Our Voices Matter: Reflections on Teens and Screens 2024 from the Gen Z Author

When people think of adolescents, they usually think of tropes presented by popular media: lazy teenagers resenting their perfectly reasonable parents who are simply trying their best. A shift seemingly occurs overnight — characters go to sleep as children and wake up as hormonal, emotional messes with acne and an extra foot of height. These one-dimensional stereotypes reduce teenagers to their worst moments and fail to recognize the complexity of their emotional experiences. 

Young people deserve to see their whole selves represented on screen: occasionally hormonal, occasionally selfish — but also often insightful, scared, powerful, idealistic, and brave. They also deserve to see stories that resonate and accurately reflect their wide-ranging interests. 

Luckily, narratives can be changed over time with enough momentum. Each new storyline that captures the nuance of adolescence can bring positive change in representation, setting a new standard for media that follows. The Teens and Screens 2024 report is a first step in this direction. It uplifts the voices of youth who can identify where they see authenticity and where they see room for improvement in the media they consume.

Authentic Perspectives Matter

Entertainment often portrays adolescence as an awkward phase between childhood and being “a real person.” But youth are people just as much as adults are, with equally important thoughts, feelings, and experiences to share. 

When storytellers try to create content about youth without youth, it shows. It ends up being cringe-worthy at best and actively harmful at worst. And youth will always see through it.

In the world of digital scams, fake stories, and altered or even artificially generated images we’ve grown up in, we’ve learned to be cautious. We’ve also learned that we don’t have to tolerate hypocrisy. If someone’s actions are not aligning with their espoused values, we don’t have to support them: word travels fast on social media, and there are infinite amounts of other options for content online.

That’s why it’s so important to engage directly with youth and uplift their voices. If storytellers want their content to resonate with young audiences, they have to start by listening. There are no substitutes for real perspectives from current life experiences.

Relief from Reality

As a member of Gen Z myself, I understand the unique challenges that youth and young adults are facing today. Our world can seem daunting and overwhelming  —  terrifying even. Our adolescence has been defined by global conflict, pandemics, and a political climate that makes things feel more hopeless than ever. It’s no wonder teens in the 2024 Teens and Screens report said they want to see more fantasy and hopeful, uplifting content.

There’s no better feeling than going to a world completely different than ours, and trying on their problems for a change. And when those stories show us that everything can be okay? That even in the darkest of times, good can prevail? It’s refreshing. It’s what is needed.

One of the reasons working on this new research report with the Center for Scholars & Storytellers has been so meaningful to me is because it conveys a message that I've heard time and time again from my peers: we're burnt out from the struggle; we’re tired of crisis.

Focusing on Friendship

Another finding from this research that I didn’t find surprising is that young people want more representation of friendship in the media. As previous authors of this annual report have mentioned, young people today feel lonelier than ever. And as third spaces (places people can’t meet that aren’t their home or workplace) diminish, we often turn to the media for connection. 

Playing video games with friends, going to the movies together, or talking about the latest tv show you watched are all activities that can help us feel closer to others and learn more about those around us. Our individual existence can feel small in a world with so many issues, so we cherish our connections, and the connections we get to see on screen.

Adolescence can be a confusing time. It’s filled with great physical, emotional, social, and cognitive change. We’re still figuring out a lot about who we are and what we believe. But when it comes to the media, what we want isn’t a mystery:we’re looking for hope; we’re looking for connection; and we’re looking for authenticity. 

These things feel scarce in a world like ours, and media is often the first place we turn to. Storytellers have an opportunity to meet us where we are and positively change not only their content, but the society we are inheriting. I sincerely hope that they will listen.

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Atlas Burrus is the lead author of the 2024 Teens and Screens Report and full-time Research Manager at the Center for Scholars & Storytellers (CSS) at UCLA. In their role at CSS, they oversee data collection, coding and analysis, and they lead regular lab meetings for research fellows and collaborators. Atlas is a passionate advocate for queer representation, friendship, and community, and they received their Bachelor of Arts in Psychology with a minor in Education Studies at UCLA.

A Gamer’s Take on Teens and Screens 2024

The gaming industry is constantly changing to try to engage newer, younger audiences. This often requires taking risks — risks that sometimes help companies stand out among the competition, but sometimes don’t pay off. Here at the Center for Scholars & Storytellers, we know that the best way to figure out what teens want is simple: ask them. So that’s exactly what we did — this year, for the first time in the three-year-old history of our annual Teens and Screens study, we asked adolescents what they want from the games they play today. As someone who’s been in the gaming industry professionally since I was 15 years old, the findings make perfect sense to me.

Community Over Competition

When I was younger, gaming was largely a solitary experience for me (minus the split-screen games I would play with my twin brother, of course). I rarely went online unless my friends from school asked me to play with them. Single-player games like the Mass-Effect and Fallout series were good enough for me. 

As I’ve gotten older though, games have evolved into their own types of social media platforms. Multiplayer online games like Fortnite, Minecraft, and Roblox offer teens the chance to connect, collaborate, and build relationships. I now play these types of online multiplayer games daily, and I know I’m not alone: In our 2024 Teens and Screens study, only 12% of adolescents reported not playing video games at all; and a resounding majority (~70%) of teens reported personally finding community in the games they play (i.e. made new friends through games, found a sense of belonging through games, etc.). 

Gaming is no longer just about competition; it’s about players having shared experiences in virtual spaces. Fortnite is a prime example of this. Initially a tower defense title to a battle royale where the last one standing wins, it’s now evolved into a creative hub where you can do all that but also so much more with other players. 

Content That’s Engaging

While social media offers connection, it often lacks the depth that teens find in gaming. Endlessly doom-scrolling through content on a phone can end up feeling aimless and draining, making many of us feel like we have brain rot. In contrast, gaming is an active creative outlet. Teens can build worlds, collaborate on missions, and engage in real-time strategy. 

This is arguably a more fulfilling experience than simply being a passive consumer, and the teens we surveyed seem to agree: When asked what they most prefer when they have free time, the majority (39.2%) of adolescents chose playing video games over watching a TV show/movie (33.3%) or scrolling on social media (27.5%). And the reason they reported why they preferred video games over watching TV/movies or scrolling social media was because gaming allowed them to feel more fulfilled and engage with their peers. 

As someone who used to be on my phone 24/7, I totally get the sentiment behind this finding. I definitely prefer gaming over watching TV and scrolling social media because of the fulfillment I get from leveling up, solving puzzles, and engaging with other players — and all of my hours in VRChat, Roblox, and Fortnite back it up.

Characters That Represent Us

The 2024 Teens and Screens study also showed an increasing demand from young people for more representation in gaming. This is something I resonate with a lot. I’ve always liked games that let you create your own customizable avatar best. When that option isn’t available, I definitely look for characters that I feel represent me. It’s never been a deal breaker for me when it comes to playing games, but other teens may feel more strongly. According to our new research, 50.6% of adolescents who play video games say it’s difficult for them to find games with characters that look like them, which should really be an eye-opener for game developers. 

The gaming industry has been in a rough state of transition since 2020. Layoffs are rampant for too many studios, with titles such as Concord failing upon release. This seems to be because creators don’t really know what gamers in general, much less young people, want. As a result, they keep playing it safe with a status quo that ends up hurting them in the long run. 

A change starts here. We have the information companies need to make a difference: Find ways to foster more community in games, create higher quality content young people can engage with that helps them feel both connected and fulfilled, and create more diversity in characters and storylines. Young people want to entertain themselves while also finding connection, identity, and purpose — gaming can be a crucial space for them to do just that. All creators have to do is listen.

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Varnell (Bubba) Harris is the Youth Digital Marketing Manager at the Center for Scholars & Storytellers (CSS) at UCLA, where he runs social media and leads the Youth Media Representation (YMR) program. Bubba has been heavily involved in the media & entertainment industry for more than 7 years. Previously, he has written and produced content for several gaming and entertainment companies, including ScreenRant and Epic Games where he worked on the critically acclaimed video game Fortnite. Bubba is also an independent Black content creator who wants to make a difference in the world through smiles, laughter, and community engagement.

Teen Reactions to 2024 Teens & Screens Findings

The Teens & Screens 2024 Report yielded critical information about adolescents and their media consumption. Teens opened up about their preferences in storylines, the types of media they prefer, and their feelings on media and its connection to the young adult experience. We asked Jasmine and Sarina, two of our Youth Media Representation program alumni, to share their thoughts on the report’s key findings.

Jasmine: Young Adults Prefer Fantasy Worlds

When I’ve had a rough day of being a teenager, watching a show or movie where someone else has a rough day of being a teenager is, frankly, not very appealing. Instead, it’s Mamma Mia, Rick and Morty, or Pride and Prejudice that calls to me. On the surface, they seem wildly different, but they have one thing in common: I relate to the characters, but not to their stories. 

It’s very unlikely that you’ll find me running a hotel in Greece with a daughter who has three possible fathers, traversing universes and dimensions with my grandpa, or living in regency-era England and falling in love with a brooding gentleman with little to no social skills. (Although, let’s be honest, I wouldn’t mind that third option). However, I do relate to Donna’s free spirit, Rick and Morty’s love of adventure, and Elizabeth Bennett’s playful snark and fierce conviction. That’s why I wasn’t surprised that in the 2024 Teens & Screens Report, adolescents voiced a preference for both authenticity and fantasy content — and why I don’t see those two desires (for authentic content and fantasy content) as contradictory.

Let’s be real: life can be hard. Sometimes, taking a breather in another world can help. I think part of the reason so many of my peers want more content based in fantasy worlds is because this type of media provides an escape. Magic, dragons, superpowers — they give us a break from the stress or boredom of real day-to-day life. 

It’s not that fantasy shows are always happy-go-lucky. On the contrary, shows like Game of Thrones are anything but lighthearted. What makes them appealing is that they offer something exciting and fresh, a reality we don’t already know. 

While Mamma Mia, Rick and Morty, and Pride and Prejudice aren’t necessarily rooted in fantasy worlds, they all take me to a different time or place, full of adventure and possibility. Even fantasy shows like Buffy the Vampire Slayer, which technically take place in high school, focus less on real life stressors (i.e. “who likes who” or worrying about grades), and instead bring us into a story that goes beyond the everyday challenges of being a teenager.

Sarina: Social Media Offers The Most Authentic Content

If you were to ask anyone at my high school about why they use social media, chances are they would say something to the effect of “because it’s authentic.” It turns out young people who were surveyed in the 2024 Teens and Screens Report agree: About a third of participants described social media as “the most authentic media source.”

