ReportWire

Tag: digital culture

  • How to Give Neurotic Losers the Main Character Treatment

    How to Give Neurotic Losers the Main Character Treatment

    It’s really no wonder that there has been this scattering to the winds of people on social media now, as if they didn’t need another reason to migrate to other platforms. I remember that moment when there was Threads, Bluesky, Twitter, Mastodon, and some other ones—and I’m like, this is the fucking War of the Roses.

    I dunk on Twitter constantly—I am never calling it X—but can’t seem to quit. It’s still important and useful for many reasons.

    From my vantage point, the utility to the writer is it provides a buffet of freak behavior that you would never have access to otherwise.

    All the trolls.

    Well, you get examples of pathologies that you wouldn’t come across in your ordinary life, but on the other hand, it also has stretched everybody’s imagination of what kind of people are out there. This becomes even more interesting and complicated when you contemplate that people are not really being themselves online either. A reader picking up a book now is going to be, I think, less skeptical about extremes of behavior in a character that’s on the internet, which gives you a lot more latitude to be absurdist in a way that doesn’t skirt realism.

    Why was the, quote-unquote, loser or reject such an enticing figure to pursue in this project?

    The obvious answer—it’s what’s on my mind. Being somebody who has gone through a lot of rejection, and not really finding a ton of books, to my mind, that engaged centrally about that subject, or books that went beyond treating it as a brief plot point, was the drive for it.

    What themes felt important to unpack?

    As far as how I connected it to the internet, one, it’s where people go for answers very often, especially answers to questions that are too shameful to ask in real life. They seek out people who’ve been through the same things. This used to be the primary task of literature.

    The other thing is, when you’re lonely, especially when you’re lonely in a kind of wounded way, it is extremely enticing to be on a medium that can’t reject you. The internet is never off. Unless you are somewhere without access, there is never a point where you are denied from using it. It creates a zero-calorie form of socialization that will soothe lonely people, at least temporarily. When writing about contemporary life, it’s hard to avoid.

    Is loneliness one of the defining symptoms of this current era?

    No, loneliness has always existed. In a strange way, our access to witness loneliness has radically increased. There is something to the fact that the availability of a substitute for socialization, rather than in-person meeting, has contributed to that a little bit. Social media being solely responsible for having generated it, is a little bit of a moral panic.

    Jason Parham

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  • Social Media Swallowed Gen Z. This Film Shows Exactly How

    Social Media Swallowed Gen Z. This Film Shows Exactly How

    Twenty years ago, MySpace and Facebook ushered in an inspired age of social media. Today, the sticky parables of online life are inescapable: Connection is a convenience as much as it is a curse. A lot’s changed since those early years. In June, the US surgeon general, Vivek H. Murthy, called for a warning label on social platforms that have played a part in the mental health crisis among young people, of which “social media has emerged as an important contributor.” Social Studies, the new FX docuseries from documentarian Lauren Greenfield, bring the unsettling effects of that crisis into startling view.

    The thesis was simple. Greenfield set out to catalog the first generation for which social media was an omnipresent, preordained reality. From August 2021 to the summer of 2022, she embedded with a group of teens at several Los Angeles–area high schools for the entire school year (the majority of the students attend Palisades Charter), as they obsessed over crushes, applied to college, attended prom, and pursued their passions.

    “It was an unusual documentary for me,” Greenfield, a veteran filmmaker of cultural surveys like The Queen of Versailles and Generation Wealth, says of how the series came together. “The kids were co-investigators on this journey.” Along with the 1,200 hours of principal photography Greenfield and her team captured, students were also asked to save screen recordings of their daily phone usage, which amounted to another 2,000 hours of footage. Stitched together, the documentary illuminates the tangled and unrelenting experiences of teens as they deal with body dysmorphia, bullying, social acceptance, and suicidal ideation. “That’s the part that is the most groundbreaking of this project, because we haven’t really seen that before.”

    The depth of the five-episode series benefits from Greenfield’s encyclopedic approach. The result is perhaps the most accurate and comprehensive portrait of Gen Z’s relationship to social media. With the release of the final episode this week (you can stream it on Hulu), I spoke with Greenfield over Zoom about the sometimes cruel, seemingly infinite experience of being a teenager online today.

    JASON PARHAM: In one episode, a student says, “I think you can’t log in to TikTok and be safe.” Having spent the previous three years fully immersed in this world, I’m curious if you think social media is bad?

    LAUREN GREENFIELD: I don’t think it’s a binary question. I really went into this as a social experiment. This is the first generation that has never grown up without it. So even though social media has been around for a while, they are the first generation of digital natives. I thought it was the right time to look at how it was impacting childhood. It’s the biggest cultural influence of this generation’s growing up, bigger than parents, peers, or school, especially coming out of Covid, which was when we started filming. You know, I didn’t go into filming with a point of view or an activist agenda, but I certainly was moved by what the teenagers said to me and what they showed in their lives, which is that it’s a pretty dire situation.

    Jason Parham

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  • Hurricane Helene Couldn’t Stop Birders From Using eBird

    Hurricane Helene Couldn’t Stop Birders From Using eBird

    Last week, Hurricane Helene spun north into western North Carolina causing catastrophic damage, particularly in the Asheville area and surrounding counties. Entire homes and businesses were flooded, some floating away in a horrific wave of debris.

    In the midst of it all, some bird-watchers noticed something: People in some of the most heavily impacted areas were continuing to log sightings in the popular app eBird. As it happens, some of those areas—Buncombe and Henderson Counties in particular—have been birding hot spots for years. Less than a day after the storm passed, as many were still assessing the damage, birders were back to chronicling their finds.

    Helene made landfall as a category 4 hurricane in western Florida on September 26 before becoming a tropical storm as it made its way north. When it struck Appalachia, rivers overflowed, and flooding buried valley towns. Thousands of homes and businesses were destroyed. The storm’s current death count is over 200, which is expected to rise in coming days as emergency crews reach increasingly remote areas.

    For birders, the storm was traumatic. None of them had power, cell service, or water in their homes. But they could walk outside, try to take their mind off of the tragedy unfolding around them, and spot birds both local and exotic to the area. When they finally got limited cell service—either by traveling or by satellite connection or through temporary cell towers—posting their findings to eBird, which has more than 900,000 users around the world, was almost instinctual.

    Tambi Swiney has lived in Appalachia all her life and in the Asheville area for about two years. An ordained minister, Swiney works as a spiritual adviser—which is similar to a life coach but focused exclusively on the spiritual. She started birding about five years ago because of her son, who had a budding interest.

    “I got serious about downloading the eBird app and the Merlin app that helps you to identify birds by sight and sound,” she says. “Ever since then, it’s been something that has just become a part of the regular rhythm of my life.”

    The Federal Emergency Management Agency and the National Guard weren’t in the area in full force until a few days after the storm, she says. Before then, they had to rely on their neighbors. One, who had a generator, she says, opened up their home to people who needed to charge their phones or boil water.

    Swiney began volunteering with her local First Baptist Church to distribute food and supplies donated from a group in South Carolina. It’s been overwhelming, she says, to come to terms with the “heaviness” of the storm. Birding, she says, has been a source of reprieve. Even before the storm, she had checked for birds in her backyard every day.

