Hollywood may think young people care only about social media, but they actually watch more movies and shows than older generations think — and they’d watch more if they felt the content was relatable, according to a new UCLA study.

More than half of the young people surveyed, or 57%, said they watch more television and films than older generations think they do, though they watch that content differently than their elders. Nearly half of respondents said they mostly watch TV and movies on personal devices, such as tablets, phones or laptops.

And about 78% said they “at least sometimes” watch movies and shows via YouTube, TikTok or other social platforms, according to the annual Teens and Screens report from the Center for Scholars and Storytellers in UCLA’s department of psychology. (The report surveyed 1,500 people ages 10 to 24 located across the U.S.)

Unlike last year, when young people preferred fantasy over other genres, they now want to see stories that reflect lives like theirs and are more relatable, as opposed to more magical content or aspirational narratives about rich or famous people, the report said.

More than half of those surveyed said they want to see more stories where friendship is the central relationship — and especially mixed-gender friendships, rather than those relationships always becoming romantic.

“From a developmental perspective, from a neuroscience perspective, they’re really focused on learning how to be a friend,” said Yalda T. Uhls, senior author of the study and founder and chief executive of the UCLA Center for Scholars and Storytellers. “They want to have an accurate reflection of their reality.”

That sentiment is reflected in the types of movies and shows that the young respondents said they watched. Netflix’s ensemble teen hit “Stranger Things” topped the list, followed by the Jenna Ortega-led “Wednesday” and the Nickelodeon animated show “SpongeBob SquarePants.”

Shows that center romance, such as “The Vampire Diaries” and “The Summer I Turned Pretty” are lower on the list, according to the report.

Young people are also tired of tropes, including love triangles, toxic relationships that become romantic and relationships based mostly on physical attraction.

These findings point to the types of stories that would increasingly bring young people out to theaters or to their screens, Uhls said.

“There isn’t enough out there that really resonates for them,” she said. “When there is, like ‘Wicked,’ which is about friendships, and ‘Barbie,’ which is about friendships, they go and see it.”

Luca Guadagnino’s campus drama, After the Hunt, starts with a clue as to where its heart truly lies. The film’s opening credits uses Windsor typeface, aka the Woody Allen font—a sly homage to the disgraced auteur.

But the film itself seems a bit more ambivalent than those credits would suggest. On the one hand, it’s clear that Guadagnino, along with screenwriter Nora Garrett, believes that today’s college students are hopelessly coddled, ever searching for safe spaces, or a “warm bath” as Julia Robert’s Alma, a philosophy professor at Yale, derisively puts it. The general sentiment of Alma and many of her colleagues is, toughen up. Be more like we were when we were young—handling life’s indignities and cruelties with a stiff upper lip (and a stiff drink, if necessary).

But the film also seems to recognize that this younger generation might be onto something. Why should they put up with abusive adults? Why shouldn’t they demand accountability for bad behavior? And if you ignore or suppress a painful incident it just might haunt you for life.

The painful incident in question is this: After a graduate student, Maggie (Ayo Edebiri), attends a party at Alma’s apartment—the professors like to have a handful of grad students in attendance as a kind of worshipful audience—she gets a ride home with the garrulous Hank (Andrew Garfield), also a philosophy professor. They are both a bit drunk as they stumble from the party, giggling companionably.

The next day, Maggie tells Alma that Hank went up to her apartment and assaulted her.

This is complicated in a few ways: Alma has a very close relationship with Hank—one might suspect it was romantic were they not flaunting it in front of Alma’s husband, Frederik (Michael Stuhlbarg) at the party. They wouldn’t be that obvious if they were actually lovers, would they?

Also, Maggie, who is a lesbian, is hopelessly devoted to Alma—she even dresses like her. Frederik teases Alma for how much she loves to bask in Maggie’s adoration. And the relationship between them has become a bit parasocial, even obsessive, on Maggie’s part. (For the record, I love Edebiri in The Bear, but I do feel she’s a bit miscast here. Maggie is restrained, serious, so Edebiri’s wonderfully off-kilter charm is not put to use.)

Alma would prefer not to get involved in the incident, but she doesn’t really have that option. Maggie is her student, Hank is her friend, and the alleged incident took place after her party.

After the Hunt is the kind of film that reminds one how difficult is to pull off this kind of “he said, she said” mystery. We’re not supposed to know if Maggie is lying—she has a few reasons to dislike Hank—until the very end. And Alma’s behavior is also elliptical. She has the occasional crippling stomach pain that, for reasons unknown, she doesn’t get treated and she keeps a mysterious photo of a man and a news clipping in an envelope taped under her bathroom sink.

But all of this crypticness ultimately hurts the film. We feel like we are watching these characters through frosted glass—it’s hard to get to know or care about any of them when their motivations are so opaque. This is even true of Stuhlbarg’s Frederik, who has a habit of playing extremely loud music to get on Alma’s nerves (shades of Anatomy of a Fall, a far better film about a domestic mystery) but who also seems to be devoted to his wife.

