Culture and media critic Kate Eichhorn's The End of Forgetting explores how relentlessly documenting young lives allows little room for the unfettered joys of imaginative freedom and perpetuates a seemingly endless state of childhood.
Jaron Lanier says we should delete our social media accounts, yet it's not social media per se, but the way in which it presently exists, that Lanier is concerned about. But Lanier is overlooking a critical factor in our social media addiction.
To say young people's identities are tied up in social media would be a failure to recognize that the digital is now intrinsically part of the real, as evidenced in the documentary, Social Animals.
Shannon Purser discusses her debut role in film, Sierra Burgess Is a Loser, catfishing, and the unrealistic expectations imposed on today's youth.
Rather than moralize, critique, or make grandiose statements about "digital natives", writer-director-wunderkind Bo Burnham brilliantly visualizes what it means to live in a world in which social media is omnipresent.
Like an alchemist, Taylor Swift turns stray thoughts and abject emotions into global cultural touchstones—and into piles and piles of cold, hard cash. What do her fans get out of it?
Bo Burnham's big-hearted, emotional tidal wave of a movie shows how the look-at-me / leave-me-alone contradictions of adolescence, powered by social media, are cranked up to 11.
Against the constant distaste for and dismay about social media, Videocracy gives readers a series of anecdotes that connect YouTube to the goodness of being human.
The DIY strategies and indie allegiances of recent alternative comedians reveal the spirit of punk to be alive and kicking beyond the music world.
Anchored by an unflinching cinéma vérité style and a powerful lead performance by Margita Gosheva, Glory (Slava) thrives as a grave parable on the social media economy's corrupting influences against ethics and morality.
To those who would deny the Google burger because it's messy, I say, get a napkin and get over it.