    “It’s been a relief to me to have moments where I’m just looking out the window at the bird feeder hanging on my porch and identifying the birds that are coming up,” Swiney says. “It just has brought some peace and comfort in the midst of this storm.”

    Normally, at this time of year, Swiney would have traveled to birding hot spots to look for migrating hawks, which come in by thousands as they fly south. The road to the area is currently closed, so she has birded only in places she can travel to by foot.

    Caroline Haskins

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  • She Asked TikTok If Her House Was Haunted. Then the Cops Came

    She Asked TikTok If Her House Was Haunted. Then the Cops Came

    This all started like four or five days ago. How many followers have you gathered in that amount of time?

    I went from, let’s see, I haven’t honestly been on TikTok in hours. I went from 6,000 to 576,000, so I’ve gained 570,000 followers.

    [Editor’s note: As of this writing, she now has 1.6 million followers.]

    Geez.

    This is insane. That’s the first time I’ve looked and seen it. This morning, I was at 200 something, so just today I’ve gone from 200,000 something to half a million people. That’s the first time I’ve looked.

    I’m sorry I made you look, to be honest.

    No, it’s so insane.

    I’m interested in the sleuth aspect. I know because you’ve said in a couple of your TikToks that you are a true-crime aficionado.

    Absolutely.

    I’m sure you understand the sort of impulse of why people do this, but it seems like a reversal to now be potentially the center.

    I feel like I’m in an episode of Crime Junkie. I usually just listen to it as I drive to work, and now I feel like I’m in an episode, so I’m like, where’s Ashley Flowers? Where is she at? We need to talk. Yeah.

    I was alone for the first time, just now, for a minute without my phone blowing up. I just took a deep breath and I’m like, I’ve watched this happen to other people in movies, and the fact that it’s happening to me is blowing my mind.

    Maybe this sounds like an obvious question, but does it feel different? There are a lot of conversations about the impact of people’s fascination with true crime. Has there been a moment where it got more real, in a way?

    So when I was on the Live, I was singing Jeopardy! songs, because between the detectives getting here and the dogs getting here was 45 minutes. So I kept saying, “This is the commercial break,” and I full-on thought not a chance in hell was this going to happen. This was a fun ending to a crazy story, and what a cool way to end this whole thing. The dogs see nothing. They leave, case closed. That’s what I was expecting.

    Then the dogs smelled something.

    Yeah, that first dog sat, and I audibly in the video, you hear me go and I start shaking, and that’s when it became real to me. The second that white dog sat, I was like, “This just got so different.”

    I bet.

    You see things like this on social media and you’re like, “Oh, that’s so insane. One in a million.” To be that one in a million, I can’t even put it into words how out-of-body … I keep feeling like I am just going to wake up, and this was all just a crazy dream.

    A couple days ago you were making T-shirts.

    Well, back when we, I think we had just hit 10,000 followers, we made T-shirts that said, “Just keep digging.” Again, it was a joke. Then other T-shirts that said, “I’m just here for the update.” Pretty much what every comment on my videos would say.

    Angela Watercutter

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  • Players Are Turning the ‘Echoes’ in ‘The Legend of Zelda: Echoes of Wisdom’ Into Cheat Codes

    Players Are Turning the ‘Echoes’ in ‘The Legend of Zelda: Echoes of Wisdom’ Into Cheat Codes

    On top of a table, Princess Zelda magically binds herself to a green machine pouring gusts of wind. She goes zooming across the screen instantly as the air blasts the table forward as well as any jet engine. “Table go vroom-vroom” reads the caption—just a small taste of what an inventive player can do in The Legend of Zelda: Echoes of Wisdom, the latest in the series from Nintendo.

    Echoes of Wisdom is all about finding new ways to use the world’s items. It relies on Zelda’s ability to copy enemies and objects and repurpose them as needed. In the early days of its creation, developers explored different ways the game could be played. That included the ability to edit dungeons by copying and pasting objects like doors or candles, allowing players to essentially create their own gameplay—and their own cheats.

    When series producer Eiji Aonuma had the chance to test it, however, he had a different take. “While it’s fun to create your own dungeon and let other people play it,” he said in a recent Ask the Developer post on Nintendo’s site, “it’s also not so bad to place items that can be copied and pasted in the game field, and create gameplay where they can be used to fight enemies.”

    So no, Echoes of Wisdom is no dungeon-builder. Like The Legend of Zelda: Tears of the Kingdom, however, its ability to create makeshift solutions and items means players are quickly finding unusual ways to traverse the world and conquer its many levels. In some cases, by using items in ways so outlandish it seems like they shouldn’t exist.

    One of Echoes of Wisdom’s most useful items is also its plainest: a simple, brown-framed bed. Players have quickly latched onto beds as a go-to for getting around—stack a couple and they make a great bridge or a ladder. Dispense one in a fight and Zelda can nap to recover health while summoned monsters fight on her behalf. In one particularly inspired example, a player put Zelda on top of a bed and summoned an enemy to create wind gusts that made the bed fly. Tables are just as useful, especially when you want to barricade a couple of guards into their own prison.

    On Reddit, players are sharing creations that have allowed them to bypass both gated-off areas and the laws of gravity. One worked out how to create different variations of flying machines, no bed needed, by binding together a crow, a rock, and an enemy that creates wind gusts. In the game’s water temple, which requires players to slowly raise the water level to reach the top, one enterprising adventurer figured out how to skip that whole mess by carefully stacking water blocks—echoes that create a contained cube of water Zelda can swim through—to head straight up.

    As creative as these workarounds are, they also play directly into Nintendo’s hands. While echoes may feel like a nerfing of the Tears mechanics that let gamers build flame-throwing phalluses, Nintendo still wanted to empower them to be “mischievous.” As director Tomomi Sano has said, the point is for players to find ways to use echoes that “are so ingenious it almost feels like cheating.”

    Megan Farokhmanesh

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  • HBO Almost Cut the ‘Industry’ Season Finale’s Most Shocking Scene

    HBO Almost Cut the ‘Industry’ Season Finale’s Most Shocking Scene

    In the volatile universe of Industry, all debts must be paid.

    No one understands that better than Rishi (Sagar Radia), whose gambling addiction finally caught up with him in Sunday night’s season three finale, “Infinite Largesse,”

    (Spoiler alert: The following includes spoilers for Industry’s third season finale.)

    Rishi, for the uninitiated, spent much of the last season falling deeper into debt. As the finale concluded, Industry gave him one of the revelation-packed episode’s biggest twists when his bookie, Vinay, showed up and killed Rishi’s wife over £600,000 in unpaid gambling debts. It was the kind of gut-wrenching moment that has made HBO Sunday-night appointment TV—and, according to cocreators Mickey Down and Konrad Kay, HBO almost nixed it.

    “There was a conversation about Rishi’s wife’s death, which HBO balked at,” Kay says.

    Early on, as Down and Kay outlined season 3, they knew they wanted to do a Rishi episode, which fans were treated to in episode 4, “White Mischief.” Shot as a kind of homage to Uncut Gems, it was there viewers got a taste of the real Rishi, who, it turned out, was a gambler with a dangerous appetite for drugs, women, and thrill-seeking.