Flaws and all, After the Hunt is sort of my jam. I love Guadagnino and his sensual, well-appointed films for grown-ups. I love films and books set on college campuses (indeed, I just finished reading Emily Adrian’s Seduction Theory, a novel that is uncannily similar to After the Hunt but in a much more satisfying way). And I love Julia Roberts. It’s great to see her in a role like this, playing the sort of uptight, brilliant, alluring character that Nicole Kidman and Cate Blanchett seem to have cornered the market on. (Yes, it’s also impossible not to see shades of Tár in After the Hunt. It doesn’t help the film that it draws comparisons to so many better works of art.) Roberts is more than up to the task—perfectly capturing Alma’s dueling self-loathing and self-regard.

I hate to use the word pseudointellectual—it’s a meaningless word, a la pretentious. But it does seem to apply here. The film is ostensibly about thorny moral and societal questions but it equivocates and doesn’t grapple with them in a penetrating way. And the film’s intellectuals don’t really talk like intellectuals—philosophy professors don’t actually sit around debating which famous philosophers were the biggest assholes; they talk about the plum tart recipe in the Times they made last weekend or the latest Netflix movie.

I’m never going to say no to seeing Julia Roberts—and the rest of this strong cast—in a Guadagnino film, I just wish it were a better Guadagnino film.

Rapper Gucci Mane’s newest release might be his most vulnerable yet.

The Atlanta-based musician, promoting his third memoir, “Episode,” revealed to “The Breakfast Club” crew on Monday that he had been diagnosed with schizophrenia and bipolar disorder. He also went into detail about how he has learned to manage the mental health conditions, with a stern but helping hand from his wife, Keyshia Ka’oir.

The 45-year-old hip-hop star, born Radric Davis, said in a joint interview with Ka’oir that he sought professional help for his mental health after experiencing an episode during the pandemic. “After that I was just like, ‘Man, I gotta really hold myself accountable and take care of my health,’” he said.

“I don’t ever wanna have another episode again. I’m like, I’m gonna see a therapist, if I have to take medicine — I kinda like threw in the towel,” the rapper continued. “Whatever I need to do to get better.”

Schizophrenia is a serious mental health condition that affects how people behave, think and feel, according to the Mayo Clinic. Someone living with schizophrenia — which the clinic says can be managed with medicine and therapy — can experience “a mix of hallucinations, delusions, and disorganized thinking and behavior” and can “lose touch with reality.”

Bipolar disorder is a treatable mental health condition marked by extreme changes in mood, thought, energy and behavior, according to the Depression and Bipolar Support Alliance. A widely known symptom of the illness is manic episodes, which are marked by elevated changes in mood or behavior. But many people with a bipolar disorder diagnosis more commonly experience depressive episodes.

During the hour-long conversation, the “Wake Up in the Sky” rapper and Ka’oir shared details about his various episodes over the years and how it affected their relationship. They married in 2017 and share two kids. Ka’oir recalled witnessing Gucci Mane’s episodes even before they tied the knot.

During the episodes, “you’re seeing someone you don’t know,” said Ka’oir, who was born Keyshia Watson and modeled as Keyshia Dior. She recalled the rapper making “disrespectful” remarks and understood that he didn’t mean it. “I felt like if I left, he wouldn’t have been the same,” she said Monday. “He needed someone to help him.”

“I’m cool with this,” Ka’oir recalled thinking when someone voiced concern for their marriage.

Helping the Grammy-nominated “Exactly How I Feel” rapper manage his conditions proved challenging over the years, Ka’oir said. She said she worked with his inner circle to plan a “kidnapping” to a hospital so he could receive professional help. Ka’oir said she was confident that the rapper would never hurt her, even if other people worried otherwise.

Gucci Mane, who has faced legal woes including a federal prison sentence that ended in 2016, said he was “super embarrassed and hurt by the things I said” during his episodes. After his release from prison, he said, he apologized to a number of rap artists, name-dropping Rick Ross, Drake and Nicki Minaj. The latter had her own thoughts about the pair’s interview, accusing Ka’oir on X of sedating the “I Get the Bag” artist.

“I felt bad. I felt terribly bad,” he said, adding that apologizing to fellow stars felt like a weight had been lifted off his shoulders.

Ka’oir said she worked to keep her husband’s episodes away from the public eye by controlling his social media presence. She explained that she learned how to identify an episode before it became a full-blown incident, noting that some signs included him making mean comments or odd requests. Gucci Mane said that during episodes of what he called “psychosis,” he would hear voices speaking ill about people in his close circles.

Drug use, stress and a lack of sleep were among his triggers, he said. He added that other musicians did not reach out to support him during his episodes.

Throughout the interview, Gucci Mane made it abundantly clear that he prioritizes his family life, noting he sought professional help to be present and to raise his children with Ka’oir.

“My best decision was to marry her and be with her,” he said. “I got somebody to hold me accountable and I got somebody to watch TV with. Sometimes that’s all you wanna do … I don’t really need a lot.”

Gucci Mane released his memoir and his newest album — both titled “Episodes” — on Friday. This marks the third book from the rapper, who previously released memoirs in 2017 and 2020.