parts are real or fake.

when influential messages are conveyed through images—be they news or misinformation—people have reason to know a photo’s origin and what’s been done to it.

Firefly adds a “content credential,” digital information baked into the file, that says the image was manipulated with AI. Adobe is pushing to get news, tech and social-media platforms to use this open-source standard so we can all understand where the images we see came from.

So, yeah, our ability to spot true photos might depend on the cooperation of the entire internet. And by “true photo,” I mean one that captures a real moment—where you’re wearing your own boring clothes and your hair is just so-so, but you have the exact right number of teeth in your head.

Perhaps the best example of what Twitter offers now—and what we stand to gain or lose from its demise—is illustrated by the path charted by public-health officials, epidemiologists, doctors, and nurses over the past three years.

They offered guidance that a flailing government response was too slow to provide, and helped cobble together an epidemiological picture of infections and case counts. At a moment when people were terrified and looking for any information at all, Twitter seemed to offer a steady stream of knowledgeable, diligent experts.

But Twitter does another thing quite well, and that’s crushing users with the pressures of algorithmic rewards and all of the risks, exposure, and toxicity that come with virality

t imagining a world without it can feel impossible. What do our politics look like without the strange feedback loop of a Twitter-addled political press and a class of lawmakers that seems to govern more via shitposting than by legislation

What happens if the media lose what the writer Max Read recently described as a “way of representing reality, and locating yourself within it”? The answer is probably messy.

here’s the worry that, absent a distributed central nervous system like Twitter, “the collective worldview of the ‘media’ would instead be over-shaped, from the top down, by the experiences and biases of wealthy publishers, careerist editors, self-loathing journalists, and canny operators operating in relatively closed social and professional circles.”

many of the most hyperactive, influential twitterati (cringe) of the mid-2010s have built up large audiences and only broadcast now: They don’t read their mentions, and they rarely engage. In private conversations, some of those people have expressed a desire to see Musk torpedo the site and put a legion of posters out of their misery.

Many of the past decade’s most polarizing and influential figures—people such as Donald Trump and Musk himself, who captured attention, accumulated power, and fractured parts of our public consciousness—were also the ones who were thought to be “good” at using the website.

the effects of Twitter’s chief innovation—its character limit—on our understanding of language, nuance, and even truth.

“These days, it seems like we are having languages imposed on us,” he said. “The fact that you have a social media that tells you how many characters to use, this is language imposition. You have to wonder about the agenda there. Why does anyone want to restrict the full range of my language? What’s the game there?

in McLuhanian fashion, the constraints and the architecture change not only what messages we receive but how we choose to respond. Often that choice is to behave like the platform itself: We are quicker to respond and more aggressive than we might be elsewhere, with a mindset toward engagement and visibility

it’s easy to argue that we stand to gain something essential and human if we lose Twitter. But there is plenty about Twitter that is also essential and human.

No other tool has connected me to the world—to random bits of news, knowledge, absurdist humor, activism, and expertise, and to scores of real personal interactions—like Twitter has

What makes evaluating a life beyond Twitter so hard is that everything that makes the service truly special is also what makes it interminable and toxic.

the worst experience you can have on the platform is to “win” and go viral. Generally, it seems that the more successful a person is at using Twitter, the more they refer to it as a hellsite.

Content moderation comes to every content platform eventually, and platforms are starting to realize this faster than ever.

Nothing symbolizes this shift as neatly as Facebook’s decision in October (and Twitter’s shortly after) to start banning Holocaust denial. Almost exactly a year earlier, Zuckerberg had proudly tied himself to the First Amendment in a widely publicized “stand for free expression” at Georgetown University.

The evolution continues. Facebook announced earlier this month that it will join platforms such as YouTube and TikTok in removing, not merely labeling or down-ranking, false claims about COVID-19 vaccines.

the pandemic also showed that complete neutrality is impossible. Even though it’s not clear that removing content outright is the best way to correct misperceptions, Facebook and other platforms plainly want to signal that, at least in the current crisis, they don’t want to be seen as feeding people information that might kill them.

When internet platforms announce new policies, assessing whether they can and will enforce them consistently has always been difficult. In essence, the companies are grading their own work. But too often what can be gleaned from the outside suggests that they’re failing.

It tweaked its algorithm to boost authoritative sources in the news feed and turned off recommendations to join groups based around political or social issues. Facebook is reversing some of these steps now, but it cannot make people forget this toolbox exists in the future

As platforms grow more comfortable with their power, they are recognizing that they have options beyond taking posts down or leaving them up. In addition to warning labels, Facebook implemented other “break glass” measures to stem misinformation as the election approached.

Platforms don’t deserve praise for belatedly noticing dumpster fires that they helped create and affixing unobtrusive labels to them

Warning labels for misinformation might make some commentators feel a little better, but whether labels actually do much to contain the spread of false information is still unknown.

News reporting suggests that insiders at Facebook knew they could and should do more about misinformation, but higher-ups vetoed their ideas. YouTube barely acted to stem the flood of misinformation about election results on its platform.

Even before the pandemic, YouTube had begun adjusting its recommendation algorithm to reduce the spread of borderline and harmful content, and is introducing pop-up nudges to encourage user

And if 2020 finally made clear to platforms the need for greater content moderation, it also exposed the inevitable limits of content moderation.

Down-ranking, labeling, or deleting content on an internet platform does not address the social or political circumstances that caused it to be posted in the first place

even the most powerful platform will never be able to fully compensate for the failures of other governing institutions or be able to stop the leader of the free world from constructing an alternative reality when a whole media ecosystem is ready and willing to enable him. As Renée DiResta wrote in The Atlantic last month, “reducing the supply of misinformation doesn’t eliminate the demand.”

Even so, this year’s events showed that nothing is innate, inevitable, or immutable about platforms as they currently exist. The possibilities for what they might become—and what role they will play in society—are limited more by imagination than any fixed technological constraint, and the companies appear more willing to experiment than ever.