    “We first wrote it with a bow at the end of it,” Down says. “He gets out of his position, he’s saved by the market. He then gets his wife to pay back his debt and then he makes his phone call, doubling down on it. We really didn’t think we were going to return to this. We thought, OK, are we going to show the repercussions of this in some way?”

    But HBO saw the potential in it and advised the creators to return to the repercussions of “White Mischief” later in the season. “They said, we have to show what happens to him.” It presented a unique challenge for Down and Kay. “How can you actually show that there are consequences to your actions in this world and that you can’t just talk your way out of everything?”

    When they landed on the idea that it would be Diana, Rishi’s wife, who ultimately paid for his financial misfortunes, HBO pushed back. But Down and Kay knew better.

    “At the script stage, HBO wanted to get rid of it,” Kay says. “Then we said, look, let us shoot it and show it to you. And we shot it and cut it and showed it to them. And they were like, ‘This is fantastic.’ We got very few notes. What you see in the season finale is pretty close to the first cut of that episode.”

    Originally, the scene played out differently. “We were like, what if the guy shot Rishi?” Down continues. “Personally, and practically, we wanted Rishi in season four. But it’s more heartbreaking that his wife, who is a victim of all of this, is the person that bears the brunt. And those are consequences that he then has to live with.”

    But by killing Diana, Down and Kay felt it would provide the perfect setup for next season. (HBO renewed Industry after WIRED’s interview with the showrunners.)

    Their instincts proved right. As the finale aired on Sunday, reaction online was swift, with fans posting Succession-esque responses to the show’s many turns of fortune.

    Industry is so good because they just keep moving forward. Mickey and Konrad are completely unafraid to put characters on paths they can’t easily undo for the sake of plot convenience. This is peak storytelling,” @lesliezye posted on X following the finale.

    Added @cinnaMENA, “From Rishi’s sad bachelor pad scene to Yasmin’s country house breakdown I—I have emotional whiplash.”

    For Down and Kay, it was all about elevating the storyline into new heights. “That core is shaken when something sort of seismic happens,” Down says of his scheming characters. “And your wife being shot in front of you to settle the gambling debt is a seismic thing, which means that Rishi in season four will be a totally different character than he was in season three and before.”

    Jason Parham

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  • The Shade Room Founder Is Ready to Dial Down the Shade

    The Shade Room Founder Is Ready to Dial Down the Shade

    Angie Nwandu launched The Shade Room in 2014 as a side hustle. Today, that side hustle—which grew from an Instagram-only celebrity tabloid into a media company with a 40-person staff—reaches 29 million social media obsessives by tapping into their wolfish appetite for drama.

    The Shade Room pioneered a unique, if somewhat innovative, brand of digital media, merging elements of fan culture around the machine of celebrity news (Shade Room regulars are called Roomies). More than your run-of-the-mill gossip rag or news aggregator, TSR evolved into an information hub for “the culture,” Nwandu says, “but also a reflection of it and voice for it. We’re known as a megaphone.”

    The primary focus of the platform is the fragile world of Black celebrity. Want to know who NFL quarterback Jalen Hurts got engaged to or why Naomi Campbell has beef with Rihanna? Maybe you are wondering why a Louisville woman claims Kanye West “telegraphically” told her to allegedly steal a vehicle with a child inside? TSR has you covered.

    I recently phoned Nwandu to chat about the controversial influence of The Shade Room and the legacy she wants to leave behind. The platform has slowly branched into different coverage areas—politics, investigative reporting, spirituality—and she says that’s all part of a larger plan to eventually move beyond celebrity gossip, which she describes as “tiring.”

    Nwandu hasn’t gotten there yet. The week we spoke, music mogul Diddy was arrested after a grand jury indicted him on charges including sex trafficking and racketeering conspiracy (he pleaded not guilty), so we also talked about that—and Nwandu was an open book.

    JASON PARHAM: The Shade Room was a pioneer of social-media-centric celebrity news on Instagram. Today there are hundreds of accounts that do what you do. How does that feel?

    ANGIE NWANDU: Nobody ever gives this nod to The Shade Room but we served up a blueprint that was able to be replicated. I’m friends with Shawn McKenzie [founder of The Spiritual Word] and Jason Lee [founder of Hollywood Unlocked], and we’ve had conversations. I had talks with both of them where I shared tips and advice. I’m happy to see that our blueprint was able to inspire other Black media companies who are thriving in their own right. To see the success of all these platforms is amazing to me. I’m actually really proud of that because who doesn’t want to start something that creates a ripple effect?

    The Shade Room has never shied away from controversy but I imagine there are editorial guidelines that you follow. What won’t you post?

    If I say which stories, it would defeat the purpose now. I will say, what we don’t do is out people. A lot of people send us very salacious stories where they are outing people. That’s something that we stay away from. In the beginning we were kinda wild, but generally that is something we have avoided. I’ve seen the damage in what it does to people who are not ready to step out in that way. We have tried to move away from invasion of privacy in certain areas.

    But is it not called The Shade Room for a reason?

    We’re trying to change what we post and move towards positivity. We used to post clapbacks all day long and we have eased off of that. It’s been hard because our name is The Shade Room—like, if Diddy goes to jail, we have to get that up. But there’s a lot we won’t post. It’s been a dance, for sure.

    Jason Parham

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  • Ticket Bots Leave Oasis Fans Enraged

    Ticket Bots Leave Oasis Fans Enraged

    Oasis, the band everyone likes to sing after too many pints at karaoke, is going on tour. Well, not exactly on tour—it’s more like 17 dates in the UK and Ireland in summer 2025. Still, considering the band broke up in 2009 and has just reunited, this is what most people are calling a big deal. If nothing else, the band’s leaders, the notoriously ever-feuding brothers Noel and Liam Gallagher, might throttle each other on stage at any given moment, and hardcore fans (aka the “madferits”) would really hate to miss that, even if it costs them north of $1,000.

    As soon as the presale for the band’s upcoming gigs went online on Friday, tickets—which started at around $100 apiece—popped up on resale sites, with fans on X reporting that they were seeing prices in the $800 to $1,200 range, despite the fact that the band said it had put guardrails in place to prevent the cost of the tickets from getting out of hand. The BBC reported that some tickets were going for as much as $7,800.

    To be a part of the presale, fans had to submit a ballot correctly answering questions about the band. Some who did so received a link to presale tickets; others didn’t and were “devastated,” anticipating a “Ticketmaster bloodbath” during the general on-sale, despite the fact that Oasis themselves had warned that tickets sold for more than face value would be “canceled by the promoters.”

    On Saturday, things didn’t get much better. Fans trying to buy tickets through online ticketing sites found long waits, seemingly hard-to-swallow fees, error messages, bots and, reportedly, error messages claiming that fans themselves were the bots.

    “Efforts like presale ballots can be helpful in curbing the immediate rush and chaos typically associated with ticket sales,” says Benjamin Fabre, cofounder of cyberfraud firm DataDome, “but they are not foolproof solutions against sophisticated bot attacks.”