I am a huge fan of watching content creators who talk about real life — even if it’s a life very different from my own. Some of my favorites discuss things like the best restaurants to visit in New York (which I’ve never been to) or rank discontinued candies (which I’ll likely never be able to try). Why? Because I love the interactions that take place in these kinds of videos, from awkward small talk at a subway station to an unexpected, heartfelt reunion at a nearby park. This type of unscripted content helps me stay grounded and connected. 

Another key finding from the 2024 Teens and Screens Report was that YouTube was 38.8% of adolescents’ top social media pick for authenticity. TikTok no longer held the top spot, which might result from teens wanting more meaningful connections, something that doesn’t feel quite as possible through the short-form videos TikTok is known for. The longer a video, the more the audience can establish a bond with the creator. In turn, creators can respond to their audience by seeing what content is resonating with viewers and adjust material based on this feedback.

Authentic content is clearly important to us (which is why we all like social media so much), but creatives and media executives continue to miss the mark: 45.1% of adolescents surveyed said they find social media portrayals on film and TV to be inaccurate. I agree, we need to expand our depictions of young people’s relationships to social media beyond stereotypical ideas of “screenagers.” Teens are eager to help: adolescents in the survey overwhelmingly expressed being in favor of consulting with creatives to help create more accurate portrayals.

Ultimately, online authenticity brings about real world benefits. It can bring awareness to so many different types of lived experiences, both large and small, that create community and open up hard conversations in accessible ways. And as content creators share more about their lives, identities, and even challenges, the audience feels more empowered to do so as well. 

As my peers and I seek authenticity in our social media experiences, it is the genuine interactions and relatable moments in these videos that foster a deeper connection, reminding us all of the importance of staying connected both digitally and in real life.

Sarina: Romance Is Still Out, Nomance Is Still In

We’ve all seen the classic romance tropes: the forbidden love between the nerd and the jock, the academic rivals going from enemies to lovers, the cheery actor and the angsty poet paired together for a project. But where are the storylines and characters that more accurately reflect our modern teenage experience?

63.5% of the adolescents in the 2024 Teens and Screens survey said they want to see less romantic and more platonic relationships on screen. As an adolescent myself, I couldn't agree more. I want to see a new normal on screen: the “friends-to-best friends” trope; the “self-loathing to self-love” trope. This is the kind of stuff we desperately need and want to see. 

Between the ages of 10-24, young people begin to develop their values, and exposure to media content has a clear influence on how they perceive both themselves and the world around them. When romance is a central part of every plot, it can be easy for teens to feel undue pressure to date and mirror behaviors on screen, which aren’t always the healthiest. Media often romanticizes abusive behaviors and sets unrealistic expectations around sex and partnership. However, just because a film features teens doesn’t mean it accurately reflects the realities and preferences of adolescent life today.

The survey also found that teens want to see more diverse portrayals of people their age on screen. And the first step content creators can take to do that is to focus on teens’ journeys to find themselves rather than their journeys to find love. After all, 85% of both adults and adolescents struggle with low self-esteem, and older adolescents and teens who spent more than three hours a day viewing media had higher rates of low self-esteem. How can teens be expected to love someone else if they’re still trying to figure out how to like themselves? 

Teenagers today are more than just flat characters concerned about an upcoming date. We’re complex individuals wrestling with the pressures of school, growing up, fitting in, planning our future, battling anxiety and depression, and countless other stressors. We deserve to see characters that reflect the nuance of our lives today, who we can relate to rather than feel reduced by — and who can help us understand more about who we actually are rather than what out of touch executives think we are trying to be.

Teens like me are tired of being rushed into romance that modern media is so quick to normalize at such a young age. We deal with enough daily pressure as it is. What we really need is time and space to figure out who we are and what we want — and storylines and friends who can help us with that growth.

To love others, teens must first love themselves. The journey in doing so might include hard work, but that accurate portrayal is what teens, like myself, are looking for. Listen to the unique stories teens have and include them in the content they watch. I am certain that is something we would all want to see.

Jasmine: The Movie Theater Experience Isn’t Dead

When reviewing the 2024 Teens and Screens research results, I was not at all shocked to learn that Gen Z greatly prefers to watch movies on the big screen. There are very few things better than popcorn, a blue raspberry ICEE, and a friend by your side as a movie plays on the big screen. In a world increasingly defined by isolation and technology, there’s something really special about being in a room full of friends or strangers to share the experience of watching something exciting, scary, or funny. 

Being in a theater is so much different than streaming something alone in your bedroom. The feeling that you and everyone else in the room are immersed in something together, the collective shock, laughter, or “awhs” can make you feel –– if only for those two hours –– that you’re part of something bigger. Not only is it an experience that can bring you closer to people, but going to the movies is often a great way to get to know someone in a low-pressure setting: there’s not too much conversation required and, afterwards, you have two hours of content to talk about.

Last year, the Teens and Screens report referenced the growing need for “third spaces,” which are environments to connect with others outside of where you work or live. In the past, third spaces have looked like parks, malls, and cafes. But in the aftermath of the pandemic and with the rise of digital culture, more and more young people have turned to the internet as their third space. 

I don’t think social media will ever stop serving as an important third space for young people, but I also know nothing can fully replace the importance of in-person experiences. And movie theaters today offer us that unique other in-person place where we can relax, socialize, and build community outside of the traditional venues of work, home, or school. When you sit down in a darkened theater with others to share the experience of watching a film, it creates a sense of connection that digital spaces can’t replicate. And, young or old, we’re all still humans who value and crave community and connection.

So no, the movie theater experience isn’t dead. Like many of my peers, I love going to the movies. I would definitely go more often if it wasn’t so darn expensive!

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Jasmine Sorgen is a senior at Harvard-Westlake and a Youth Media Representative for the Center for Scholars and Storytellers. She serves as Director of Operations for Westflix, a high school film festival, and has attended the Iowa Young Writers’ Studio and UCLA’s summer screenwriting intensive. Jasmine is passionate about storytelling, filmmaking, and using media to inspire meaningful change.

Sarina Marzbani is a sophomore at Orange County School of the Arts and a former member of CSS's YMR program. Her passion for accurate representation led her to join YMR, speak about the topic through a TED talk, and create her project Read and Write to Unite; her mission is to expose elementary-level students to books that portray MENASA culture and its people in a positive and accurate light. 

Understanding the Data: Is There a Connection Between Teens’ Social Media Use and Their Mental Health?

As concerns about a youth mental health crisis grow, so does the debate about the causes of high rates of anxiety, depression, and even suicidality in adolescents. The academic community has responded to this widespread concern, in part, with research. In the last ten years, researchers have turned their attention to studies investigating teens’ emotional health, habits, and worldviews.

Inevitably, as academics and parents alike piece together the complexity of the adolescent experience, they must grapple with the influence of social media — and its potential role in harming or supporting young people’s mental health.

 However, within the field, experts disagree on how to interpret the research about mental health and social media use. What should we conclude from the numbers and correlations? How can we assess if social media is a threat to teens’ emotional wellbeing?

 In hopes of addressing the conflict among experts and developing solutions to better support adolescent mental health, the University of Virginia’s Thriving Youth in a Digital Environment (TYDE) initiative hosted a panel discussion with Dr. Jonathan Haidt and Dr. Candice Odgers, two leading figures in the field who have drawn different conclusions from the data. Haidt has publicly voiced his belief that social media use and mental illness are connected, while Odgers has expressed more optimism about the role social media can play in teens’ lives.

The lively and, at times, tense, debate brought into focus the complexity of the academic work and the strength of our desire to create a better world for youth and young adults.

Teens’ Mental Health is a Problem —  But Is Social Media to Blame?

 Haidt and Odgers seemed to agree that the numbers and trends are worth our concern and attention, at the surface. We are witnessing a spike in youth mental illness, according to data from self-reports, Emergency Room visits, and suicide rates over the last decade. Specifically, there has been a notable increase in diagnoses of internalizing disorders, like anxiety and depression. This uptick correlates with the rapid expansion of social media platforms and teens’ technology use in the same time period.

But what does this correlation really mean?

Odgers stressed that increasing social media use isn’t necessarily the culprit behind teen mental illness. When evaluating the data, she said, we must consider the broader cultural context of these trends: shifting attitudes about mental health and stigma (and thus, willingness to report illness and seek help), changes in diagnostic practices, and increases in access to mental health care in the United States, to name a few. She also noted that youth mental health does not exist in a vacuum; it must be evaluated alongside the state of adult mental health, which appears to be in crisis. 2023 suicide data, she said, revealed a historic high, and suicide rates have been rising in every age group, not just among teens. Rather than witnessing the impact of social media use, she posited, we could be seeing teens’ responses to a challenging environment beyond the confines of social media platforms. Moreover, she argued, youth mental health issues are nothing new: 20% of teenagers have always reported struggling with mental illness.

Haidt argued that social media may play a more direct role in a mental health crisis. He noted that we’re witnessing increasing rates of mental health concerns across many western countries, so we can’t simply attribute the high numbers to United States-specific changes, like access to healthcare. He also noted that teens embedded in “tightly bound” cultures — meaning more religious or community-oriented structures — are somewhat shielded from the technological changes and social media use of freer societies, and they don’t see the same high rates of suicide. This, he claimed is consistent with the famed sociologist Emile Durkheim’s conclusions on suicide: the loosening of social bonds (like we’re seeing with western teens and their technology use) contributes to mental health challenges.

As moderator Dr. Bethany Teachman noted, the majority of researchers in the field have come to similar conclusions as Odgers: these trends may be the result of more accurate reporting and changing cultural mores, and they can be attributed to factors unrelated to social media. Moreover, social media has proven to be a powerful resource for teens seeking community, and we need to consider data showing the positive impact of social media in teens’ lives. 

Why Are We Getting Conflicting Interpretations of Research?

 The debate between Haidt and Odgers highlighted the complexity – and the limitations of –  existing studies on teen technology use and mental health. 

Haidt argued that the existing research asks respondents about their technology use more broadly, failing to isolate social media use, specifically. These “blender studies,” as Haidt called them, group together a number of behaviors when determining a relationship between people’s emotional well-being and their technology use: social media use, surfing the web, and even watching TV. The latter two behaviors, he suggests, often benefit emotional well-being. Thus, when data paints a picture of a positive relationship between respondents and technology use, some researchers make the leap that social media alone can be considered positive. He added that these studies often group men and women together, obscuring gender-specific trends; specifically, women may have a more complicated relationship with social media in a way that affects their mental health. Ultimately, Haidt called for more studies isolating gender social media use in survey questions.

