Connect with us

Entertainment

Column: Elon Musk is not social media’s biggest problem

Published

on

In the event you needed to manufacture a hot-take contest subject, Elon Musk providing to purchase Twitter would just do wonderful. Twitter thrives on disagreement, and few individuals are as divisive as Musk.

In that method, he mirrors Twitter itself — even individuals who use it religiously spend half their time complaining about how terrible it’s. (And Twitter is reportedly preventing Musk’s proposed takeover with a method recognized, fittingly sufficient, as a “poison capsule.”)

In one other method, the dialog is extra vital symbolically than particularly. Twitter is to social media what Musk is to capitalism — only one small piece of a a lot greater subject.

Truly, that’s not fairly truthful to Musk. He’s, in reality, the richest particular person on the planet, whereas Twitter is without doubt one of the least-used social media platforms. Solely 22% of People have Twitter accounts (fewer than LinkedIn!), and most of these customers don’t tweet fairly often.

However, like Musk, Twitter will get a disproportionate share of press as a result of it’s constructed for provocation. Subtlety has no residence on Twitter, the place every part is its personal headline. Not surprisingly, it has develop into the popular platform and supply for information media (together with this newspaper). A lot in order that that New York Instances govt editor Dean Baquet despatched a not too long ago leaked memo to employees advising them to spend much less time on the positioning. “We are able to rely an excessive amount of on Twitter as a reporting or suggestions instrument — which is very dangerous to our journalism when our feeds develop into echo chambers.”

Advertisement

No point out was product of Instagram, TikTok and even Fb.

Given Musk’s historical past on Twitter, which he has used to lie about COVID-19, assault critics and get in bother with the Securities and Change Fee , the issues about him working the present appear justified. His vow to loosen constraints on the platform runs opposite to rising alarm in regards to the position Twitter has performed in, amongst different issues, social media manipulation throughout the 2016 and 2020 presidential elections, the unfold of extremist views and hate speech and the Jan. 6 assault on the Capitol.

But it surely isn’t simply Twitter, and even primarily Twitter, that’s the priority. With or with out Musk, social media has created a grey zone between private and non-private, between political and private, to develop into probably the most pervasive and least-monitored pressure in American tradition.

That raises all method of questions on privateness, free speech, crime and penalties — none of which anybody, together with the folks making billions off the varied social media websites, appear keen or in a position to reply.

Former Fb worker and whistleblower Frances Haugen testifies throughout a Senate committee in October 2021.

Advertisement

(Drew Angerer / Pool through Related Press)

Oh, there’s been loads of controversy, criticism, whistleblowing and Congressional hearings. Sure hate teams have been deplatformed, in addition to some customers, together with former President Trump, who unfold falsehoods about COVID-19. However the bigger subject of find out how to stop folks from utilizing a largely unregulated media trade to unfold damaging messages stays just about within the hand-wringing stage.

The nice social media does, that we’re all keen to acknowledge: It’s a approach to join, to share observations and data shortly and broadly, to offer voice to these too typically excluded from different types of media. If Darnella Frazier had not posted her horrifying video of George Floyd’s homicide by Derek Chauvin to Fb, Chauvin would nonetheless be on the Minneapolis police pressure as a substitute of in jail.

The unhealthy? Effectively, who actually desires to consider the Mueller report, which proved that Russian brokers used Fb and Twitter to disseminate misinformation throughout the 2016 presidential marketing campaign, or the deaths attributable to COVID-19 lies too typically unfold on Fb, after they’re sharing a photograph of their actually lovable new pet?

Advertisement

Fb has related household, pals and lovers whereas additionally being being a well-liked gathering place for all method of terrorists, white supremacists, COVID-19 deniers and insurrectionists. Instagram, Snapchat and TikTok have boosted companies, made careers and stored guests entertained and knowledgeable, whereas additionally inflicting anxiousness and despair amongst a lot of their customers, significantly younger ladies.

On each web site, for each second of unity, there appear to be one other two cases of maximum trolling. On each web site, somebody forgets that though they could be tapping from the privateness of their automobile or toilet, what they put up goes into the very public realm with alarming, typically career-ending penalties.