    Not all of the inflated ticket prices were the result of bots, however. After waiting hours in the queue, some fans reached the front only to find the price of tickets had more than doubled. This was due to dynamic pricing, a model that means the prices of tickets can change if there’s high demand. As tickets started to sell out on Saturday, fans urged bands and artists to push back against the use of dynamic pricing. (Ticketmaster did not respond to an email over the weekend seeking comment for this story.)

    The UK culture secretary Lisa Nandy on Monday confirmed that the British government will look into dynamic pricing as part of a planned review of how event tickets are sold, which is scheduled for the autumn. The review will investigate “issues around the transparency and use of dynamic pricing, including the technology around queuing systems which incentivise it,” Nandy told the BBC. MP Jamie Stone, the culture spokesperson for UK’s Liberal Democrats, said in a statement to The Guardian over the weekend that it was “scandalous to see our country’s biggest cultural moments turned into obscene cash cows by greedy promoters and ticketing websites.”

    Angela Watercutter

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  • The Creators of ‘Industry’ Know Banking Is a Rigged Game

    The Creators of ‘Industry’ Know Banking Is a Rigged Game

    Ambition is a curse in the arena of high finance. At the prestigious London investment bank Pierpoint, which doubles as the backdrop for the Gen Z banking drama Industry, a cohort of university graduates vie for money and power. Harper (Myha’la), Yasmin (Marisa Abela), and Rob (Harry Lawtey) are desperate to prove they belong, that they’ve got the mettle to survive the battleground of the trading floor, but Pierpoint is a special kind of hell: Ambition is only as useful as your will to lie, cheat, and outmaneuver your way to the top. As easily as it opens doors, it just as easily gets you stabbed in the back.

    “When you go down the laundry list of what they’ve done and what they did to get there,” cocreator Mickey Down says of his beloved characters, “they can be considered pretty heinous individuals.” But their savory deceit is why we watch. It’s why Industry has become The Show of the Season, the internet’s new meme-machine, drawing expected-but-flawed comparisons to Succession, another HBO supernova. Industry is a beast all its own.

    Now in its third season, its most audacious and anxiety-riddled, Industry occupies the esteemed Sunday night 9 pm slot that Games of Thrones and The Sopornos made famous. The show is still the show many of us fell in love with when it debuted in 2020: all ego and heart and reckless ambition. Only, Down and cocreator Konrad Kay have upped the stakes even more this time around, illustrating how sinister and deep relationships run across media, politics, and finance for London’s privileged class.

    This week’s upcoming episode—deliciously-titled “White Mischief”; fans of Uncut Gems rejoice, this one’s just for you—marks the season’s halfway point. Over Zoom from their respective residences in London, Down and Kay spoke with me about where the show has been and where it’s possibly headed next.

    JASON PARHAM: I read that the initial pitch for this season was “coke and boats.” What was HBO’s response?

    MICKEY DOWN: We had a 30,000-foot view of what the season was going to be in terms of the business story. And then we thought, look, we shouldn’t be scared to have a slight genre element to the show. We were already talking about Yasmin’s father, which we thought was one of the most interesting parts of the second season. We had the idea that her dad’s gone missing, and she’s been bearing the brunt of that in the media. We had all of that. We just hadn’t decided how to show it yet. So we said, what if we have a secondary timeline that has a bit of a mystery element to it? And what if we start the show from there? So we sent an email to HBO with the header “coke and boats” and said this is where we want to start the show.

    Incredible.

    MD: We told them that we want to dip back into this timeline when we feel like it’s good punctuation. We wanted to have this slow drip feel of what actually happened on the boat. And their response was very positive.

    The show is continually testing its limits. Erect penises. Cum scenes. Crazy yacht parties. All kinds of drugs. Did HBO ever ask you to reel it in?

    Jason Parham

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  • ‘Unprecedented Times’ Is the New Normal

    ‘Unprecedented Times’ Is the New Normal

    The afternoon Joe Biden announced his decision to withdraw from the 2024 presidential race, eight days after the assassination attempt on Donald Trump and well into a year of axis-tilting events, @DifficultPatty posted a question on X, thirsty for an answer: “Which wine pairs best with unprecedented times?”

    “All of them,” replied one user.

    “Apocalypse IPA,” said another. “It’s a real thing.”

    Also real are the times we continually find ourselves. All devastation and disquiet. That’s the vibe of late, anyway. New historical benchmarks sprout with wild surprise on what feels like a weekly basis, and a collective mood has developed across social media that we live in a constant state of “unprecedented times.”

    The phrase, now a fixture of the zeitgeist, initially shot into pop discourse around 2015 during Trump’s first presidential campaign, a campaign, you’ll remember, that fed on a specific American lust for political agitprop. It has since become shorthand for the continuous spiral of everyday reality. Not long after, as the spread of Covid-19 reengineered work and home life, the phrase further lodged itself into our shared vocabulary, recast as a convenient descriptor for an increasingly inconvenient future.

    A study conducted in 2020 by The New York Times and research firm Sentieo found that the phrase saw a 70,830 percent increase in usage in corporate presentations from the previous year (outpacing du jour expressions like “new normal” and “you’re on mute”). In an article published by MIT, titled “Surviving and thriving in unprecedented times,” Christa Babcock, a CEO and alum on the business school, advised entrepreneurs to embrace the difficulty in front of them: “Expect that things will not return to the way they were and be thrilled about it.”

    Only, for the rest of us, the constant, uncomfortable change was the problem.

    The phrase was gaining traction offline and on. “Only difference between millennials and gen z is how many ‘unprecedented times’ u live thru before climate change swallows ur house,” @bocxtop tweeted in February 2022 when X was still called Twitter. That same year, 19 students were gunned down at an elementary school in rural Texas and California was hit with record unemployment . In grocery stories across the country, food prices steadily climbed as a result of the war in Ukraine.

    Today, the phrase has magnified beyond actual meaning, a cheap emblem of our erratic cultural mood. It is uniformly used to describe just about every fresh hell that emerges, from the US election and the conflict in Gaza to the menacing threat of climate catastrophe. Living through “unprecedented times” is our new normal on social media.

    Congestion pricing in New York City? “More unprecedented times is all,” Jared of @TransitTalks said on TikTok. The same went for giant spiders, a canceled Tenacious D tour, relationship break-ups, and the unraveling social unrest in the UK. Unprecedented—all of it.

    Jason Parham

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  • ‘Assassin’s Creed Shadows’ and How ‘DEI’ Became Gamergate 2.0’s Rallying Cry

    ‘Assassin’s Creed Shadows’ and How ‘DEI’ Became Gamergate 2.0’s Rallying Cry

    On May 16, the gaming and entertainment news site Dexerto tweeted an image from the forthcoming game Assassin’s Creed Shadows featuring one of its protagonists, the Black samurai Yasuke, in a fighting pose. Across scores of replies, some voiced optimism, others fatigue with Assassin’s Creed’s now 14-game-long run, and a very vocal few expressed frustration and anger that a Black person was at the center of the narrative.

    “Gonna pass on the DEI games,” wrote one blue-check X user, referencing the acronym for diversity, equity, and inclusion. “Why Wokeism?” asked another. Comments full of racist and sexist language filled the thread.