Odgers argued that there are a number of studies with a more specific focus on social media and challenged Haidt’s suggestion that some technology use (internet, TV) is inherently “good” and some (social media) is inherently “bad.” She went on to question Haidt’s confidence that new studies will show a causal relationship between increased social media use and mental health challenges. In fact, she said, evidence suggests that, if anything, the relationship may go the other direction: several studies have found that teens already struggling with mental health issues may spend more time on social media. 
Claiming a causal relationship in one specific direction, without proper evidence, she said, is harmful and inconsistent with the scientific method.  

How Can Social Media Platforms Better Support Teens?

Ultimately, Odgers and Haidt were faced with the ultimate question: what is the solution?

Unsurprisingly, the two researchers had different ideas. Haidt stressed the need for more age restrictions on social media platforms, limited smartphone use among teens, increased parental oversight, and a cultural return to a community-oriented childhood.

Odgers expressed less interest in setting strict age limits and changing youth culture. She contended that teens will see the most benefit from social media platforms being redesigned with youth safety and emotional support in mind, including better privacy protections, with particular focus on the wellbeing of minority groups. 

Ultimately, Odgers and Haidt did find common ground in acknowledging that social media platforms have work to do in order to create a safer and more fulfilling environment for teens.

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Margot Harris is a freelance writer, editor and consultant for the Center for Scholars & Storytellers (CSS) at UCLA. She’s previously worked at organizations like NAMI and Business Insider, where she frequently wrote about topics related to mental health and emerging technology. She holds a Master of Fine Arts in Nonfiction Writing from Columbia University.

CSS Featured at APA 2024 Convention

The Center for Scholars & Storytellers (CSS) was proud to attend and be featured at APA 2024 in Seattle, WA, an annual convention led by the American Psychological Association, the leading scientific and professional organization representing psychology in the United States with more than 157,000 researchers, educators, clinicians, consultants, and students as its members.

CSS founder and executive director Dr. Yalda T. Uhls was a featured speaker at the event. She led a thought-provoking session about connecting theory to practice, where she highlighted the work CSS is doing to bridge the gap between psychology research and the entertainment industry to help young people thrive through the media they watch and scroll through. She had the opportunity to network with other key experts like Dr. Alfiee Breland-Noble, chief mental wealth officer for Charlamagne Tha God’s Mental Wealth Alliance, founder of the AAKOMA project, and recent mental health correspondent for MTV/Showtime’s The Chi.

CSS’s work was also highlighted in the Presidential Opening Session at the very beginning of the conference, where APA’s CEO Dr. Arthur C. Evans referenced CSS as a prime example of how to translate science into impact. “The way Dr. Uhls and the Center for Scholars & Storytellers are creating actionable guidance for parents and tools for storytellers in the media to support the positive healthy development of youth is exactly what APA means when we talk about using our expertise to positively impact society,” he said.

We’re proud to have been a part of this critical event with so many esteemed and passionate psychologists. And we look forward to continuing to find alignment with organizations like APA that help us continue to expand our impact.

Check back soon for a video of Dr. Arthur C. Evans’ opening remarks.

CSS Custom Video Game Workshop for a New Client

On August 28th, the workshops team put on a custom workshop for a major video game client titled “Old Lore in a New Era.” In a time where society is more aware of negative stereotypes and offensive and biased representation, many gaming companies are tackling the task of revisiting older games to update aspects to be more mindful and respectful. This company is at the forefront of inclusive gaming and thus this workshop focused on supporting their efforts to ensure their legacy franchises are prioritizing inclusivity for all players. 

In collaboration with our guest expert, Dr. TreaAndrea Russworm, the team shared research insights that show players want games that feature both diverse characters and diverse stories, how other games have been updated to contend with pre-existing problematic lore, and specific strategies on how our client can update their games to make them engaging for increasingly diverse players. The workshop was well received and the team received great feedback. 

Next, they are developing workshops focused on the Teen audience, who they are, what they care about, and what media creators need to know to keep up with the ever changing times. 

Hollywood has a Gen Z Problem

When I was a movie executive decades ago, my boss pointed out that there was an untapped audience in the movie industry. Back then, Hollywood executives — primarily older White men — rarely made films for this demographic, but whenever a movie did cater to them, they showed up in droves. That audience was teenagers.

Fast forward to 2024, and Hollywood is still neglecting this demographic, failing to consider how storytelling affects their health and well-being. But today, Gen Z has far more options and has abandoned legacy media en masse. Platforms like YouTube have captured their attention. As Brian Fuhrer, Nielsen’s Senior Vice President of Product Strategy, put it: “[On YouTube] There’s something for every single demographic and every race and ethnicity, all the time.” 

The Center for Scholars & Storytellers (CSS)’s research confirms this. TikTok, Instagram, gaming communities, Discord, Reddit, and more offer Gen Z endless ways to see themselves authentically reflected. Since many Gen Z creators are directly involved in producing this content, the stories resonate with their audience’s lived experiences, translating into active engagement.

Not so with traditional storytellers. Unfortunately, too often, the writers and executives who create content for teens rely on their own memories of adolescence or assume their children (if they have any in that age range) represent today’s youth. The problem? Neither perspective captures the diverse, multicultural, and intersectional identities of today’s young people.

Since launching the Center for Scholars & Storytellers (CSS), we’ve focused on kids, teens, and young adults. As a developmental psychologist, I understand the profound power of stories — especially in entertainment media — and how they can help young people thrive. We’re here to support storytellers with resources like our Storytelling Toolkits, Teens & Screens research, Teen Snapshots, and our Youth Media Representation program. We collaborate with adolescent experts from around the globe, as well as teens themselves, to ensure storytellers have the best resources to authentically engage with their audience. Our work continues to be cited in places like this week’s LA Times article, showing that we’re making an impact.

The outcome? Gen Z benefits from content that reflects their identities and positively impacts their well-being, while Hollywood finally meets youth where they are, rekindling their interest in the powerful stories only the entertainment industry can deliver.

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Dr. Yalda T. Uhls is the founder and CEO of the Center for Scholars & Storytellers (CSS) at UCLA. Learn more about her work here.

CSS Announces New Board Members

The Center for Scholars & Storytellers (CSS) has announced a new board of directors. In line with our commitment to youth representation and bridging the gaps between media and research, we are proud to have board representation from entertainment industry professionals, academic experts, and Gen Z:

• Gael Aitor (LinkedIn ❘ Instagram) Gael Aitor is an award-winning podcast producer and the creator of the "Teenager Therapy" podcast, which boasts over 1 million followers. He has hosted high-profile guests including Prince Harry and Meghan Markle, Adam Mosseri, and U.S. Surgeon General Dr. Murthy. Aitor's work has been recognized by several major publications, including the New York Times, TeenVogue, Time100, and Variety. He’s also been a featured speaker at events such as the Aspen Ideas Festival, YMS LA, and HLTH. Additionally, Aitor is the co-founder of Astrolescence (Prev. Astro Studios), a creative company dedicated to supporting youth mental well-being through media and IRL spaces. 

• Ahrash N. Bissell (LinkedIn) Ahrash N. Bissell, Ph.D., is the President and Chief Academic Officer of The NROC Project, a national, non-profit organization that collaborates with educators and partner institutions to build technologies that improve student success. For much of the prior decade, Dr. Bissell co-designed and managed the development for EdReady, a platform for personalized learning that is helping to substantially improve student readiness for college and career aspirations nationwide. Dr. Bissell continues to coordinate research, advocacy, and innovation activities related to open educational practices, educational technologies, and sustainability, both internally and in collaboration with projects and colleagues across the field. Dr. Bissell also serves on the boards of Peer to Peer University, QUBES, and the Center for Scholars and Storytellers, with special focus on science and math (STEM) disciplines, open educational resources (OER), and data-sharing. Previously, he served as the founding Executive Director of the education program at Creative Commons, where he helped to establish best practices in OER production and utilization as well as document some of the emerging opportunities and challenges (especially in legal doctrine) for the field. Dr. Bissell also served as the Assistant Director of the Academic Resource Center and a Research Associate in Biology at Duke University, and as an Instructor at several universities. He has a Ph.D. in Evolutionary Biology from the University of Oregon and a BS in Biology from the University of California, San Diego. He resides in Berkeley, CA.

• Jennifer Blum (LinkedIn) Jennifer Blum has more than 25 years experience as a film producer and executive. Her credits include Academy Award nominee, "The Help," as well as "I Love You, Beth Cooper," and "Jingle All the Way." Blum was most recently Executive Vice President at 1492 Pictures, working with Chris Columbus and team managing the company’s slate for over 20 years. Among the projects she worked on were "Harry Potter and the Sorcerer’s Stone," "Night at the Museum," "Cheaper By the Dozen," "Stepmom" and "Nine Months." Blum previously worked at Morra, Brezner, and Steinberg, a management and production company that featured Robin Williams and Billy Crystal. While there, Blum optioned the novel that became the movie "Angie," worked on "Mrs. Doubtfire," and "The Vanishing." A native of New York City, Blum is a graduate of Wellesley College. She is an avid skier, tennis player and traveler. She lives in Santa Monica with her family and adorable but noisy dog, Charlie.

• Susanne Daniels (LinkedIn) Susanne Daniels is an award-winning entertainment executive who has worked across broadcast, cable and digital networks. As Global Head of Original Content for YouTube over the past seven years, Daniels was responsible for leading the company’s international efforts and investments in original content, including programming strategy, development, and oversight of all production of series and films featuring some of YouTube’s most successful creators and personalities. Prior to joining YouTube, Daniels served as President at MTV Networks, President of Lifetime Television Networks and President of The CW Network (which she helped found). Daniels is currently a professor at the UCLA Anderson school of management where she lectures on the macroeconomics of the streaming business.

• Nancy Kanter (LinkedIn) Nancy Kanter is a 20 year veteran of The Walt Disney Company where she was Executive Vice President of Content and Creative Strategy for Disney Channels.  After leaving Disney in 2021 she joined Netflix under an exclusive overall production deal.  In 2024 she launched her independent company, Available Light Productions, with a focus on kids and family content.

• Navia Robinson (Instagram) Navia Robinson is an 18-year-old Creative Arts Emmy Award-nominated actress and human rights advocate particularly passionate about how young people are represented in film and television and how that representation directly impacts their quality of life. For her work in television — notably children’s programming — Robinson has been twice featured in Variety Magazine’s Power of Young Hollywood Report, along with nods in Elle Magazine and The Hollywood Reporter. Robinson is an outspoken advocate for Black and Indigenous Americans, using her social media platform to advocate against the marginalization of minority communities. A proud member of the Center for Scholars and Storytellers’ Advisory Council, Robinson aims to be closer to the inception of stories about and for adolescents and, consequently, have a tangible impact on the ones that get told. 