So whereas I don’t suppose Musk could be a sensible choice for Twitter, at this level he isn’t social media’s largest drawback.

The most important drawback is that everyone knows all of the downsides of social media and all of us preserve utilizing it anyway. Positive, we complain about each facet of it — the meals and trip porn, the vicious assaults, the manipulation by Russian bots. We nod ruefully when medical doctors inform us our insomnia/migraines/racing coronary heart may enhance if we cease doomscrolling no less than an hour earlier than bedtime. We tear up after we hear of one more teenager pushed to despair, or worse, by all these excellent lives and/or bullies she sees on Insta.

After which we choose up our telephones for only one fast peek, which lasts an hour.

Advertisement

You possibly can name it an excellent enterprise mannequin or you may name it an dependancy, however social media has made itself so indispensable to tens of millions of People that they’re keen to shrug away issues that might be seen as outrageous in some other trade.

The second-biggest drawback is that we’re nonetheless calling it “social” media, prefer it’s a cocktail get together, or a college dance or a church gathering throughout strawberry season. (Pricey St. John’s Lutheran Church in Westminster, Md.: I nonetheless miss these sundaes.)

There’s nothing “social” a few multibillion-dollar trade. Fb made $9.2 billion in earnings throughout the first three months of 2021 (making Mark Zuckerberg, like Musk, a pandemic profiteer). YouTube makes about $15 billion a 12 months for guardian firm Google and in 2021, TikTok’s complete income grew 70% to $58 billion.

Twitter headquarters in San Francisco. The company wields influence beyond its numbers, with or without Elon Musk.

Twitter headquarters in San Francisco. The corporate wields affect past its numbers, with or with out Elon Musk.

(Noah Berger / Related Press)

Advertisement

Twitter has been dropping cash in recent times, however that’s definitely not the marketing strategy; no social media platform is a philanthropic enterprise ( and Musk definitely understands this). They’re free as a result of they’re pushed by advertisers competing in your eyeballs, your private data, your shopping for historical past. And, more and more, your potential to assist make no matter web site you’re on a nexus of star-making, information and/or controversy. As a result of that’s what makes extra folks enroll.

I’m not saying that’s or unhealthy factor. Information media like The Instances had been as soon as worthwhile enterprises funded largely by advertisers, as are broadcast tv networks and one million different issues. I’m simply saying it’s vital to keep in mind that social media will not be a digital commune; folks don’t develop into tech tycoons by merely providing you an area to talk together with your previous highschool pals or get an agent by posting a music video.

They develop into tech tycoons by making a media platform on which unpaid customers do the work, for hours daily, and so they promote adverts towards it.

There are, after all, content material suppliers who generate income from social media, artists who’ve been found by a viral video and an entire new occupation of social media managers. However for probably the most half, it’s an trade pushed by unpaid freelancers.

Clearly, as a member of legacy media, I’ve my very own biases. There are solely so many promoting {dollars} and most of them are not going to legacy media. I’m lucky to have a job that pays me to write down issues. And for a journalist, social media has been in some ways an unimaginable boon. How else are you able to get so many individuals speaking on the file about so many issues — and extra frankly than they may to a reporter?

Advertisement

Then once more, would folks say the identical issues in the event that they had been requested about them by a reporter, or certainly one other precise human? The bizarre public-private area of social media requires abbreviated expressions of difficult feelings and complicated occasions. Individuals come to it with wildly completely different intentions and ranging levels of sincerity (and sobriety).

Sending ideas, opinions and even info out into the ether the place they are going to be met with all method of response from strangers all the time makes the sender and the responder weak. With none content material oversight, it’s what it’s — world-changing and superb or predatory, harmful and typically prison.

This might usually be the a part of the column through which I provide concrete options, however I’m not sure I’ve any. Makes an attempt to categorize social media empires as publishers reasonably than platforms, through which they might have obligation for what they publish, have up to now been unsuccessful, partially, as a result of it will irrevocably change the character of the beast.