    A more articulate undercurrent of these reactionaries, across many online forums, had a more specific set of complaints. Some alleged the race of the real Yasuke was never known, others that he wasn’t a samurai but a retainer, and another claimed he was never in combat.

    These were all fairly elaborate conclusions to draw about a guy from 1581 who’s been depicted as a samurai in Japanese media many times, including in the 2017 video game Nioh and Samurai Warriors 5 in 2021, as well as his own animated series on Netflix.

    They also may have been the last bit of armchair history we got on Yasuke if the conversation hadn’t been sustained by a set of accounts looking to build yet another front in the online culture war, fueling what some have been calling Gamergate 2.0. Whereas the Gamergate of 2014 focused on trying to drown out feminist voices, and the voices of women of color, in gaming culture, this second incarnation seems focused on pushing back against diversity in games of all kinds. Yasuke just stepped in their path.

    The resurgence of the Gamergate moniker came earlier this year in reaction to the work of Sweet Baby. Staff at the small consultancy received a wave of harassment this spring stemming from misinformation and conspiracy theories claiming the company was a BlackRock-backed outfit trying to force diversity into games. (It’s not affiliated with BlackRock and merely advises on characters and storylines.) As the controversy around Assassin’s Creed Shadows intensified, several posts mentioned Sweet Baby, even though company CEO Kim Belair says the firm didn’t work on the game.

    “I think it just comes with the post-Gamergate (late-Gamergate?) territory,” Belair wrote in an email to WIRED. “To a certain kind of person, largely trolls, we’re synonymous with their idea of ‘wokeness in games’ or a vague idea of ‘DEI,’ but it’s ultimately reflective of the overall misinformation that fuels this campaign.”

    Gamergate was not the first harassment campaign conceived in the bowels of 4chan and its affiliate websites, but it was perhaps their crowning achievement. The attacks against developers Zoë Quinn and Brianna Wu and media critic Anita Sarkeesian, among others, ranged from doxing to rape and death threats. Its tenets and tactics eventually proved valuable in bringing people into the burgeoning alt-right movement. Even Pizzagate and QAnon can, in some ways, be traced back to what was happening with gamers online in 2014.

    “Gamergate was a recruiting ground, a pipeline to leverage the loneliness, discontentment, and alienation of young men—often white young men—into alt-right politics, extremist misogyny, and outright white supremacy and Nazism,” Thirsty Suitors narrative lead Meghna Jayanth told WIRED.

    Laurence Russell

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  • Gamergate’s Legacy Lives on in Attacks Against Kamala Harris

    Gamergate’s Legacy Lives on in Attacks Against Kamala Harris

    More moderators, stricter policies, mass bans, mea culpa proselytizing in front of Congress from leaders like Mark Zuckerberg, and repeated promises to “do better.” They even pleaded with Congress: “Regulate us.”

    But in parallel, these companies, particularly Facebook, were spending tens of millions of dollars every year on lobbying efforts to ensure that any type of legislation that might be introduced was not the type of legislation that would impact their financial well-being.

    Ultimately, even the minor steps the companies did take to try and make their platforms safer were removed, or forgotten about, in what Benavidez calls the “Big Tech backslide.

    “Their values ultimately lie in making money, their bottom line is more important than protecting users or democracies,” Benavidez says. “This year, a major flashpoint for democracies worldwide, where billions of people will be voting, the platforms have washed their hands of the role they play in protecting [the elections].”

    Even before Harris became the presumptive Democratic nominee, right-wing voices were already poisoning the well, resharing baseless conspiracies about the vice president’s eligibility to run for president, framing her past relationships as something illicit, and attacking her race and gender.

    Harris is also a major advocate for abortion access, another hot button issue for the right who saw their wildest dreams come true when the Supreme Court overturned Roe v. Wade in 2022.

    “This year is one in which the question of what women can do and the agency women have over their bodies and in the public world, that question is thrown front and center,” Benavidez says. “So it makes sense that Gamergate tactics, being that first signal flare years ago around what women can and cannot do, should be back in the spotlight.”

    These attacks have become so normalized they are happening everywhere, all the time, and while we may hear about some of them, such as the so-called Gamergate 2.0 earlier this year, most of them will never come to wider attention, and the women targeted by these campaigns will be left on their own to deal with the fallout.

    “There’s a new Gamergate every week, and no one outside of gaming journalism is ever dealing with these things, because they don’t make any sense,” Broderick says. “They don’t really feel like they matter. So these problems just sort of compound over time, because there’s really no way for popular culture in America to talk about these things.”

    Beyond games, the news cycle moves so fast in 2024 that even if someone does pay attention to a coordinated online attack, 24 hours later they have likely moved on to something else. This is how an account like LibsofTikTok is able to direct hate toward the trans community and the doctors and hospitals helping them.

    Chaya Raichik, the person behind LibsofTikTok, is supported in her efforts by powerful figures within the GOP who are similarly pushing an anti-LGBTQ+ agenda, and by Musk, the owner of X, the platform where many of these hate attacks begin. Just last month, Musk dead-named his own daughter in an interview, claiming she was “killed” by the “woke mind virus.”

    David Gilbert

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  • Drew Afualo Will Never Stop Making Fun of Misogynist Men

    Drew Afualo Will Never Stop Making Fun of Misogynist Men

    Drew Afualo is never at a loss for words. On the topic of idiot men who get a rise out of shaming women online—nitpicking them over their weight, their dress, or their body count (when it comes to sexual partners)—she, in fact, won’t shut up.

    It is why her fans, and detractors, keep coming back. In the years since Afualo first started blasting men for their shitty, anti-feminist behavior on TikTok in 2020, she has become a household name among Gen Z thanks to her high-caliber, laser-focused, near Shakespearean tongue-lashings.

    As host of The Comment Section podcast on Spotify, Afualo is adamant about where and with whom she stands. Her platform, she says, is one men do not have a seat on. “As someone who makes a living by fumigating the internet of these human roaches, I always say, I have the most aggressive form of job security there is,” she writes in her new memoir-manifesto Loud: Accepting Nothing Less Than the Life You Deserve, out July 30, “because men will never stop being terrible, and I will never stop calling them out for it. I sleep soundly at night on a mattress that those bitches paid for.”

    The formula is working. Afualo is everywhere now—8 million followers on TikTok, 1 million on Instagram—and perhaps most proudly, living rent-free in the minds of Logan Paul-loving podcast bros who feel threatened by female empowerment. Over the phone from Los Angeles, we talked about the influence of family, how humor works, and why she’s not overly concerned about TikTok getting banned.

    JASON PARHAM: If it’s OK, let’s begin with the biggest news of the week. Vice President Kamala Harris announced her presidential run, and will be the likely Democratic nominee. How are you feeling about that?

    DREW AFUALO: Hopeful. I feel like any woman in a position of power is a win for women everywhere. It’s very exciting.

    I’ve heard a lot of Kamala can’t do it. She’s not ready. Why do you think it’s so hard for certain people to believe a woman can be president?

