Jasmina, 14
Media Consumption: 3 hours a day on TikTok and Instagram
Favorite Media/Technology: phone
How do you and your family interact with media/technology?
My family and I interact with media/technology every day. Some of us use it for work and some of us use it for personal entertainment. My parents mostly use their phones for work meanwhile I always use my phone for personal entertainment simply because I need some relaxation after a long school day.
How do you and your peers interact with media/technology?
My peers interact with technology differently than I do. Some of my peers actually talk to their friends on messages and some use it just for school. I use it for entertainment and relaxation, like scrolling through TikTok and Instagram and posting my drawings. I like to draw. I also watch a lot of DIY and drawing tutorials.
What do you use media for?
I use media for entertainment since I want to feel relaxed and have fun. I also post my drawings on media just to get likes and views. Also, search up for the new drawings videos.
What is your favorite/least favorite thing about technology/media?
My favorite thing about social media is that I can talk with a lot of people who have the same interests as me. The thing that I dislike on social media is bullying. These days people bully each other and aren't afraid to hurt other people's feelings.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
I want them to know that I love what they are doing and I hope they don’t stop! And make social media more fun and useful.
What media are you using more now because of the COVID-19 pandemic?
TikTok and Instagram, I started to use during COVID-19.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
TikTok, Instagram, and parents.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
TikTok and Instagram help me to stay calm during COVID-19. They gave more relaxation.
What lessons have you learned from the COVID-19 pandemic?
The lesson I learned from the COVID-19 pandemic is how to live life online. I also learned a lot of DIYs from TikTok. New cooking recipes and other hacks that I can use for school.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
Yes, I have. I learned that media takes your time easily. For this reason, I try to manage my time using social media for particular periods of time.
Interviewed by: Navbakhor Absamatova, UCLA Student
Yue, 5
Media Consumption: Every day
Favorite Media: Paw Patrol/Peppa Pig/Patty Shukla Kids TV
How do you and your family interact with media/technology?
When Yue was two years old, she liked dancing with Patty Shukla on YouTube. Since she was 3 years old, Yue started to watch cartoons such as Peppa Pig. Currently, her favorite TV show is Paw Patrol.
How do you and your peers interact with media/technology?
Because of COVID, Yue and her school had to use video meetings for online classes. For the past two years, Yue has been using Voov Meeting and DingTalk to take lessons from pre-school and practice dance with teachers.
What do you use media for?
Yue mostly uses media for learning and entertainment. For one, due to COVID, Yue took advantage of media to take classes with her classmates and teachers from pre-school. For another, she also uses media to watch cartoons. This also helps her to learn English.
What is your favorite/least favorite thing about media/technology?
Yue said her favorite thing about media is that she can watch the stories of dogs in Paw Patrol. Her least favorite thing about media is that her mom turns it off after 1 hour.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
To make each episode of cartoons longer so that others will not notice how many episodes have passed.
What media are you using more now because of the COVID-19 pandemic?
Yue started to use Voov Meeting, Zoom, and Dingtalk more often as tools to have video meetings with her class. She uses WeChat and Zoom as a form of communication with friends and teachers, chatting online with play dates and taking dance classes when school was closed.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
Yue gets most of the information about COVID-19 from her parents.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
As a 5-year-old girl, Yue does not understand much about the anxiety and frustration people have regarding COVID-19. She is busy with the activities that school and her parents have planned for her. She took online lessons when the school was closed, and she was occupied with YouTube Kids and Disney movies at home when there were lockdowns. She also does crafts with online tutorials, such as making puzzles or doing paper folds.
What lessons have you learned from the COVID-19 pandemic?
It is important to stay healthy and follow the rules (such as wearing masks and maintaining social distancing).
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
Yue thinks media brings convenience to people. She thinks it is amazing that she can communicate with others through video even though they are physically apart. Yue also feels that she had learned new knowledge because of media, such as sharing.
Interviewed by: Annie Qingyang Li, UCLA Student
Riley, 12
Media Consumption: 3 hours per day
Favorite Media/Technology: TikTok, Instagram, and YouTube
How do you and your family interact with media/technology?