Why Spongebob Squarepants’ Neurodiversity Matters

August 2, 2024

As of today, Saving Bikini Bottom: The Sandy Cheeks Movie is officially streaming on Netflix. The debut comes just one week after a video of voice actor Tom Kenny went viral on X (formerly Twitter), confirming a popular fan theory that Spongebob has autism. 

During a panel at the 2024 Motor City Comic Con in Michigan, Kenny explained that many kids who are neurodivergent identify with Spongebob, sharing a particularly heartwarming experience he had with a fan:

"A person who's obviously on the spectrum came up to me and said, 'I have a question for you, Tom Kenny: Is SpongeBob autistic?' I said, 'Yes, of course he is! That's his superpower, the same way it's your superpower.'"

Kenny has made similar comments before, 12 years earlier stating on Marc Maron’s podcast: 

“the show talks to kids that are on the autism spectrum more than other cartoons... because SpongeBob as a character is a little autistic. Obsessed with his job, very hardworking, gets really really deep into something."

The reaction online has been primarily positive, with users sharing comments on the viral tweet like “No wonder I liked Spongebob so much we got a CONNECTION”; “Yes! Represent!”; and “that makes me feel good about myself having autism.” 

The success of Spongebob, which has been officially running for 25 years, speaks to the power of authentic inclusive representation (AIR) in storytelling and on screen. Authentic diversity on screens can have a positive impact on children’s development, considering that stories children are told often shape the way they think and feel about (and act towards) themselves, others, and the world around them. Seeing a character like Spongebob can serve as a positive role model, showcasing the lovability of those who identify as neurodivergent and the capability they have to maintain a quality life filled with meaningful attributes like working a job you care about (i.e. being a cook at the Krusty Krab) and having fun with close friends (like Patrick and Sandy). 

But there is more than just a moral imperative to feature authentic and inclusive characters on screen: there is also a strong business case to do so. According to research from the Center for Scholars & Storytellers at UCLA, films that had more authentic inclusive representation consistently predicted higher box office earnings and resulted in more positive audience and critic ratings. There is also a growing body of evidence that when studios don't invest in projects led by diverse creatives and executives, they leave money on the table.

Featuring diverse characters on screen, including neurodiverse characters like Spongebob, is both good for society and good for the entertainment industry. We hope to keep seeing more in the coming years. And in the meantime, we’ll be watching the Spongebob Squarepants seasons on Paramount+ and the latest spinoff movie on Netflix today 👀🍿📺

• Read more about The Business Case for Authentic Inclusive Representation on screen

• Read more about Disabled Audiences in the U.S. perceive current representation on screen

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April Cisneros serves as director of marketing and communications for the Center for Scholars & Storytellers (CSS) at UCLA. To contact her for press inquiries, email april@scholarsandstorytellers.com.

Gen Z’s Memification of Kamala Harris

Young people are tired of feeling sad and angry. *Mamala enters the chat*

As our lives become increasingly digital (with young people, on average, consuming upwards of 9 hours of media a day), the impact social media can have on elections becomes increasingly apparent. In the past, many of these platforms were relatively new. But today, most people use social media regularly. In fact, we have a whole generation of digital natives that don’t even remember a time before smartphones. 

The Power of Social Media

Social media’s influence has been more evident than ever during this year’s chaotic presidential election cycle. The first reports of the assassination attempt on former President Trump’s life appeared on X (formerly Twitter), where conspiracy theories around the event quickly swirled. And shortly after Biden announced his exit from the race, the memes about Kamala Harris were everywhere. 

According to polls done by the Pew Research Center over the last few years, the share of U.S. adults who say they regularly get news from TikTok has more than quadrupled, with more than 50% of young people (defined as adults under the age of 30) reporting that they don’t trust national media. A recent survey from Deloitte found a similar trend, with 65% of 18- to 24-year olds (Gen Z) and 61% of 25- to 34-year olds (millennials) listing one or more social media platforms as their preferred source of news. 

Politicians have clearly caught on to the fact that this large voter base is primarily looking to social media for information. Today, we are seeing candidates embrace plain language, internet slang, and meme culture in their campaigns like never before. This speaks to not only how our society and communications norms have evolved alongside technology, but also to an exciting shift of centering youth in media, politics, and storytelling.

Why Kamala Harris is Resonating

Between the viral Video of Kamala Harris with overlay of the lime green album art for Charli XCX’s “Brat”, the coconut and palm tree emojis referencing Harris’s anecdote about her mother asking “You think you just fell out of a coconut tree?”, and the spinning of Chappell Roan’s song title “Femininomenon” into “Kamalanomenon,” the social media frenzy around Kamala Harris’s campaign has been thick. Harris’s campaign has embraced it, making many of the same jokes on the official “Kamala HQ” account. This tactic of incorporating memes and Gen Z culture into the campaign seems to be effectively resonating with young people, many of whom report that it makes them feel seen, recognized and valued in the conversation. 

It makes sense that many young people are embracing Harris’s campaign as a refreshing change. Young people today have had to endure a variety of complex issues during their formative years, with mental health challenges exacerbated by a global pandemic, climate anxiety, and viral videos of police brutality and war (just to name a few). They’re ready for a win, to feel excited, to have fun. Through her viral laugh and dance moves, and a messaging tone that is both positive and hopeful, Harris’s campaign seems to be meeting the moment and giving them that opportunity. 

In our teens & screens study last year, we found that the number one thing young people wanted to watch was hopeful, uplifting content featuring people beating the odds. They also tended to favor women of color in roles of heroes and protagonists. Kamala’s campaign feels like that story. 

For many of today’s youth, she seems to represent the future and feel more relatable — not just because she is younger, but also because she is a woman of color, and Gen Z is more diverse than any other generation before it.

Youth Voter Turnout

The question on many people’s minds is: will this social media dominance translate into votes? 

While historically, youth turnouts tend to be low, there are good reasons to believe that young people will turn up to the polls this year. After all, approximately 55% of voters aged between 18 and 29 participated in the 2020 election, which was the highest average youth voter turnout in decades. And current polls are already showing more than half of young Americans planning to vote in the 2024 election.

Young people care about politics and frequently discuss key issues like climate change, reproductive rights, the job market, housing affordability, etc. online. But they don’t always know how to enact change. Leaders need to continue educating them about the logistics of how to participate in the election — especially those who may be participating in an election for the first time or may have moved away from their home for college and need help registering in new locations or accessing absentee ballots.

While we are not partisan and do not endorse specific candidates here at the Center for Scholars & Storytellers (CSS) at UCLA, we are always committed to studying the impact media has on the lives and well-being of young people. And while we don’t know for sure what effect social media will have on the outcomes of this election, we do know that social media is energizing youth around the election in new ways, and after years of dire reports about a deeply concerning youth mental health crisis, it is exciting to see them so excited. Young people are driving the political conversation online right now — young people are realizing just how much their lives and their voices matter — and they’re just getting started.  

Check out CSS’s Coverage About Gen Z, Social Media, and the 2024 Presidential Campaign in the News:

• CBS News (Video): A look at how Kamala Harris is engaging with younger generations through social media

• NBC News: Kamala Harris' Childhood Friend Inspired by Vice President-Elect

• The Guardian (and Yahoo! News): Kamala Harris memes are all over the internet. Will tweets and TikToks turn into votes?

• Global News: Obama 2.0? How Kamala Harris’s social media strategy is shaping her campaign

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April Cisneros serves as director of marketing and communications for the Center for Scholars & Storytellers (CSS) at UCLA. To contact her for press inquiries, email april@scholarsandstorytellers.com.

CSS Celebrates 2 Years of 988

July 16, 2024

Today officially marks the 2-year anniversary since the new suicide and crisis lifeline, 988, was activated across the country. “This 3-digit 911 alternative for suicide and mental health crises has been a critical resource for so many in need of support,” said Dr. Yalda T. Uhls, Founder and CEO of the Center for Scholars & Storytellers at UCLA. “We’re so thankful to all of our entertainment partners who have helped increase its visibility at the end of, or throughout their, episodes and TV shows featuring content related to suicide, mental health crises, and substance use.”

When free resources like 988 are featured on television, it can make a real difference in the lives of many, especially young people. In one study, the Center for Scholars & Storytellers found that after watching content related to suicide, 88% of teens discussed mental health topics with friends and family, and 92% looked for mental health information.

For more resources on how to responsibly cover suicide in the media, visit the Mental Health Media Guide or the National Recommendations for Depicting Suicide. And to learn more about 988, visit 988lifeline.org.

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The Center for Scholars & Storytellers (CSS) at UCLA is the only adolescent-centered organization that brings together the academic and creative communities to unlock the power of storytelling and help the next generation thrive and grow. Our primary aim is to support storytellers who are working towards better reflecting the lives of adolescents ages 10-25. CSS is affiliated with UCLA through the faculty appointment of our founder, Dr. Yalda T. Uhls, in the Psychology Department, one of the highest-ranked in the world. We have more than 100 academic collaborators from universities around the world. Our award-winning work has been featured on NPR, the New York Times, the Los Angeles Times, Deadline, Good Morning America and more.

For media inquiries, please reach out to april@scholarsandstorytellers.com.

New Gun Violence Advisory from HHS: How Storytellers Can Help

June 26, 2024

This month, the U.S. Surgeon General Dr. Vivek Murthy released an advisory on firearm violence, officially declaring gun violence in America to be a public health crisis.

The landmark document outlines the cascading harm gun violence has across society — explaining how not only are those who lose their lives impacted, but so are those injured, direct witnesses, loved ones, those exposed in affected communities such as schools, and everyone who experiences collective fear after seeing these traumatic events play out in the news, on social media, and beyond. The report also highlighted staggering statistics around the ongoing effects gun violence has on young people specifically:

• Since 2020, firearm‑related injury has been the leading cause of death for U.S. children and adolescents (ages 1–19), surpassing motor vehicle crashes, cancer, and drug overdose and poisoning;

• The rate of firearm-related suicide increased by 20% across the population, with the highest increases among younger people; 

• 56% of unintentional firearm deaths among children and adolescents happened in their own home; and 

• About half of 14 to 17‑year‑olds in the U.S. worry about school shootings, and nearly 6 in 10 report that they “have recently thought about what would happen if a person with a gun entered” their school or a school nearby.

These findings are in line with research conducted by us here at the Center for Scholars & Storytellers, where in one survey 11th and 12th graders who showed high amounts of fear about shootings and violence in schools were also more likely to report having an anxiety disorder 6 months later. 