    Probably the same reason that, you know, the patriarchy has convinced most people that women can’t do anything without the help of a man. But if we were to trace all the world’s problems back to a source, it always comes from a man. I don’t know, you tell me, why do people think women are incapable when men have created all of the world’s problems?

    You engage similar topics in Loud. In one chapter, titled “It’s Okay to Be Mean,” you write, “Since the advent of social media, the internet has been a minefield for anyone who is not a cisgendered heterosexual white man.” I recently joked with a friend how I sometimes wonder if the first lie of social media was that everyone deserves a voice online. So many platforms have become a breeding ground for hate.

    The people that I stitch [on TikTok] are pretty indicative of “Well, maybe not.” For me, there is a beauty and a curse to the internet. It’s wonderful that so many people have found community and connections through the internet and been able to reach so many people, myself included.

    Jason Parham

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  • The Real Reason Will Smith Broke Twitch’s Biggest Streaming Record

    The Real Reason Will Smith Broke Twitch’s Biggest Streaming Record

    Every summer, the Spanish Twitch streamer Ibai Llanos hosts a livestreamed boxing tournament called La Velada del Año (The Evening of the Year). In just four years, it has gone from a relatively small event featuring matches between a few influencers from Spain to an enormous global phenomenon featuring over 20 combatants and a host of musical performers. A record-breaking 5.9 million Twitch users tuned in to see this year’s event, held July 13 at a packed 80,000-seat stadium in Madrid.

    The biggest name on the bill was Will Smith, who appeared as a headlining musical act and led the crowd in the Fresh Prince of Bel-Air TV show theme. The Oscar winner was the first English-speaking performer in the event’s history, but he wasn’t the most popular part of the evening. According to data from StreamsCharts, the most-viewed moment during the stream, which also set a record with 3.8 million simultaneous viewers, was a boxing match between two influencers, one from Spain and one from Chile.

    The event makes for a perfect cross-section of what internet popularity looks like in 2024. For a start, there’s the boxing matches. Mano-a-mano combat has been a promotional tactic for influencers for years. Examples appear across the spectrum, from controversial YouTuber turned MMA fighter Logan Paul all the way to tech billionaires Mark Zuckerberg and Elon Musk, who made serious preparations for a cage match last year before Zuckerberg called it off. In an era when cultural cachet is defined by parasocial stan armies, who live up to their name by getting into fierce, bitter rivalries with other fans, there’s an indelible power to seeing these famous figures literally trade blows.

    Of course, in reality, these influencers and internet personalities understand it’s not really a competition. Ibai regularly collaborates with other streamers from across the globe, combining their audiences and fan bases for more engagement and a higher profile. The same day as La Velada del Año, YouTuber MrBeast uploaded a video entitled “50 YouTubers Fight For $1,000,000.” The video is done in MrBeast’s usual frenetic style, but the format itself seems clearly inspired by Ibai Llanos’ tournament. Ibai himself is one of the 50 YouTubers who appears in the video, forestalling any accusations from fans of either streamer.

    The competition being conceived for Twitch broadcast also means it’s modeled after an esports tournament as much as a UFC fight. Ibai, who serves as the MC and commentator for the evening’s matches, first achieved success on Twitch as a Spanish-language League of Legends announcer. He has parlayed his streaming success into a media empire, including a televised talk show and cofounding the Kings League, a soccer league that optimizes the game for streaming by adding video-game-inspired rules like power-ups. Video games are already a huge industry, but they’re starting to become popular for marketers, suggesting events like La Velada del Año, which bring the culture of gaming into more traditional spaces, will only become more common on Twitch and off.

    Twitch itself is in an odd, paradoxical position. The streaming platform has seen an overall decline in user and revenue growth for the past few years and has never turned a profit since being acquired by Amazon in 2015. In February, the site completely withdrew from Korea, which had been one of its biggest foreign markets. At the same time, though, Twitch streamers are bigger than ever as the general audience for livestreams grows. Spain in particular has become an enormous market for Twitch streamers, since they can stream to a global Spanish-speaking audience while taking advantage of lucrative European marketing deals.

    Adam Bumas

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  • Elon Musk Couldn’t Beat Him. AI Just Might

    Elon Musk Couldn’t Beat Him. AI Just Might

    At times, the effects of it feel uncontainable.

    This is the third election cycle in the US—2016, 2020, 2024—where social media is going to have played a really significant role in the election. The US still hasn’t gotten to grips with the fact that our democracy is becoming more and more precarious. It’s becoming more polarized, it’s becoming more hateful, it’s becoming less capable of consensus. With the 2020 election we saw that people no longer even accept elections are real. It’s important that we start to put into place the transparency and the accountability that’s required for these platforms that control the information ecosystem that has such an enormous impact on our electoral cycles.

    Why do you think it’s been so difficult to regulate social media and the harm it can cause?

    Countries around the world are doing it. The UK legislated the Online Safety Act. The EU legislated the Digital Services Act. Canada has legislated through C-63, and I’m going to give evidence in Ottawa at some point on that. In the US, we have seen social media companies put up their most aggressive defenses that they put up anywhere in the world. They’re spending tens of millions of dollars on lobbying on the Hill, in supporting candidates, trying to stop the inevitable from happening.

    Something’s gotta work, no?

    Ironically, I think the thing that is most likely to eventually move lawmakers is parents, and parents in particular worrying about the impact of social media platforms on their kids’ mental health. And that’s the thing with social media, it affects everything. CCDH looks at the effects of social media, disregulation on our ability to deal with the climate crisis, on sexual and reproductive rights, on public health and vaccines during the pandemic, on identity-based hate and kids. It’s the kids’ thing—really, it just is such an unimpeachable case for change.

    My wife and I are having our first soon. I understand what you would do to defend your kids from being harmed. I think that when you’ve got platforms that are hurting our kids at such a scale, it is inevitable that change will come.

    The optimist in me hopes you are right. The next generation should inherit a better world, but so much is working against that.

    You know, one of the things that really scares me, we did some polling last year that showed that young people for the first time ever, 14- to 17-year-olds—the first generation who were raised on algorithmically ordered short-form video platforms—they are the most conspiracist generation and age cohort of any in America.

    Oh wow.

    Old people are slightly more likely to believe conspiracy theories. But it goes down as you get younger and then 14- to 17-year-olds, bam, the highest of all of them. We did that by testing across nine conspiracy theories: transphobic conspiracy theories, climate-denying conspiracy theories, racist conspiracy theories, antisemitic conspiracy theories, conspiracy theories about the deep state. And on every single one, young people were more likely to believe it. And it’s because we’ve created for them an information ecosystem that’s fundamentally chaotic.

    And is only getting more chaotic.

    Look, the way that tyrants retain power is not just by lying to people, it’s by making them unable to tell what truth is. And it creates apathy. Apathy is the tool of the tyrant. It was true with the Soviet Union. It was true with Afghanistan. There’s no secret to the fact that CCDH is senior leadership of people who come from places where we’ve seen this kind of destruction of the information ecosystem lead to tyrannical government. So, yeah, there is this awareness that things could get real bad real fast. And you’re right in saying that we worry about our kids, and we want to make our world better for them.