Riley shares some of the larger pieces of technology at home but has been given the responsibility of her own personal smartphone. Her mother allows her to use most apps. There are a few apps Riley isn’t yet allowed her own account with, like Facebook.
How do you and your peers interact with media/technology?
Riley describes the media usage at home as very similar to her friends. Some have their own phones, some do not, and they all use laptops or iPads for school.
What do you use media for?
Riley understands how to use the technology and the apps but doesn’t yet produce much of her own content. She does not feel pressured to post frequently on her social media feeds; she just posts what she wants, when she wants.
What is your favorite/least favorite thing about media/technology?
“My favorite thing is that I get to interact with people, you get to see the daily lives of other people. My favorite thing is also other people motivating others to, you know, live life in a good way. The thing I don’t like about technology and media is that people use it for the wrong things such as cyberbullying.” A few years ago she had been playing a game with her brother on an app that was popular with kids. Kids Riley considered friends “got on the app and began calling me names.” When asked if this turned her off from playing the game, she answered that, “It didn’t turn me off from the game, but it motivated me a lot. They called me some names I didn’t like so I started working out with my dad to get into better shape. It really changed me, and it made me realize, this isn’t going to stop unless I do something about it. So, I went outside, started working out, got myself in shape, made a lot more friends, friends that I knew were better for me.”
What is one thing you want the people who create the media you like to watch/play/interact with to know?
“All I can say is that it is very addictive.”
What media are you using more now because of the COVID-19 pandemic?
Riley has begun using her laptop more frequently because of COVID, not only for homework, but also to keep up to date on the virus.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
While her parents mostly educate her about what is happening, she likes to know what is happening for herself. When her mother suggested they make the decision to get vaccinated as a family, she and her brothers already knew they wanted to do it.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
TikTok, Instagram, and YouTube.
What lessons have you learned from the COVID-19 pandemic?
Riley tries to stay cognizant of how long she is using a screen versus her time on other off-screen activities. “There are things on the phone that you can see, but there is so much more around us that is not on the phone.” She hopes that the virus doesn’t stop her school play from happening again. Last year she got Alice in Alice in Wonderland, but it didn’t happen because of the virus. Now she got the part of Charlie Bucket, and she is really excited to be one of the leads.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
Online learning during the COVID-19 pandemic “did not” disturb Riley’s learning. She had no challenges adapting to the technology, although she prefers in person learning because online classes “can lag.” Riley is a very energetic kid who is always eager to learn so it is not surprising that she says that all the online learning during covid taught her to value her offscreen activities that much more.
Interviewed by: Tiffany Schwanz, UCLA Student
Lauren, 17
Media Consumption: Don’t know how often
Favorite Media/Technology: Instagram or TikTok
How do you and your family interact with media/technology?
Most of my family has phones so we use social media apps a lot to entertain ourselves.
How do you and your peers interact with media/technology?
Similar to my family, we all have a cell phone so we watch videos on our phone and entertain ourselves. We also do most if not all of our school work on a computer.
What do you use media for?
I use media for entertainment and for communication purposes.
What is your favorite/least favorite thing about technology/media?
I think my least favorite thing about it is how superficial it has become. A lot of people stress themselves out over how many people like their photo or how many followers they have. I also don’t really like how it’s so open because certain people can message me inappropriate things. The only thing I can do when I receive those messages is to block and report them. Even then, the most that can be done is the banning of that account. People can create multiple accounts and keep sending inappropriate messages.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
I’d like them to know that it's very uncomfortable for people to receive inappropriate messages. I wish that they would take more preventative measures so that it doesn’t happen.
What media are you using more now because of the COVID-19 pandemic?
I use TikTok a lot more since COVID.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
I get my information from a mix of TikTok, Instagram, the news channel, and my parents. Some of my friends are very into social politics and such and will post about them on their social media so I can see when something happens. I also watch the news channel sometimes with my parents and we sometimes talk about the news we see.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
TikTok and Instagram have definitely helped me stay busy during the pandemic. I feel like they were really good at being my distraction and entertainment since there wasn’t really anything to do. I don’t think any media has helped me stay calm because I don’t really use it for that purpose.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
I’ve learned that it’s become a habit for me to like posts or save them automatically just in case I lose them or if I’m busy. I’ve learned that I use technology more when I’m bored rather than do something else that doesn’t involve technology.