Media industry professionals have an important role to play when it comes to spreading accurate information, raising awareness, and moving hearts and minds towards meaningful action around public health crises like firearm violence. This is especially true when it comes to young people, who consume entertainment through devices at truly unprecedented rates, with some reports estimating that teens spend up to 9 hours a day in front of screens. 

For storytellers who want to help, we’ve created a tip-sheet with 15 research-based insights on how to responsibly create content related to gun violence. We hope you’ll join us in sharing this resource far and wide, so that, collectively, we can continue to harness the power of storytelling to positively impact the lives of kids, teens and young adults everywhere.

Dr. Yalda T. Uhls Speaks at the Hollywood Climate Summit

June 26, 2024

Yesterday, founder and CEO of the Center for Scholars & Storytellers at UCLA Dr. Yalda T. Uhls spoke at the 2024 Hollywood Climate Summit, an annual convening of cross-sector entertainment professionals looking to improve mainstream access to climate literacy in the media ecosystem. Now in its fifth year, the 3-day event included interactive programming and networking opportunities for filmmakers, executives, artists, activists, scientists, and other experts looking to make a difference through collaborative efforts towards research-informed storytelling. Notable appearances included Jane Fonda, Roxane Gay, Nava Mau, and more. 

Dr. Uhls was featured on a panel of experts alongside Bill Nye (the Science Guy), Karissa Valencia (Spirit Rangers), Carson Smith (Nickelodeon), and Isabel Gonzalez Whitaker (Moms Clean Air Force) about the crucial role of media in educating and inspiring young people about environmental conservation and climate action. The discussion was moderated by singer and actor YDE, who framed the conversation with statistics from the Children’s Media Association:

• 91% of kids surveyed are concerned about climate change (48 million kids under the age of 12 are already experiencing first-hand effects of climate change); 

• 74% of parents want information about climate change and climate solutions in children’s television and popular family films (but only 1.4% of kids’ nature-related media has mentioned climate change); and 

• 18% of teachers haven’t addressed climate change or solutions with students because they don’t feel well-versed in the science behind it and feel out of their depth discussing it.

“The problem of climate change involves all of us,” Bill Nye explained. “Every kid starts out curious. We all started out as scientists. We have to help young people understand the problem, and be excited about finding solutions: when you have a hammer, every problem is a nail.” 

“Adolescence — now being defined in research as ages 10-25 — is a really important time filled with cognitive flexibility,” added Dr. Uhls. “Young people are trying to figure out who they are and make sense of the world around them, all while using screens 24/7. This is a time where media can really have the most positive impact, which all of us in the business should really be thinking about more.” 

Watch the full talk here. To learn more about the 2024 Hollywood Climate Summit programming, visit hollywoodclimatesummit.com.

CSS Hosts Inaugural Next Gen Creators Summit with CAA and TikTok

June 24, 2024

Today, the Center for Scholars and Storytellers (CSS) at UCLA partnered with TikTok and the Creative Artists Agency (CAA) to launch the first-ever Next Gen Creators Summit, a one-day event to equip both emerging and established content creators with strategies to advance social issues and how to use their platform and voice for good. The summit’s programming centered around themes regarding mental health, LGBTQ+ advocacy, and climate change — featuring presenting partners like The Jed Foundation, GLAAD, and Futerra.

“We’re so grateful to be partnering with the CAA Foundation and TikTok to support the next generation of content creators,” said Dr. Yalda T. Uhls, founder and CEO of the Center for Scholars & Storytellers at UCLA. “With many being Gen-Z themselves or having primarily Gen-Z audiences, these influencers serve as vital role models and trusted voices for adolescents online, with the power to uplift and guide adolescents through online spaces to thrive and grow.” 

According to Axios, multiple polls have found TikTok to be a top source for news for Gen Z. And according to Edelman’s 2023 Trust Barometer, nearly 8 in 10 Gen Z and millennials expect to shape the future through work.  

"Creators hold the power to shape narratives, change perception, and drive action on some of the most critical social issues of our time. They are the voices that reach millions, the storytellers who can turn complex topics into relatable and urgent calls to action,” said Dennis St. Rose, executive at the CAA Foundation. “By convening together with the world’s leading issue experts and thought leaders, we hope to build strong relationships and foster meaningful and impactful collaboration." 

Starting with a powerful keynote address delivered by CAA client, actor, writer, and comedian Anna Akana (BLADE OF THE 47 RONIN), the invitation-only event served as a catalyst for partnerships between creators and nonprofit organizations to initiate meaningful conversations and actions. Throughout the day, there were thought-provoking panel discussions and interactive breakout sessions led by nonprofit leadership and subject matter experts, including:

• Erika Crowell, Outreach and Partnerships Manager for Global Mental Health (Trust & Safety), TikTok;

• Will Hilbert, Director, Storytelling & Culture Change, The Jed Foundation; 

• Jaya Adapa, SVP, Media and Content, Futerra;

• Tony Morrison, Senior Director of Communications, GLAAD;

• And many more.

The Next Gen Creators Summit was covered in The Hollywood Reporter. And content creators who attended were given access to a toolkit with key takeaways from the event, hosted on CSS’s website here.

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The Center for Scholars & Storytellers (CSS) at UCLA is the only adolescent-centered organization that brings together the academic and creative communities to unlock the power of storytelling and help the next generation thrive and grow. Our primary aim is to support storytellers who are working towards better reflecting the lives of adolescents ages 10-25. CSS is affiliated with UCLA through the faculty appointment of our founder, Dr. Yalda T. Uhls, in the Psychology Department, one of the highest-ranked in the world. We have more than 100 academic collaborators from universities around the world. Our award-winning work has been featured on NPR, the New York Times, the Los Angeles Times, Deadline, Good Morning America and more.

For media inquiries, please reach out to april@scholarsandstorytellers.com.

Making the moral of the story stick − a media psychologist explains the research behind ‘Sesame Street,’ ‘Arthur’ and other children’s TV

This article originally appearded on The Conversation on February 23, 2024.

To adult viewers, educational media content for children, such as “Sesame Street” or “Daniel Tiger’s Neighborhood,” may seem rather simplistic. The pacing is slow, key themes are often repeated and the visual aspects tend to be plain.

However, many people might be surprised to learn about the sheer amount of research that goes into the design choices many contemporary programs use.

For more than a decade, I have studied just that: how to design media to support children’s learning, particularly in moral development. My research, along with the work of many others, shows that children can learn important developmental and social skills through media.

History of research on children’s media

Research on how to design children’s media to support learning is not new.

When “Sesame Street” debuted in November 1969, it began a decadeslong practice of testing its content before airing it to ensure children learned the intended messages of each episode and enjoyed watching it. Some episodes included messages notoriously difficult to teach to young children, including lessons about death, divorce and racism.

Researchers at the Sesame Workshop hold focus groups at local preschools where participating children watch or interact with Sesame content. They test the children on whether they are engaged with, pay attention to and learn the intended message of the content. If the episode passes the test, then it moves on to the next stage of production.

If children do not learn the intended message, or are not engaged and attentive, then the episode goes back for editing. In some cases, such as a 1992 program designed to teach children about divorce, the entire episode is scrapped. In this case, children misunderstood some key information about divorce. “Sesame Street” did not include divorce in its content until 2012.

Designing children’s media

With help from the pioneering research of “Sesame Street,” along with research from other children’s television shows both in the industry and in academia, the past few decades have seen many new insights on how best to design media to promote children’s learning. These strategies are still shaping children’s shows today.

For example, you may have noticed that some children’s television characters speak directly to the camera and pause for the child viewer at home to yell out an answer to their question. This design strategy, known as participatory cues, is famously used by the shows “Blue’s Clues” and “Dora the Explorer.” Researchers found that participatory cues in TV are linked to increased vocabulary learning and content comprehension among young children. They also increase children’s engagement with the educational content of the show over time, particularly as they learn the intended lesson and can give the character the correct answer.

You may have also noticed that children’s media often features jokes that seem to be aimed more at adults. These are often commentary about popular culture that require context children might not be aware of or involve more complex language that children might not understand. This is because children are more likely to learn when a supportive adult or older sibling is watching the show alongside them and helping explain or connect it to the child’s life. Known as active mediation, research has shown that talking about the goals, emotions and behaviors of media characters can help children learn from them and even improve aspects of their own emotional and social development.

Programs have also incorporated concrete examples of desired behaviors, such as treating a neurodiverse character fairly, rather than discussing the behaviors more abstractly. This is because children younger than about age 7 struggle with abstract thinking and may have difficulty generalizing content they learned from media and applying it to their own lives.

Research on an episode of “Arthur” found that a concrete example of a main character experiencing life through the eyes of another character with Asperger’s syndrome improved the ability of child viewers to take another person’s perspective. It also increased the nuance of their moral judgments and moral reasoning. Just a single viewing of that one episode can positively influence several aspects of a child’s cognitive and moral development.

Teaching inclusion through media

One skill that has proven difficult to teach children through media is inclusivity. Multiple studies have shown that children are more likely to exclude others from their social group after viewing an episode explicitly designed to promote inclusion.

For example, an episode of “Clifford the Big Red Dog” involved Clifford and his family moving to a new town. The townspeople initially did not want to include Clifford because he was too big, but they eventually learned the importance of getting to know others before making judgments about them. However, watching this episode did not make children more likely to play with or view disabled or overweight children favorably.

Based on my own work, I argue that one reason inclusivity can be difficult to teach in children’s TV may be due to how narratives are structured. For example, many shows actually model antisocial behaviors during the first three-quarters of the episode before finally modeling prosocial behaviors at the end. This may inadvertently teach the wrong message, because children tend to focus on the behaviors modeled for the majority of the program.

My team and I conducted a recent study showing that including a 30-second clip prior to the episode that explains the inclusive message to children before they view the content can help increase prosocial behaviors and decrease stigmatization. Although this practice might not be common in children’s TV at the moment, adult viewers can also fill this role by explaining the intended message of inclusivity to children before watching the episode.

Parenting with media

Children’s media is more complex than many people think. Although there is certainly a lot of media out there that may not use study-informed design practices, many shows do use research to ensure children have the best chance to learn from what they watch.

It can be difficult to be a parent or a child in a media-saturated world, particularly in deciding when children should begin to watch media and which media they should watch. But there are relatively simple strategies parents and supportive adults can use to leverage media to support their child’s healthy development and future.

Parents and other adults can help children learn from media by watching alongside them and answering their questions. They can also read reviews of media to determine its quality and age appropriateness. Doing so can help children consume media in a healthy way.