    Jason Parham

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  • Everyone Is Trying to Make This TikTok Go Viral—and It Never Will

    Everyone Is Trying to Make This TikTok Go Viral—and It Never Will

    It would be easy to put this down to stan armies—established fans of these creators, clashing over the video in a kind of proxy war to glorify their community—but it’s not along such rigid lines. “Whenever there’s a way to quantify popularity online, there’s a group mentality that emerges,” says Kat Tenbarge, a reporter for NBC News who covers internet culture. “It’s something to be a part of.”

    Indeed, this isn’t the first time a relatively innocuous post has become the most popular on a platform. In January 2019, an Instagram post with a stock photo of an egg received over 45 million likes in less than two weeks. It shattered Kylie Jenner’s record for the most-liked post in Instagram’s history thanks to a campaign from thousands of users sharing hashtags like #EggGang and #EggSoldiers.

    WIRED deemed the egg “the last of a dying breed,” predicting that popularity campaigns from ordinary users, rather than professional influencers or brands, would get less and less traction “as social networks mature and develop more stringent business models.” Just two months later, in a milestone for corporate social media, the Indian music conglomerate T-Series definitively beat the streamer PewDiePie to become YouTube’s most-subscribed channel, despite a campaign from PewDiePie’s fans involving everything from hacking printers to marching in the streets.

    Simply put, since viral popularity can be directly translated into money, there’s much less opportunity for it to happen for free. “Mainstream social media platforms have been solidified as global community spaces with outsized cultural impact,” says Tenbarge. “There’s clear value in dominating the metrics on these platforms, which creates an incentive for people to invest their time and care in such accomplishments, even if they don’t personally benefit from it.” Halton has an actual financial investment in her engagement numbers, but the campaign to boost them has already given the more casual users who started it what they wanted: a sense of community.

    Beyond that, there’s the issue of how ephemeral TikTok can be. The algorithm that powers the app’s For You page is so good at finding engaging content that China has passed laws against selling it to potential US buyers, who are seeking to purchase the app after lawmakers passed legislation in April forcing its parent company ByteDance to divest from owning it or face a ban in America. The flip side of that algorithm’s power and intensity is that it blocks the more direct and organic forms of community that were the initial appeal of social networks to begin with.

    With vanishingly few exceptions, every product, community, or figure with popularity credited to TikTok needs to establish a presence outside of the app to stick around and stay popular, or the relentless algorithm will drive it off people’s feeds. Stanley Quencher water bottles had huge success last year credited to the app, but this was years after they first took off thanks to a prominent review blog. Abigail Barlow, whose Bridgerton fan musical written on TikTok won a Grammy in 2022, had already released a successful single in 2020.

    Poarch presumably understood this, quickly parlaying her proverbial 15 minutes of TikTok fame into a line of merchandise, a music career, and more. Halton is already following suit with a reality show appearance. Despite this, Halton’s video will never be able to catch up to Poarch’s without some major element outside TikTok, because it’s just that: a video. Unlike its creator, it can’t transcend the app.

    For Halton’s video to break the record, there would need to be some massive, directed interest beyond the shallow sensory appeal that got the video so popular in the first place, which is next to impossible given how much emphasis TikTok places on algorithmic feeds over searching for specific content. The commenters on Halton’s video, who dutifully boost the clip and keep track of the numbers every day, are swimming against the currents that carry every single TikTok to their feeds.

    With TikTok reportedly developing a new version of its algorithm to skirt the ban in the US, it’s worth keeping track of how that algorithm shapes what users see, especially how hard it is to work against. The thousands of comments keeping track of the most-liked videos on the platform show that people don’t always just want what the algorithm gives them, and the fact that they come back every day shows they want something that stays in their lives longer than the next swipe up.

    Adam Bumas

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  • His Galaxy Wolf Art Kept Getting Ripped Off. So He Sued—and Bought a Home

    His Galaxy Wolf Art Kept Getting Ripped Off. So He Sued—and Bought a Home

    “With every one shop that I got to take [items] down, another 10 popped up out of nowhere,” Jödicke says. “I almost wanted to give up on my art, because I felt so devastated that people would just take my work and profit out of it, and I didn’t see anything from it.”

    The widespread popularity of Where Light and Dark Meet only magnified this feeling, making it unclear where Jödicke should start. “Where infringing use is widespread, it may not be feasible to pursue every single infringement,” Eziefula says. “Especially if overseas from the artist’s home jurisdiction, nor worthwhile, where the damage caused is minimal.”

    Too often, however, the damage is significant—both in diverting income from artists and in diluting their brand, making them a more difficult proposition for potential clients. People often feel entitled to artwork they find online, and artists experience hostility when they try to assert their ownership of it. Yet, that entitlement is exactly what broke the dam for Jödicke and paved the way for him to fight back.

    In 2020, Jödicke caught a lucky break of sorts when Aaron Carter—pop singer and brother of the Backstreet Boys’ Nick—used one of the artist’s other pieces, titled Brotherhood, to promote his clothing line on Twitter (now X). The image, which shares the same vibe as Jödicke’s galaxy wolf, depicts two lions butting heads, one white and one black, as their manes curl in the shape of a heart. A frustrated Jödicke called Carter out on Twitter. Demands for credit and or removal are often met with stony silence. On this occasion Jödicke received a response:

    “you should’ve taken it as a compliment dick a fan of MINE sent this to me,” Carter wrote alongside a repost of Jödicke’s tweet, according to an August 2020 court filing. “oh here they go again, the answer is No this image has been made public and im [sic] using it to promote my clothing line… guess I’ll see you in small claims court FUCKERY.”

    For the first time, thanks to Carter’s retort, Jödicke had options. The public nature of this exchange had IP lawyers lining up to represent him, and, after years of watching others make money from his art, Jödicke called Carter on his threat.

    After a year of court proceedings in US District Court in central California, Jödicke says he got a settlement in the low five figures for violation of his copyright. It was a revelatory moment. “I had never really had any kind of justice,” Jödicke says. “That really, really motivated me to seek further legal advice and see if I could do something against all the art theft.” (Carter died in 2022.)

    That was a singular infringement with an immediately identifiable infringer. Countering the widespread sale of his work on various pieces of merchandise would be a far more challenging task. His win against Carter, however, brought him to the attention of UK-based Edwin James IP. The firm approached Jödicke to offer its resources, specifically its specialism in stopping counterfeiters from domains where copyright law is more lax, like China.

    Geoffrey Bunting

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  • The Anderson Cooper of Black Twitter Believes Journalism Can Survive Influencers

    The Anderson Cooper of Black Twitter Believes Journalism Can Survive Influencers

    Is that how you see yourself—as a newsfluencer?

    I’m a journalist first, but there are people who fall under that category. Influencers aren’t a bad thing, necessarily. I know there’s a lot of debate around it. But there are people who have leaned into the news as part of their brand and what they do. People thought that’s what I was. I actually found out that a lot of people didn’t even know that I was a journalist until relatively recently. They thought I was, and this is a quote, “Some dude sharing news stories online.”

    For the longest time I thought you were a bot.

    A lot of people thought I was a bot. Or that I was just scheduling posts. And now I feel I can’t change my profile picture. People might think I got hacked.