Interviewed by: Margaret Wang, UCLA Student
Mary, 11
Media Consumption: On weekdays, about 2 hours per day. On weekends, about 6 hours online per day.
Favorite Media/Technology: My favorite media is TikTok, and my favorite piece of technology is my iPad
How do you and your family interact with media/technology?
We watch YouTube, television shows, and movies together. My mom uses social media, and my dad watches videos or whatever is on TV. We usually use a moderate amount of media, but we sometimes use a lot on weekends. However, we do not use any media during family bonding time or dinner.
How do you and your peers interact with media/technology?
My friends and I like to use media to interact with each other. We talk to each other on TikTok, Discord, FaceTime, and any other social app. I also like to play Roblox, which is an online game, with my friends. My peers seem to use social media a lot. As far as I know, everyone my age at school uses a phone and has at least one social media account.
What do you use media for?
I use media for educational purposes and entertainment. I look at YouTube to watch Math and History videos, especially when I don’t understand the concepts taught at school. I also watch arts and crafts videos, and I love watching documentaries with my dad.
What is your favorite/least favorite thing about media/technology?
My favorite thing is that I can watch videos about things that I can’t even imagine. I get to see breathtaking scenes and travel all over the world just with the click of a button on my iPad. For example, through vlogs, I can travel to New York City and see Times Square. My least favorite thing is that you can get a lot of criticism online. People can anonymously condemn people and share negative comments that they would never say in real life. Media can be an ugly place when people are disrespectful and rude to each other.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
I wish you would look out for our safety more. Kids like me shouldn’t be afraid of our photos or other things getting leaked. You should have more safety rules and frequently check if someone is doing something wrong online. For TikTok, you should pay more attention to what people write in the comments. For YouTube, you should stop putting in so many advertisements.
What media are you using more now because of the COVID-19 pandemic?
I am using TikTok way more now because of the pandemic. More people have taken interest in TikTok during the pandemic and have posted tons of videos. So, there is a greater variety of content on that platform than before. Also, TikTok personalizes my feed, and I get to post videos and find audios I like.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
I get my information from my mom and dad because the internet can be wrong sometimes. Also, my mom and dad talk about it during dinner. They usually mention anything big that happens, such as when the restaurants started closing or when the vaccine came out.
What media has been helping you stay busy/stay calm during the COVID19 pandemic?
YouTube, Roblox, and TikTok have been helping me stay calm. YouTube lets me watch any video I want when I’m bored. Roblox lets me escape into my own world, where I can build my own house or design my own characters. TikTok keeps me busy by letting me watch videos so that time goes by faster, which was especially helpful during the quarantine period.
What lessons have you learned from the COVID-19 pandemic?
I learned that I need to be more careful in the future because there are a lot of viruses and bad people in the real world. The world can be a dangerous place, especially with the increase in crime rates. I also learned to not believe everything I see on the internet. Some people can spread false rumors about things online, and many people will believe it.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
Now I realize I need to be more cautious of the negative effects of social media. I learned that social media is not as cool as I thought it was. Before the pandemic, I didn’t really use social media that much; I only used Instagram a little bit. However, during the pandemic, when I used social media more, I started to see the dark side of it. I began seeing how easy it is to compare yourself to someone else.
Interviewed by: Sydney Kong, UCLA Student
Ruvim, 9
Media Consumption: Daily
Favorite Media/Technology: Popular Science YouTube Channel by Mark Rober
How do you and your family interact with media/technology?
I have my own phone, but I still share it with my little brothers. I also have an iPad, but mom and dad sometimes use it too. We have a TV that everybody shares when we watch movies together. I like to choose what we watch but I also don’t mind watching what my younger brothers want to watch. My favorite activity though is to hike, like going on adventures, and I would rather spend a day in nature with my family than be on my phone. I believe I spend most of the time outside and only a little using technology.
How do you and your peers interact with media/technology?