We live in a media-saturated world, and restricting young children’s media use is difficult for most families. With just a little effort, parents can model healthy ways to use media for their children and select research-informed media that promotes healthy development and well-being among the next generation.

Drew Cingel

Associate Professor of Communication, University of California, Davis

Allyson Snyder

Ph.D. Candidate in Communication, University of California, Davis

Jane Shawcroft

Ph.D. Candidate in Communication, University of California, Davis

Samantha Vigil

Ph.D. Candidate in Communication, University of California, Davis

This article originally appearded on The Conversation on February 23, 2024.

Storyteller Insights: Differing Perceptions of Foster Care Portrayals

Youth with first-hand foster care experience were 3.43 times more likely to believe the portrayal of foster youth in the movie “Instant Family” was accurate compared to youth with no first-hand foster care experience.

This research snapshot highlights a striking revelation: youth with foster care experience are over three times more likely to view Instant Family as an accurate depiction compared to those who have never experienced foster care. This underscores a crucial point—real stories resonate. 

The film was inspired by the personal adoption journey of director Sean Anders, who also wrote the screenplay (with John Morris) and served as one of its producers. On the other hand, those unfamiliar with the system approach the film with skepticism, illustrating the need for media to bridge the gap between fiction and reality. 

A SHIFT IN FOCUS

In a world where media shapes perceptions, the portrayal of foster care has long been mired in stereotypes, casting a shadow over the real experiences of those within the system. In the past, for example, issues like child abuse and neglect have dominated storylines, painting a picture of dysfunction. Yet, films like Instant Family break this mold. These narratives veer away from one-dimensional portrayals, offering a richer, more empathetic view of the foster care experience. 

This research snapshot shows that in order to create positively impactful stories that resonate with audiences, storytellers must engage those who have lived experience with the complex human and social dynamics they seek to represent. Instant Family and other nuanced portrayals of the foster care system challenge long standing misconceptions, and pave the way for a more informed and empathetic understanding of foster care by embracing authenticity over cliché.

Below we break down the findings.

THE STUDY 

This research snapshot is based on the findings from a larger research study, in which we surveyed 42 youth, aged 18-26, across California. We examined the differences in how young people with foster care experience and those without foster care experience perceived the accuracy of the depictions of foster care included in Instant Family and other, recently released films that depict the system. For Instant Family, participants viewed a scene that featured one of the children fostered by the protagonists (description below). The data were then analyzed to identify significant differences.

Our findings reveal a profound divide in perceptions of Instant Family between youth with and without foster care experience. Those with firsthand experience found the film's portrayal of foster youth to be strikingly authentic, identifying closely with the characters' emotional journeys, especially in scenes depicting complex feelings like betrayal and disappointment. They lauded the film for mirroring the multifaceted realities of life within the foster care system.

Media Example Synopsis: Instant Family

Instant Family follows the story of two foster parents, Pete and Ellie, who unexpectedly foster three siblings whom they later adopt at the end of the film. The specific scene shown to survey participants takes place after a court hearing where Pete and Ellie attempt to gain legal custody of the three foster children through adoption. The eldest of the foster children, Lizzie, reads a statement to the judge, detailing a negative experience with the foster parents, resulting in the children being placed back into the custody of their biological mother. The next day, the social workers on the case arrive with unexpected news–that the children’s biological mother was not ready to take them back. It becomes apparent that Lizzie took the initiative to complete the paperwork for the family’s reunification, despite her mother’s renewed struggle with her substance addiction. Overwhelmed by this revelation, Lizzie runs away in tears, with Pete and Ellie chasing after her. They eventually catch up with her and offer reassurance of their love.

FINDINGS DISCUSSION

Our findings reveal a profound divide in perceptions of Instant Family between youth with and without foster care experience. Those with firsthand experience found the film's portrayal of foster youth to be strikingly authentic, identifying closely with the characters' emotional journeys, especially in scenes depicting complex feelings like betrayal and disappointment. They lauded the film for mirroring the multifaceted realities of life within the foster care system.

“I have been in this situation before and the way the actress portrayed the foster youth’s betrayal felt so similar and real. It was an accurate representation…the girl was behaving appropriately to her situation, but people [who are] unaware of the care system might have perceived this reaction as negative and over emotional.”

— (White, Female, Foster Care Experience, age 19).

In contrast, those unfamiliar with foster care were more critical, viewing the movie as an overly idealized representation. They pointed out the disparities in the foster care system, such as varying levels of support and resources, and felt the film offered a rosier picture than the actual experiences. This difference in perspective underscores the impact of personal experiences on media interpretation, especially around sensitive and complex issues like foster care.

“There is so much case to case variation, but foster parents don’t often have the money/resources for the “perfect” house, case workers aren’t always so engaged with youth, etc. This clip makes foster care look a lot better than reality. It is a hopeful view of foster youth (including reunification), but maybe not the most accurate.”

— (White, Non-Binary, No Foster Care Experience, age 26).

CALL TO ACTION: The findings highlighted in this research snapshot demonstrate the need for more accurate representations of the foster care system in media that serve to bridge the gap between perception and reality. In addition, many individuals’ views and behaviors are heavily influenced by the stories they encounter in film and TV. Emphasizing harmful stereotypes of foster youth in media can contribute to the further stigmatization of foster youth and discourage potential foster parents. Storytellers can play a vital role in promoting a more informed and compassionate understanding of foster care. 

“Children and young adults in foster care are often depicted as villains in media. These negative images are rooted in deficit-laden ideas of who they are and reified through harmful stereotypes and tropes.”

— Demontea Thompson

“I think when people hear the words ‘foster care’ it brings to mind a lot of negativity and fear, and what I found in my travels through the system, over and over again, is that you meet the kids, and you go ‘Oh, they’re just kids. They’re just kids, and they need families and they need love, and they have love to give, just like any other kids.”

— Sean Anders, Writer and Director, Instant Family (The Harvard Crimson, 2018)

Recommendations for Storytellers

We offer the following recommendations for storytellers:

Consult with People with Lived Experiences: Collaborate with foster youth, foster parents, biological parents, and case workers who have experienced the foster care system firsthand to ensure that stories are authentic to real-life experiences. 

• Diversify Representation: Incorporate a broader spectrum of experiences and stories related to foster care, including positive and nuanced portrayals, to counteract the perpetuation of negative stereotypes.

• Raise Awareness: Use storytelling as a means to raise awareness about the foster care system, its challenges, and its successes. This can help create a more informed and empathetic public.

• Challenge Stereotypes: Consciously challenge and debunk stereotypes and biases that have been historically perpetuated in media. Showcase the positive contributions of foster parents, case workers, and the real-life experiences of foster youth being normal kids rather than overly inspiring and resilient or hopeless “charity cases.”

  By adopting these recommendations, storytellers can play a crucial role in reshaping public perceptions of the foster care system and contributing to a more accurate and compassionate understanding of this important social issue.

Authors: Demontea Thompson, Emma Terrell, Dr. Alisha J. Hines 

Acknowledgments

This research was funded by:

Many thanks to CSS interns Jessica Dam and Fernando Becerra for their assistance with this study. Thank you to the Center for Scholars & Storytellers Lab, an amazing group of people who consistently helped refine the data collection and analysis in this project.

Thank you to our Advisory Council, Taylor Dudley, Thomas Lee, Nicole Cadena, Cheyenne Cobb, and Mike Farrah who mentored and guided us along the way toward understanding the impetus of this work and deepening our understanding of the populations we aim to impact. 

To the survey respondents, we thank you for shedding light on the issues presented in the original survey. And to the foster care community, thank you for being vocal about what matters to you.

To see the methodology and references for this report, click here.

To see our Foster Care and Adoption Toolkit, click here.

What’s Your Money Story?

One of my first students at Pockets Change told me, “If I don’t have a plan for my money, my money’s gonna have a plan for me.”

It’s a simple statement that also happens to be some of the best financial advice I’ve ever heard. 

We start forming relationships with money between 3-7 years old; while we’re listening to Elmo sing about getting new shoes or sneaking to the doorway as our parents watch Succession. Fictional characters’ wants and needs fill more than screens; they shape our financial narratives. 

Across storylines, characters exemplify money personalities in action. Every iteration of Teenage Mutant Ninja Turtles spends their (literally) hard fought loot on pizza, but each member embodies distinct habits & tendencies. That’s why our multigenerational Hip Hop & Finance programs start with finding your money personality. We use a simple, 2 question money personality quiz to determine one of four money personalities. The questions are rooted in financial psychology and behavioral economics.

Through money personalities, Students, teachers, and family members of all ages have been able to forgive themselves and move forward. The 4 personalities are full of relatable tendencies that make sense of the seemingly irrational ways we deal with money. Do you only buy things on sale? You may be a complicator! Do you end up blowing the big check you just got because it was from an Evil Corporation? You might be a money monk.

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The money havers and knowers love telling young adults about the necessity and urgency of making a financial plan. Set long term goals, invest for your future, make a vision board, max out your 401k, build generational wealth. 

Save, invest, and protect the right percentages of your wages, advocate for raises, stick to your plan, and everybody will be wealthy and we’ll have world peace. Do the right thing? Spike Lee made a film about how easy it is to do that.

It’s why many officials want financial education taught as a part of math class. Hard work + discipline = success… except when it doesn’t. 

There’s no mathematical or magical formula for perfecting our finances. Budgets are personal and cash flow projections are literal guesses. If all that seems fake, and made up, good! So is money.

Take a breath. [Editor's note: ‘take a breath’ is the definition of inspiration]

Money is about more than numbers, it’s a tool to create change. As storytellers, content creators, and community builders we have a tremendous power to deconstruct money myths and cultivate empathy for the financial exploitation, discrimination, and oppression young adults are being called to navigate. 

Our research partner, Knology, found Pockets Change’s approach highly effective in building financial resilience through hip hop pedagogy. Through shared practices and resources we have meaningful money conversations across mediums. 

Storytelling creates a transformative space for real, open, and empowering conversations about money. As our students explore their own relationships with money, multimedia creates paths to overcome obstacles, encourage empathy, engage curiosity, and envision possibilities. 

Our shared money stories shift narratives that have held back our communities for generations. We encourage content creators and program leaders to reflect on where financial themes could enrich their next project. 

Bring Money Stories to Life with Actionable Insights:

• Expand storytelling beyond the “middle–class centric” values and assumptions too often depicted. Explore the breadth and depth of how our relationships with money show up.

• Share empowering stories of navigating uncertainty and enhancing financial wellbeing even when money is scarce or employment precarious. 