    Is the attention economy so fucked now beyond the point of saving that it’s impossible to break through the chatter in a meaningful way?

    When you think about it, we’re competing with Instagram aggregators, blogs, social media pages focused solely on news, podcasts—it’s all over the place. I don’t necessarily think that’s a bad thing. If it wasn’t for social media, I would not have been able to take the path I did. We are in a crisis of attention, but what I find more frightening is the rise of misinformation and disinformation. That’s more chilling to me than the amount of people who want to do the best work that they can, whether that’s on YouTube or TikTok. There’s more than enough happening out there for us all to get a piece or whatever.

    True.

    I’m more concerned about the bad actors who are going after people who may not be reading the link. They might just be reading the headline, right? They might just be looking at the post with the black font that says, hey, this is what’s happening on Instagram, and that’s it.

    Because the state of news media has gotten so splintered, is this why you do what you do?

    I want to be able to be a resource for people online as far as getting them the information that they need. I mean, I love when people come up to me and they’re like, “Hey, you know, I found out about this through you.” I love hearing that because I do think there’s so much out there that there’s an equal amount of things that are being missed or underreported or that maybe people aren’t paying attention to.

    The reach you have is pretty incredible.

    What I like most about whenever I’m sharing a story, I know that it’s not just readers who are at work who, you know, just opened up their phone and were like, “Oh wow, I found out about this story.” It’s also assignment editors who follow me. People at The New York Times, at CNN—

    —at BuzzFeed. I bet they regret rejecting you now [laughs].

    It’s funny because people will tell me, “Hey, we shared your tweet in our newsroom Slack channel. That’s how we found out about the story, and now we’re going to write about it.” So you don’t have to have millions of followers, but I have a reach that’s a little different. And that’s important to me.

    It should be.

    That’s not to say I always get everything right. I always tell people, journalists get things wrong. We issue corrections. We try our best to do what we can. But what’s most important to me is making sure that the stories that I think people need to know about or need to read about, I try to get them out there—and apparently my Twitter page is the best way to do it.

    Jason Parham

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  • The Uncanny Rise of the World’s First AI Beauty Pageant

    The Uncanny Rise of the World’s First AI Beauty Pageant

    What makes an AI pageant different, Friedman asserts, is that Fanvue’s contestants are products of their creators. “They’re drawing on all these stereotypes that we have about what a ‘beautiful woman’ is,” she says, “and people who tend to use AI might have a different idea of what an attractive woman might be. She might have pink hair, but she’ll still be within the realm of traditional beauty, with a thin body or not a lot of moles on her face.”

    The creators of AI model Aitana Lopez (above) are serving as judges for the World AI Creator Awards beauty pageant.

    Courtesy of Idea Farm

    For the record, Fanvue’s contest, like human beauty pageants, will anoint a winner based on more than appearances. Unlike some of those contests, though, the World AI Creator Awards are looking for things like “social media clout” and how well their creators used prompts to create their contestants. Winners are set to be announced later this month.

    Berat Gungor, one of Seren Ay’s creators, says that “in AI, you actually can’t create an ugly face,” though he’s careful to note that no human faces are ever truly ugly. While it’s easy enough for image-generating newbies to end up with blurred features and weird hands, Gungor says his experienced team was able to create an initial pool of 300 beautiful women in Stable Diffusion, ultimately picking Seren Ay’s face from the crowd because “she looked like a real person.”

    Fanvue’s pool of thin, beautiful, mostly light-skinned finalists reflects what The Washington Post found when it tasked Dall-E, Midjourney, and Stable Diffusion with creating beautiful women. Stating that the programs tended to “steer users toward a startlingly narrow vision of attractiveness,” the Post reported last week that in the thousands of images it generated, almost all were thin, light- to medium-skinned, and young. (Just 2 percent of the “beautiful woman” images showed visible signs of aging.)

    In some ways, those images are reflective of the pool they pull from. “How people are represented in the media, in art, in the entertainment industry—the dynamics there kind of bleed into AI,” OpenAI’s head of trustworthy AI, Sandhini Agarwal, told the Post.

    But if mass-market images of thin, beautiful women yield AI-generated images of thin, beautiful women, who then turn into thin, beautiful AI-generated influencers, creating pictures that just feed back into the collective media stream, isn’t the snake just going to end up eating its own tail? And what does that mean for those of us who aren’t traditionally beautiful, whose bust-waist-hip proportions can’t live up to Barbie-like online standards or who just can’t afford the upkeep on a head of perfectly coiffed hair?

    Marah Eakin

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  • Why the Voices of Black Twitter Were Worth Saving

    Why the Voices of Black Twitter Were Worth Saving

    The fear was reasonable. It was a fear I also carried. Uncertainty about whether or not I should tell the story now, and whether or not it was right to air what many consider family secrets, crept into the back of my mind. But I knew this story deserved to be told.

    When I set out to chronicle Black Twitter in April 2021—charting its rise, power, and what I felt was its unquestionable cultural impact—I was, admittedly, attempting to define a community that defies easy definition. In truth, Black Twitter is more than a community. It is an ever-growing, always-evolving force that has influenced nearly every aspect of modern life.

    Black Twitter is the birthplace of all your favorite memes, hashtags, and trends. It is more than that, too: Black Twitter doesn’t simply make culture; it shapes society. From the history-setting presidency of Barack Obama to hashtags like #OscarsSoWhite, #BlackGirlMagic, and #BlackLivesMatter, Black Twitter is both the extraordinary and the everyday. It is, as I wrote in 2021, all the things: news and analysis, call and response, judge and jury—a comedy showcase, therapy session, and family cookout all in one.

    Even as other platforms like TikTok have attempted to capture what made Twitter what it is—in my estimation, the most significant social platform of the 2010s—Black Twitter endures as the most dynamic subset not only of Twitter, now X, but also of the wider social internet (as last week proved, there was no better place to be than Black Twitter as the Drake and Kendrick Lamar beef played out).

    What’s more, so much of Black life in public view is misrepresented and appropriated. It’s twisted into fantasy or fetish, or worse—left for dead. The technologies available to us have magnified our connection just as they have quickened our erasure. Our stories are routinely stolen from us, if not deleted outright. Out of our hands, our history is flattened and repurposed into dangerous falsehoods by lawmakers who peddle misinformation for personal gain. The story of Black Twitter was one account I didn’t want to lose to the whitewashing of history.

    I also knew that the reality of the social internet is one of impermanence. Once-crucial digital gathering spots from the 1990s and 2000s—NetNoir, Black Voices, MelaNet, Black Planet, and others—had come and gone largely without proper contextualizing. So it was important that I give Black Twitter its flowers while it was still around, which now seems even more urgent under the ownership of Elon Musk. All that we built, and continue to build on the platform, could be gone tomorrow.

    After WIRED published the people’s history of Black Twitter, I began working on a documentary based on the reporting in the oral history. The resulting three-part series, out today, expands on the original story, and also captures the very real fears surrounding what could lie in Black Twitter’s future.

    So why this story, and why now? It’s simple, really. I didn’t want Black Twitter to be another footnote.

    Jason Parham

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