We are not allowed to bring phones to school, so we usually play active games, like basketball or soccer during recess. Sometimes, I just walk. I don’t have any social media, so I talk to my friends when I see them everyday at school. I know that some of my classmates use Snapchat when not at school.
What do you use media for?
I use computer and Xbox to play games with my brothers and sometimes with dad. I also use my iPad or my phone to take photos. I really like taking pictures because it helps me remember what I was doing. I take pictures of anything: my home, nature, my brothers, my mom, and dad.
What is your favorite/least favorite thing about media/technology?
I sometimes get bored with it and I’d rather spend time outside, playing with my friends or brothers. I also don’t like it that you have to charge technology a lot.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
I like it when you can learn from videos. I think people who create videos like that are cool. There is this YouTuber that I like to watch because he is an engineer, and he does really fun science experiments. His name is Mark Rober. I even tried some of the things that he showed in his videos.
How are you using media during COVID-19 pandemic?
I used to have to be on Zoom for my classes and I didn’t like it. The only thing that I liked about it was that I could get up anytime I wanted and walk around the room if I was tired of sitting.
Interviewed by: Lia Gugava, UCLA Student
DS, 15
Media Consumption: very frequent
Favorite Media/Technology: TikTok
How do you and your family interact with media/technology?
We all talk on WhatsApp and Zoom together, and I used to play video games with my brother. My mom’s constantly on her phone, most of the time it’s like she doesn’t even hear me, so I just go on my phone too.
How do you and your peers interact with media/technology?
We text each other and use it to make plans (virtually & in real life), or we game together. But sometimes when we’re all hanging out, everyone will be on their own phone individually so it’s like everyone stays by themselves on their phone, so I do it too.
What do you use media for?
I use it to chill and to not think about other stuff, like to distract myself. I use it for fun like gaming and to talk to friends too.
What is your favorite/least favorite thing about media/technology?
My favorite thing is TikTok because it’s so relatable and funny, it’s just like entertaining, you know? But my least favorite thing is like the outcome of using it, like I end up spending so much time on it.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
They suck. They make your “For You” page (TikTok feed) things that you personally like so that you can't stop using it. They make it so addictive, on purpose.
What media are you using more now because of the COVID-19 pandemic?
Definitely TikTok. I spend most of my time on it. And I guess Zoom/Microsoft Teams because of online classes. Other websites related to school stuff and homework.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
I mostly get that information from TikTok because people talk about pretty much everything on there, and I guess my family sometimes.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
TikTok. I would stay on the app for hours and wouldn't really think about anything else.
What lessons have you learned from the COVID-19 pandemic?
I guess I haven’t really learned anything from the pandemic; I’ve mostly just been trying to get through it.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
Well it's not really anything new, but the pandemic showed me just how much time I can spend on social media if I really have to, like if I have nothing else to do. And if I’m trying to distract myself, I guess it showed me I can spend hours on it without getting bored.
Interviewed by: Nora Sfeir, UCLA Student
Ethan, 15
Media Consumption: Average 7 hours per day
Favorite Media/Technology: TikTok, Instagram
How do you and your family interact with media/technology?
My mom and I just text whenever we need something and usually just talk at home. With my older brother, we don’t really text and when we do, it's very dry. We usually just talk at home as well.
How do you and your peers interact with media/technology?
Me and my friends text pretty often, like every day. We also find funny TikToks and share them with each other.
What do you use media for?
For entertainment, to kill time, and have interactions with friends.
What is your favorite/least favorite thing about media/technology?
My favorite thing about the media is just the fact that it entertains me and that I can use it to pass time. But, I don't really like the fact that I use all my free time scrolling because I lose track of time. My least favorite is that it makes me procrastinate and gets me up really late at night. I want to have a good sleep schedule.
What is one thing you want the people who create the media you like to watch/play/interact with to know?
Since the platform is exposed to all ages, I think they should watch what they post because sometimes I catch my younger brother watching some questionable things for his age so I think they should watch what they post.
What media are you using more now because of the coronavirus (COVID-19)?
I think I'm using TikTok a lot more because since we were in quarantine, it led me to use my phone more because we were just indoors. And it made me realize how much TikTok can entertain me so I ended up using it more often.