Usually, I resist placing the answer to massive social points solely on the shoulders of already burdened particular person, however this one could also be on us.

This isn’t a name to “get off social media” — I will likely be tweeting and posting this column and, indubitably, footage of my lovable pet within the close to future. However let’s be conscious of the trade we’re supporting, conscious of what they’re doing, or permitting to occur, within the locations we could not see. Many people already keep away from sure corporations due to the place they make investments or how they deal with their employees or statements their chief executives have made. And in contrast to each different trade, this new breed of media has no product save the one we collectively create.

Advertisement

So make them conscious of what the time period “social media” can imply. Advertisers and their cash go the place the individuals are, and that selection is actually in your arms.

Movie Reviews

Movie Review: 'The Bikeriders' is photography in motion

Published

on

Movie Review: 'The Bikeriders' is photography in motion

The Bikeriders starts in the middle of its own story. A man in a “Chicago Vandals” jacket, head hanging over the bar counter.

“You can’t be wearing no colors in this neighborhood,” someone threatens, to which he replies: “You’d have to kill me to get this jacket off of me.”

The man, Benny, approaches most things in his life with this same kind of fervor. His wife, Kathy, describes Benny camping out in her front yard until her boyfriend at the time packed up his car and left.

It’s through Kathy’s eyes that we come to know the Vandals: The leader, Johnny; his right hand, Brucie; and a menagerie of other club members — Cockroach, Zipco, Cal, Funny Sonny, Corky and Wahoo, to name a few. Kathy, with varying levels of exasperation, takes us through the club’s rise and fall over her interviews with Danny, the photojournalist meant to represent the author of “The Bikeriders,” the book on which the film is based.

Johnny’s vision for the club starts simply enough — just guys talking about bikes. But, as The Vandals grow, he realizes what he’s created might have become impossible to control.

Advertisement

The first, most obvious thing to say about “The Bikeriders” is that it’s gorgeous.

The beauty and effectiveness of Danny Lyon’s photography translates perfectly to film. Although an article by the Smithsonian reports 70% of the film’s dialogue is taken from Lyon’s interviews, you could almost watch this movie with the sound off.

Color, light and framing are used so beautifully here it’s hard not to spend the whole review geeking out. Stoplights, bars and midwestern houses and parking lots become art pieces, dioramas of the tumultuous life of a “bikerider.”

Beyond the surface, though, I’m not sure how to feel about this movie.

When Kathy says Johnny got the idea for the club while watching TV, we cut to him staring, enraptured, as 1953’s “The Wild One” plays in his living room. “Hey Johnny, what are you rebelling against?” The girl in the movie asks. Marlon Brando replies, “Whaddaya got?”

Advertisement

This listlessness, this sense that Johnny doesn’t have any purpose in mind, that the club doesn’t have much of a point, permeates the film. For me, it extended to the movie itself: At the beginning I thought life in a motorcycle gang would be exciting but dangerous, and by the end I thought the exact same thing.

Maybe it’s Kathy’s perspective leaking through the narration, but the deaths in this movie are, as a rule, abrupt and stupid. Once the shock wore off, I found myself wondering, “What was that all for?”

For all the glamor and power being a bikerider supposedly grants, they don’t die for great causes or in blazes of glory. The end is a car in reverse, an empty parking lot.

“The Bikeriders” is gorgeous and exciting, but doesn’t appear to say very much. Maybe that’s exactly what it’s saying.

Other stories by Caroline

Advertisement

Caroline Julstrom, intern, may be reached at 218-855-5851 or cjulstrom@brainerddispatch.com.

Advertisement

Caroline Julstrom finished her second year at the University of Minnesota in May 2024, and started working as a summer intern for the Brainerd Dispatch in June.

Continue Reading

Entertainment

'Despicable Me 4': Mega Minions bring mega bucks to holiday box office

Published

on

'Despicable Me 4': Mega Minions bring mega bucks to holiday box office

Audiences are going bananas for Universal Pictures’ and Illumination’s “Despicable Me 4.”