• Promote self-acceptance and efficacy with the message that “whatever it is you have; these are the ways that you’re able to save and this is what you’re able to do to grow.”  As one individual told us, the program approach was valuable because it taught youth how “not to have money control you.”

Media’s Role in Shaping Your Perception of School

Your snooze your alarm for the last (and fifth) time before finally lugging yourself out of bed to get ready for first period. You have an AP test today you’ve barely studied for after getting home late from volleyball practice, a sport you’re only doing so you can write a college essay about your budding athleticism. Speaking of, applications are due this week and you need to recount every instance you’ve done something meaningful in the hopes that your accomplishments will be niche enough to get you an acceptance. 

You’re walking to campus, weaving through the heavy press of people all trying to get somewhere, probably to their lectures that started 15 minutes ago because contrary to what your high school teachers told you, professors don’t care about attendance. You’re left to your devices which is why your last meal was an expired bowl of ramen noodles and you forgot about today’s club meeting.  Maybe if you budget your time right (consult your local business major) you can still make it to the party tonight with all of your friends who insist going out is what college is about! 

High school and college, both critical points in the lives of any young adult and yet simultaneously the most confusing of years. You have two goals that seem irreconcilable - socially developing and thriving and building an impressive academic repertoire. You are stuck on this seesaw of life, trying to balance and stay steady but you always find yourself tipping towards one end or the other.

Finding this balance between two equally important aspects of life is a challenge adults haven’t mastered quite yet. With the heavy presence of social media, TV and film, this pressure worsens. Youth feel the need to fit into the mold of a high school or college student that the media they so heartily consume has dictated to be true. 

Movies that come to mind include “Legally Blonde” and “Pitch Perfect” both of which portray an unrealistic and damaging view of what it means to be a college student. In the former, Elle Woods gets into Harvard Law School with minimal qualifications and in the latter being part of the acapella club supersedes all other areas of life including academics and family. 

These are two of many examples where media creates unrealistic and unattainable expectations for budding students or it narrows its focus on either the social or academic aspect of school, but never both in conjunction. All of this may contribute to the declining mental health and increased stress of students who feel cheated out of their life experiences when they arrive at school and find it to be nothing like what the media predicted. 

The National Center on Safe Supportive Learning Environments reported that 44% of college students across 133 campuses reported feeling depression, 37% had high anxiety and 15% said they considered suicide. Creators can do their part to shift this narrative and produce content that alleviates students of the unfair or unrealistic expectations they believe to be associated with school. 

Student #1, a senior at UCLA, looks back on what defined her high school experience and what served as the unrealistic standard she tried to uphold in college. Others students shared that high school involved playing a sport, after school activities and endless outings with friends but Student #1’s emphasis on stress stood out. 

“I view [high school] as being unreasonably stressed about college and always going through weird character-developing moments to help you figure out who you are and who your friends are. ”

— Student #1

 While the awkwardness of discovering oneself is a normal progression of high school, Student #1 explained that many TV shows made her believe that she could only embark on this self-discovery journey if the things she experienced were extreme, dramatic or all-consuming. She referenced TV shows like Euphoria, Gossip Girl, the OC and 90210 for creating scenarios that would never happen in real life and for fueling her disappointment when high school and college inevitably weren’t like that. It prompted her to wonder if she was forgoing a good high school experience or not preparing enough for college and life beyond. 

Euphoria was celebrated for its honest portrayal of drug addiction amongst teens but it also bookmarked every high school experience with drugs, sex and crazy parties, something Student #1 felt shouldn’t be favored over showing an ordinary, awkward and sometimes boring but equally formative time in high school. 

Student #2, a sophomore at UCLA agreed and said high school was more about “being socially awkward and having bad friends.” 

She adds that TV shows also rely too heavily on stereotypes of high school students and cliques that can perpetuate toxic environments in real life. Rather than focus on unrealistic and isolating tropes like “the jocks” or “the popular kids” or “the nerds” she encourages the media to portray high school as a safe place to explore oneself and be ordinarily extraordinary. 

The media has been criticized for this in the past and one of the underlying problems is casting. Teen characters are often cast as unrealistically and stereotypically attractive adults rather than teenagers. Myrna Hart, researcher at UCLA Center for the Study of Women, says this feeds into a larger issue about body-image, role models and perception of age. 

“Viewers never really know what an older woman, say 50 or 60 or 70, should realistically look like,” she says in an interview with Teen Vogue. “This precludes women from having any positive role models for aging.”

A 20 or 30 year old adult’s appearance is fully developed and stays the same, which doesn't reflect the fluctuation of features that teenagers experience. If a character that a young viewer idolizes lacks the imperfect skin, changing weight and messy hair typical of a pubescent teen, there is a harmful disconnect from reality. 

PhD and clinical psychologist Barbara Greenberg in an interview with Teen Vogue says that this "leads to all kinds of body-image and social-comparison issues and we know that social comparison can be a thief of joy.”

Students #1 and #2 push for more teenagers being cast as teen characters and for more ordinary and simple depictions of the high school experience. They believe there is value in capturing the quiet but important moments of self-discovery and identity exploration too.

The portrayal of college students in the media also creates a heavy disconnect between the screen and real-life. The use of stereotypical characters and romanticized plot lines contributes greatly to the schism students feel between being social and academic and their overall fear and uncertainty about the future. 

When asked, students insisted that the media taught them college was not just about doing everything, but being good at everything too. It was about partying, drinking, having a friend group but also going to all your lectures, getting all As, volunteering, doing internships and holding board positions in clubs. 

An example of one extreme is the TV show Girl Meets World where students abandon academic pursuits and treat the classroom like an open forum to discuss friendships, family and identity formation. On the other end, shows like Big Bang Theory show characters whose every aspect of life is defined by school and work. The show demeans characters who have aspirations and interests outside of academia and STEM. 

Student #3, a sophomore early in her time at UCLA agrees it is important to be academically successful but wishes that the media portrayed academic interests in a more holistic manner. 

“Doing good academically is actually important. In movies the people who work hard in school are made fun of but in reality it’s so important”

— Student #3

On the other hand, Student #4, a senior ending her time at UCLA, says she found college did embody some of the social stereotypes she saw on TV.

When asked what she sees as a typical college student she says, “it is a greek life college kid who focuses on classes but also goes out on weekends and is pretty lazy other than that.”

The conflicting opinions of students proves that yes, college life looks different for everybody but more importantly, that the media doesn’t show the importance of balancing both lifestyles, of pursuing a social life without forgoing an academic one and vice versa.  This well rounded reality is a hard one for students to accept when they don’t have a clear and accurate example of it in the media.

Student #5, a senior who is the voice of many misrepresented students, wishes the media was instead honest about school and life falling somewhere in the middle.  

“I wish the media addressed the way everyone wants college or their lives to look awesome and as good as possible and showed the moment of finally talking about how it isn’t perfect”

— Student #5

It is important to both study and socialize but there are healthier and more effective ways to maximize your time in college. The key is not falling into an extreme category of just partying and drinking or dedicating all your time to school and studying, rather structuring your time in college can help you balance it all. 

The Jed Foundation encourages students to order their priorities, show up to class as much as possible, join clubs and socials and expect the path to be imperfect. 

“Adjusting to college life isn’t easy for anyone, but in time you’ll figure out what works best for you,” the Jed Foundation says. “And, at any time along the way, you can reach out for the support you need and deserve.”

College is also a time of struggle for students discovering not just their academic interests but who they are and who they want to be. According to social comparison theory, people, especially students, determine their personal, social and academic worth and interests by comparing themselves to others. In fact, some peers are more likely targets of this attention than others based on their visibility and levels of perception.

With today’s youth easily and constantly perceiving television and film, it is no wonder students look toward their screen-counterparts for how to behave, look and act. Social media has also greatly contributed to this kaleidoscope of perception. With influencers and celebrities up close and personal, it’s easier for consumers to think their life should mimic theirs. As a result, average consumers build a warped idea of wealth and success but also a narrow idea of what it means to socially and academically thrive. 

Some influencers are not in school and they find happiness in the daily content they post. Other influencers are in school but also balancing brand deals and red carpet events. Social media’s persuasive nature can convince impressionable youth that their success should look identical to that, that their lives need to be parallel to Charli Damelio’s or Kim Kardashian’s. In reality, social and personal success is multifaceted and a college student with 0 Instagram followers can be just as happy and prosperous. 

With self-development falling directly into the hands of what we see in the media, it is more important than ever to abandon outdated and damaging stereotypes in favor of honest and authentic representation and to offer support to students who need it. 

Student #4 encourages the industry to “ talk more about the mental health aspect of the high school/college experience” while Student #5 wants them to address “more issues with eating disorders and people trying to be stereotypically skinny and perfect.” 

For kids approaching the milestone of high school and college, these changes could alter their perception of what it means to be a successful and happy student. 

As Student #2 so aptly says, school is not a race to being the most beautiful, most successful, most intelligent, it is about learning something meaningful every step of the way.

“It is about preparing for life. Educate yourself and find how to problem solve in academics and your social life. Have fun and experience things to learn the correct way to respond and to be happy. ”

— Student #2

A Note from the Gen Z Authors of the 2023 Teens & Screens Report

Less romance and more friendship - this is what the adolescents of our 2023 study have asked to see from media, entertainment & storytellers (among other things).

As researchers in the industry, this felt like a headline-worthy discovery. But as young people, this felt like an idea that could casually blend into our many conversations and reflections on community (or lack thereof) that have been centerstage for our generation this year. 

Late night musings with friends, discourse on social media, and personal meditation on what it means to connect and bond with others have all been consequential “gifts” from the COVID-19 pandemic. The outbreak and the isolation that came with it occupied pivotal years of emotional and relational growth for much of Gen Z, with current high school freshmen being in 5th grade (!) when stay-at-home orders were first announced. 

Even as we’ve returned to more in-person routines, articles and YouTube essays on persisting loneliness continue to float around: some with a more analytical perspective, exploring reasons we may have entered “the Friendship Recession,” others more personal and titled with a simple but heartbreaking “I have no friends.”

So what’s the sitch? Earlier this year, U.S Surgeon General Vivek Murthy declared an epidemic of loneliness and isolation, his advisory confirming that the pandemic simply brought an existing issue to the forefront of our collective consciousness. Social connection has already been declining for decades prior, with the rate of loneliness among young adults having increased every year between 1976 and 2019. Quite surprisingly, young adults today are twice as likely to report feeling lonely than those over 65. 

Gen Z is already discussing solutions: #UrbanPlanning on TikTok currently has 434.2M Views, with a frequently discussed topic being “walkable cities” and how they are needed for social well-being. A trending sub-topic is the necessity of “third places,” a social environment such as a bookstore or diner, separate from one’s living or working spaces, “where you relax in public, where you encounter familiar faces and make new acquaintances.” Think Central Perk in Friends! 