Where do you get most of your information to learn more about the coronavirus (e.g., news, internet, parents, etc.)?
I don't think I really watch the news because I don’t think people my age really watch the news. I know a lot of people say you shouldn't trust social media for news stuff, but if the video shows proof of a news article or something like that, I usually am quick to believe it, but I don't double check or anything like that. Our school sometimes tells us stuff about COVID-19 and I don’t really hear anything from my parents.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
TikTok has kept me distracted during the COVID-19 pandemic.
What lessons have you learned from the COVID-19 pandemic?
I learned that I should have taken advantage of the amount of free time that I had and should have put it into other things like hobbies, instead of video games and social media.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
I learned that since everyday was a repeat of social media, eating, and sleeping, you start to realize how much you actually use it and how much it wastes your time.
Interviewed by: Yoo Jung Chang, UCLA Student
Hannah, 16
Media Consumption: iPhone screen time about 10 hours per day
Favorite Media/Technology: iPhone
How do you and your family interact with media/technology?
My dad rarely uses his phone because he consciously tries to minimize his phone usage. My mom is the exact opposite because she uses her phone for work, and she is online all day. I use my phone pretty often to use social media and watch YouTube.
How do you and your peers interact with media/technology?
During lunchtime, even though my friends and I are sitting together, we are all on our phones. This is probably because we are not that familiar with each other. My best friends are either in Northern California or in Japan, and we interact through social media applications like WeChat and Instagram. We use iMessage to text, too.
What do you use media for?
I use media for basic communication with friends. I also browse through Little Red Book (a Chinese app similar to TikTok) and Weibo (Chinese Twitter) to kill time. I like K-pop and C-pop groups, so I need to be caught up with trends.
What is your favorite/least favorite thing about media/technology?
Every coin has two sides. I guess my favorite and least favorite part about media is the same. My favorite part about media is that I get to stay focused and forget everything else. However, if I don’t pay attention, I waste a lot of time. It is time-consuming but entertaining.
What is one thing you want the people who create the media you like to watch/play/to interact with to know?
I think the founders of the applications don’t even use them. They should limit screen time for children and teenagers because they don’t have enough self-control.
What media are you using more now because of the COVID-19 pandemic?
2019 was so long ago, I don’t quite remember. I probably used TikTok more back then. Since TikTok is stigmatized in my friend group, I don’t use it anymore. Now I use Little Red Book more often as a substitute for TikTok.
Where do you get most of your information to learn more about changes during the COVID-19 pandemic (e.g., news, internet, parents, etc.)?
I get information from my parents and friends. I seldom read the news. Even though Weibo posted some information about COVID-19, I don’t really pay attention to it.
What media has been helping you stay busy/stay calm during the COVID-19 pandemic?
I used WeChat and Little Red Book. One for communication, and one for entertainment.
What lessons have you learned from the COVID-19 pandemic?
First, people should not go against nature. Second, human interaction is very valuable. I really miss those days when we could see people’s expressions on their faces and enjoy physical touches because it really makes a difference.
Have you learned anything about how you use media and technology because of the COVID-19 pandemic?
Without Microsoft Teams, Zoom, and Canvas, schools cannot survive COVID-19. I am really grateful to those teaching technologies and social media platforms.
Interviewed by: Alice Deng, UCLA Student
Tips For Scholars: Detecting Bots During Social Media Recruitment
As part of the follow-up study to the Media & Teen Mental Health project, our team leveraged social media for recruiting participants and posted digital flyers on different platforms, such as Twitter, Facebook, Instagram, TikTok, and Reddit. After sharing the recruitment survey on Facebook, we received a substantial surge of interest in our research study. While initially exciting, after further inspection we realized that over 90% of these new responses were from bots (computer programs that automatically complete surveys). Although these responses were discarded, their information provided valuable insights into bot behavior and activity.
We noticed questionable patterns and developed guidelines to determine the likelihood of a bot response. We decided to throw away a participant's response if it met at least 3 of the following criteria: location, name/email address, timing, demographics, and repeat answers.