The latest installment in the popular family film franchise opened to $27 million Wednesday at the domestic box office, according to estimates from a studio source and measurement firm Comscore. That number is expected to rise to roughly $120 million by the end of the Fourth of July weekend.

Other titles vying for moviegoers’ business this holiday stretch are Disney and Pixar’s “Inside Out 2,” which grossed $7.3 million on Wednesday for a North American cumulative of $496.6 million; Paramount Pictures’ “A Quiet Place: Day One,” which scared up $4.4 million on Wednesday for a North American cumulative of $68.6 million; Sony Pictures’ “Bad Boys: Ride or Die,” which earned $1.2 million on Wednesday for a North American cumulative of $169.1 million; and Warner Bros.’ “Horizon: An American Saga Chapter 1,” which made $1.1 million on Wednesday for a North American cumulative of $14.8 million.

The promising start for “Despicable Me 4” is good news for exhibitors as the 2024 box office appears to be turning a corner thanks to some much-needed breakout hits such as “Bad Boys: Ride or Die” and “Inside Out 2.”

From directing team Chris Renaud and Patrick Delage, “Despicable Me 4” follows the not-so-nefarious Gru (voiced by Steve Carell), his resourceful daughters and his wacky minions on another daring mission to escape from a new nemesis. Rounding out the main voice cast are Kristen Wiig, Miranda Cosgrove, Dana Gaier, Madison Polan, Will Ferrell and Sofía Vergara.

Advertisement

The animated feature received a lackluster 55% rating on review aggregation site Rotten Tomatoes, but pulled an A grade from audiences polled by CinemaScore — proving that fans still can’t get enough of Carell’s curmudgeonly antihero and his babbling yellow entourage.

Film critic Gary Goldstein was not so generous in his review for the Los Angeles Times, writing that “this latest installment of Illumination’s mega-grossing animated franchise jams in a grab-bag of physical and visual gags and anything-goes action, plus a barrage of narrative dead ends, subplots and characters, as it strains to fill its 90 or so minutes of eye-popping, brain-draining mayhem.”

“Despite a few chuckles, some capable voice work and plenty of splashy color,” he adds, “it proves a largely empty and exhausting ride.”

So what keeps audiences coming back to this critically soured saga?

The Times’ Samantha Masunaga has reported that a perfect storm of organic social media phenomena (calling all #Gentleminions), Facebook mom memes and multigenerational nostalgia has kept the franchise relevant and lucrative over the past 14 years. “Despicable Me” debuted at $56.4 million domestically in 2010, “Despicable Me 2” launched at $83.5 million in 2013 and “Despicable Me 3” opened to $72.4 million in 2017, according to Box Office Mojo.

Advertisement

“I’ve been 25 to 28 years in the business. I can’t remember something that created that much excitement for the audiences,” Francisco Schlotterbeck, chief executive of theater chain Maya Cinemas, told The Times.

“The other thing I can compare it to is ‘Toy Story.’”

Coming to theaters Friday is the highly anticipated A24 horror flick “MaXXXine,” followed by the wide releases of Goldove Entertainment’s “Lumina,” Neon’s “Longlegs” and Columbia Pictures’ “Fly Me to the Moon” next weekend.

Advertisement
Continue Reading

Movie Reviews

Movie review: ‘A Quiet Place: Day One’

Published

on

Movie review: ‘A Quiet Place: Day One’
A Quiet Place: Day One. Valley News/Courtesy photo

Bob Garver
Special to Valley News
“A Quiet Place: Day One” made a grave miscalculation with its advertising. Scenes were filmed with the intention of putting them in the trailers, but not the movie. This way, when people saw the movie, they wouldn’t be able to properly anticipate the surprises and story progression. To that end, the advertising succeeded, I was indeed thrown off while watching the movie. But here’s where they didn’t succeed: the scenes shot just for the trailers were terrible, with clumsy dialogue and careless pacing. I was so mad at Hollywood for continuing this series without the creative vision of director John Krasinski, especially when the movie looked like garbage without his input. I only saw this movie out of obligation for the column, and I wouldn’t

Continue Reading
Advertisement

Trending