The problem is, there aren’t many third places left for young people. From the death of malls, to the criminality of “loitering,” and a transactional culture that demands spending money to hang out in such a place - where do young people go?

Arguably, as “digital natives,” media (particularly, social media) is where young people tend to land on as their third place. 

How does this digital third space contribute to this generation’s collective identity? In our opinion, what’s crucial for storytellers to grasp about Gen Z isn’t the latest slang or weekly trends. Rather, what’s important is understanding the expanded worldview that comes with growing up on the internet and being able to interact with a myriad of different perspectives. What’s important is understanding how the opportunities they’ve had to explore their own identities and understand others’ identities have shifted and changed the kinds of stories they’re open to, the kind of characters they want to see front and center, and the storylines they believe to be authentic. 

And while it’s essential to examine how this “digital native” identity sets Gen Z apart from previous generations, it’s also important to acknowledge that they are the same as previous generations: they are social beings that need face-to-face interaction, something that digital connectedness cannot replace. 

We received the following response from a 12-year-old participant in Oklahoma: 

“The Sand Lot is a baseball movie i like. i wish i could go outside and play like [they] did at the time. today its not safe”

Though simple, his words felt like a poignant representation of what many of our respondents seemed to be hinting at: that the core essence of kids (at heart) and teens will always be the same – from camaraderie to curiosity and a sense of adventure (or even just playing outside) – and it appears that somewhere along the way, this may have been forgotten in storytelling. 

So young people are feeling a lack of close friendships, a separation from their community, and a sense that their digital citizen identity has superseded their sense of belonging in the real world - What can you do about it? 

Well, it goes without saying that life and art are in perpetual conversation with one another. But, we cannot underestimate the role art has in this dynamic: Oscar Wilde shared in his 1891 essay, The Decay of Lying, that despite the existence of fog in London for centuries, its beauty and wonder is noticed because “poets and painters have taught the loveliness of such effects…They did not exist till Art had invented them.” 

Storytelling (as an art) has the incredible power to influence the mood of the zeitgeist and the lens through which people see the world. Ask young people what it is they want to see, then listen: Shine a light on the ideas, characters, and relationships they desire in your stories, and the same light will appear in the real world. 

The Social, Political and Personal Effects of Trans Media as told by Tre’vell Anderson

Queer history is not often what society’s heteronormative lens perceives it to be. Queer history dates back to a time when the word did not exist but people who expressed their truest selves did. Tre’vell Anderson, in their book “We See Each Other: A Black, Trans Journey Through TV and Film” explores their own journey of self-discovery as bookmarked by queer media throughout the ages. 

Anderson is a journalist who co-hosts podcasts FANTI and What a Day and advocates for trans visibility through their board position in the National Association of Black Journalists. Their inspiration for “We See Each Other: A Black, Trans Journey Through TV and Film” was a culmination of the questions and comments they had on the history of trans images on the big screen. 

“Often film and television in our culture is deemed as superfluous, having no meaning or not being important or significant. But, for so many of us film and TV has been a possibility model in terms of how we could potentially show up in the world and it became important in the telling of this history.”

The Morning Consult and Trevor Project reported that out of 2,000 American adults polled, only 29% said they know someone who identifies as transgender. Anderson is quick to point out that most people merely believe they haven’t. 

“Trans people have always existed, we are existing in everybody’s community right now. Perhaps you don’t know that trans people exist in your community or you don’t know that you’ve met a trans person because you, the individual, have not made that space around you safe enough for that trans person to tell you.”

Hollywood’s Role

GLAAD has been tracking the presence of trans characters in its annual Where We Are on TV report for many years, noting that in the most recent season of TV analyzed, five percent of characters were openly trans. This represents a higher percentage than the number of openly trans Americans in recent data, meaning that many Americans likely have a better chance of encountering a trans person on TV than in their hometowns.   

Many Americans have learned everything they know about the trans community from the media and the trans narratives they feature. Media is still showing transgender individuals in scenes and experiences that are intended to implant the idea that being transgender is synonymous with something “ridiculous, horrible and abhorrent,” as Anderson states. It plays a large role in not just the erasure of trans history but it creates a complacence in audiences where they don’t question these narratives of transgender people that are being constantly perpetuated.

“What people learn about us as trans people is coming from film and TV, coming from our cultural productions. So how does what we see on TV and in movies manifest as the very real violences that we as trans people, especially black trans people and especially black trans women see in film?”

In Anderson’s opinion, films like “Psycho” and “Silence of the Lambs” that show transgender people or people in drag as killers, predators, groomers, and/or criminals promote dangerous ideas to their audiences. They feel that audiences are more inclined to accept seeing trans people on the screen being killed because, subconsciously, they do not value the lives of these characters as they might other characters in the story. 

“You don’t even question it, which is evidence of how in a lot of ways, so many people, trans people included, become complicit in transphobia and anti-trans hate, transmisia... So a lot of my work at this moment is about getting people to realize the ways in which we are all complicit in the violence that we say we are against.”

However, Anderson points to the people who spearheaded trans visibility in media: Candis Cayne - the first transgender actress to play a recurring transgender character on the primetime show, Dirty Sexy Money, Chaz Bono - whose transitioning journey was highlighted in the documentary, Becoming Chaz, and was screened at the 2011 Sundance Film Festival and appeared on the Oprah Winfrey Network, and Laverne Cox - the first transgender person to be nominated for a Primetime Emmy Award and who later won a Daytime Emmy Award for being an executive producer on “Laverne Cox Presents: The T Word.”

“You have these people but then you also have a generation, generations of trans folk who are working actors, working directors, producers, who are visible on social media and beyond at the same time.”

Political Backlash

Despite this progress, Anderson explains how they, in their book and in their life, see trans visibility as a double-edged sword. While this visibility is impactful in portraying the trans community in a complex and positive manner, it also places a spotlight on the community that can be exploited to stoke fear, political action, and in some cases, violence. 

“That visibility, which has allowed so many people to be seen, which has allowed so many people to actualize their truth because they now have an example of what that could look like at the same time this means we are seeing the trans community in particular, but the LBGTQ+ community more broadly, facing legislative attack.”

Supporting the trans community has become highly politically charged. It is all too common for conservative social media users to post angry messages about listing personal pronouns or for conservative parents to appear on the news complaining about trans athletes competing against their children. Legislatively, this culture of outrage has resulted in laws over who can use which bathroom, bans on gender-affirming care, and even the regulation of speech surrounding LGBTQ+ issues in schools. These harmful policies dehumanize trans people, deny them basic human rights, and send a message that how trans people express themselves is intolerable. 

Even before the term transgender existed, people who identified as such were present. In these instances, the lack of language perhaps offered them some reprieve from the hatred transgender people experience today. Anderson points out people like Marsha P. Johnson - who wasn’t calling herself a transgender woman - and Slyvester James Jr. - who wasn’t identifying with today’s terms like gender non-conforming or non-binary but was still expressing oneself in an androgynous manner. Now language is being weaponized by people who are too narrow-minded or hateful to expand their words and perspectives. 

“By weaponizing the visibility of a community that folks feel like they don’t know because of language, while also exploiting what is just a natural gender ignorance, folks who don’t know this new language or haven’t heard it, who aren’t in social justice or socially component communities when it comes to transness and non-binary identity are doing this because it allows them to have a greater base of support of hate.”

Supporting the Trans Community

Anderson’s book, “How We See Each Other” is an essential resource in not only understanding the good and bad ways that transgender people have been represented in the media overtime, but also what storytellers should be doing to support the trans community when they need it most. Within its pages, Anderson encourages everyone to look at what content they are consuming and employ that awareness to create a safer environment for trans people in everyday life. 

“What I’m talking about in the book is how so many of these images have helped me create out of the depths of my imagination this being, this person that I am today.”

While there exist people whose only intention is to erase and diminish, to tell the transgender community who they can and cannot be, Anderson preaches a brave and earnest freedom that has been the antidote to all of this hatred. 

“I’m going to be who I know I am. I’m going to articulate myself based on the truth of my own internal knowing not what you or a doctor or the Republicans or the Democrats say we are.”

The conditioning that says your autonomy and freedom should be stifled or that you are confined to the box that society has placed you in based on the gender you were assigned at birth is rightfully being broken with this proud way of thinking and existing. 

Media corporations and people in society as a greater whole can all contribute by starting simply with looking at their own actions and beliefs. Anderson urges everyone to look inside themselves and recognize whether they are creating a safe space for trans people in their local communities. Whether you know or not that you are coming in contact with a transgender person, there should be an inherent respect and safe intention in everyone’s actions. 

For Anderson that means fighting back on transphobic jokes, asking employers if the insurance offers gender-affirming care, advocating for gender neutral bathrooms in communities or any other small but impactful step you can take locally. 

In the film industry, this means working to create more opportunities for transgender people to find jobs and find fame simply by being who they are. 

“We don’t have a transgender movie star, like a transgender Will Smith or Denzel Washington or Viola Davis. That largely connects to the opportunities that trans actors and actresses have been given and offered. In this industry we don’t have a Hollywood studio led by any trans people.”

These are institutional changes that society should make to broaden the scope of knowledge and human experience that the media is showing but more than that, it starts with a single person’s actions. 

“I know it sounds innocuous but the reality is that we need people to stand up for and assert the humanity of trans people proudly and loudly.”

For Anderson, they believe that if there had been this education and awareness of transgender communities when they were growing up, they could have had an entirely different experience, one that they are hoping young transgender people can finally have today. 

“Who might I have been if I knew the outsized impact that Black folks have had on culture and society since the beginning of time? Who could I have been if I had known about the trans pioneers? Imagine who I could have been if I had all of those things, imagine who [transgender people] could be when fully equipped with the information that accurately reflects the society that we live in currently and that we have always lived in.”

This bittersweet provocation proves the importance of enriching society with more culturally component resources and education and not allowing the erasure of entire communities from history. 

“It requires us to remain vigilant in our storyteller, in our advocacy and everything else in between.”

This issue of trans-visibility and trans-violence is not just an issue for the moment. It is something to consider and combat everyday through education, compassion and practiced acts of inclusion. Storytellers and filmmakers can use their platforms to create more content that inspires audiences who, like Anderson, struggled to see themselves reflected in the media. Writers and journalists can tell the stories of individuals who are queer and can accurately comment on the experiences they face. It is the responsibility of creators and consumers alike to increase visibility with everyday small but important actionable changes.