Location:
Since the study was intended only for U.S. participants, IP addresses located outside of the U.S. were red flags
Multiple submissions from the same IP address was another sign of fraudulent activity
The exact same longitude and latitude on multiple unrelated responses was suspicious
Location data did not match the self-reported location provided by the respondent (IP address, area code, and/or state)
Name/email address:
Mismatches between respondent name and email indicated potential fraud (for example: John Smith had the email address “chadroberts123@gmail.com”)
Too many numbers or random letters in the handle seemed dubious (for example: “jd14780791@gmail.com”)
Mismatches between respondent name, gender, and email suggested possible deceit (for example: Christina Le who reported as female had the email address “zackarymaradv49@gmail.com”)
Inconsistencies with parent/child names and corresponding email addresses generated skepticism (for example: Jared Murray signed up as a parent with the email address “abinbayaravichandrann@gmail.com” and his child Alen Henderson’s email address was “glenlishn@gmail.com”)
Timing:
Genuine survey responses took 5 minutes on average and surveys that were completed too quickly or slowly were flagged for additional investigation (for example: some surveys were completed in 12 seconds and some took over 50 minutes)
Multiple completed surveys in a row with the same timing were marked for further scrutiny
Note: bots can learn, so be on the lookout for long response times that suggest a single bot is learning
Demographics:
Improbable demographics revealed potential imposters (for example: the percentage of Native American respondents was higher compared to the national average)
Note: keep in mind the characteristics of the local population that you are recruiting from
Repeat answers:
Same phrasing on different survey responses signaled possible bot activity
While online study recruitment has become increasingly popular, there is a large risk of bot interference and researchers need to be more aware of the problem. Jennifer Doty, PhD, CFLE from the Department of Family, Youth, and Community Sciences at the University of Florida explains her experience with bots:
“Last spring, we collected prescreener data online to interview youth from a variety of racial and ethnic groups. We launched our internet search via Facebook and online listservs. At first, we had a trickle of interest, but on April 20th we had an explosion of interest. Upon examination, we could see that the data was generated by a bot—the emails were strange and some were repeated, and we had about 100 times the number of American Indians we would expect. This was also the day that Derek Chauvin’s jury reached a verdict. We suspect that bots were especially active on a day where racial tensions were high. After this, we researched strategies to identify mischievous responders and included them in our next grant proposal. To ensure validity of participants and avoid mischievous responders, in our next project, we will include ReCAPTCHA technology screening and track IP addresses. In addition, we will include open-ended questions, which bots often leave empty. We will also include up to four screening questions that will help us flag mischievous responders. For example, we will require youth to match the year to the age they report and validate their age at the time of a recent event in history. Another strategy is including questions like, “Does the earth move around the sun?” These strategies have been used in previous studies to validate online samples.”
Celeste Campos-Castillo, PhD, an Associate Professor from the Department of Sociology at University of Wisconsin-Milwaukee also shares strategies for identifying bots:
“Other useful tips come from the world of researchers using crowdsourcing platforms, such as Amazon Mechanical Turk, to recruit respondents. These platforms provide researchers access to thousands of workers who complete tasks, including surveys, in exchange for payment. Unfortunately, the average payment is notoriously below minimum wage standards, leading workers to seek ways to complete as many tasks with little effort. This includes using bots to complete tasks automatically and virtual private servers (VPS) to sidestep IP address requirements (e.g., the survey prevents multiple submissions from the same address or requires that the address comes from a specific geographic region). Numerous papers document the problem with these platforms and provide solutions, so here are a few. One set of solutions plants questions that only a human responder who is paying close attention could complete correctly. Examples include questions directing the respondent to select a specific response option (e.g., “Select the neither agree or disagree option in order to proceed”) and asking confirmation of statements that could not possibly be true of anyone (e.g., “I have conducted business with the country of Latveria”). Another set embeds technology within the survey to aid in detection, such as protocols to detect a VPS.”
Ultimately, bots serve as threats to the study sample and data quality. When recruiting for research participants online and one notices a sudden spike in recruitment numbers, make sure to thoroughly check for any inconsistent responses, improbable responses, and unusual comments. Including a reCAPTCHA at the beginning of the recruitment survey or common sense questions are also recommended techniques to deter and identify bots. Before posting recruitment materials on an online platform, make sure to conduct a quick search for recent bot activity.
It is critical to detect and prevent bots from infiltrating participant responses. Bots harm research design and methodology by creating inaccuracies and skewing data. Utilizing the methods listed above could help prevent unreliable and invalid research findings and further your efforts to generate meaningful data.
Sisi Peng
CSS Fellow
Neeku Salehi
CSS Intern
Making the Science of Adolescent Development Part of Your Story
During adolescence, we are rapidly learning and adapting in ways that naturally take advantage of supportive relationships, environments, and experiences that promote positive growth and development.
In the past few decades, the science of adolescent development has changed researcher’s perceptions of what adolescence is and how it should be supported. Today we know that adolescence is a time of remarkable opportunity. The years between age 10 to about 25 mark a period of rapid growth, development, and learning as we discover and adapt to the world around us. We forge our sense of who we are and who we aspire to be. We learn to make decisions, manage our emotions, and create deeper connections with peers, romantic partners, and others in our communities. We also build resilience and develop interests, passions, and meaningful goals that shape our adult lives.
During adolescence, we are rapidly learning and adapting in ways that naturally take advantage of supportive relationships, environments, and experiences that promote positive growth and development. This makes adolescence a key window for learning and discovery, as well as an opportunity to build resilience and mitigate the effects of earlier adversity. Experiences that provide autonomy and choice as we explore are particularly important, as we are primed to learn from and give back to our environments in ways that benefit our society through things like community service and civic action.
Unfortunately, the social systems that serve us during this developmentally sensitive period are often not structured to provide optimal support for learning and positive adaptation. In some cases, barriers to successful development—such as poverty, discrimination, and earlier trauma—can reinforce inequities and amplify risks for negative outcomes.
Public understanding of adolescent development lags behind what current research tells us, and popular culture often reinforces our worst assumptions. But it doesn’t have to be that way. The new experiences we encounter during adolescence, the mistakes we sometimes make along the way, and the success or failure of the systems that should support all provide fodder for great storytelling. Coming of age movies as diverse as Fame, Real Women Have Curves, and Eighth Grade have successfully depicted how adolescents discover their identities and learn to navigate the world around them, often through a process of trial and error. They also show how important supportive, caring relationships with friends, family members, and other adults are to their wellbeing.
Stories about adolescence can also help writers explore situations like poverty, racism, and marginalization that are obstacles to healthy development. Movies like Boyz n the Hood, Moonlight, and Winter’s Bone tackle the harsh racial and social inequalities too many adolescents face to create powerful, contextualized stories. Importantly, these aren’t just stories of resiliency in the face of adversity - they show us why it is imperative that we address racial and social inequalities and transform dysfunctional and discriminatory systems.
Here are some actionable insights for storytellers who want to tell a more complete story about adolescent development, with all its complexity and promise:
Make adolescents multi-layered. Avoid one-dimensional characterizations of adolescents as “the nerd” or “the bully.” Adolescent development is complex, and so are adolescents.
Show adolescents failing, then trying again. Adolescents are resilient and stories about finding your way through difficult times are always compelling. Just don’t forget to include the supportive relationships – with parents, peers, and others – that make that resiliency possible.
Include supportive adult characters who are outside the family. Adolescents are forming a lot of new relationships, which creates a lot of potential for different characters and connected storylines.
Tell stories about adolescents contributing to their communities and engaging in activism. Black Lives Matter, youth voting organizing, and stories of young people helping their neighbors and peers during the pandemic all have the makings of a great plot line.
Contextualize stories of adversity by talking about racism, discrimination, and social class. Conversations around racism, LGBTQ+ rights, and growing income inequality are changing the narrative landscape. They should be part of how we depict adolescents, as well.
We’ll return to these insights and more as we continue with this blog series.
Freelancer
Coming of Age in the Digital Age: Telling a Stronger Social Media Story
Although recent revelations show how damaging social media can be, it also allows adolescents to do important developmental tasks like exploring their identities and making independent decisions in a new way.
“Eight years after the original website went dark, a new generation of New York private school teens are introduced to the social surveillance of Gossip Girl. The prestige series will address just how much social media—and the landscape of New York itself—has changed in the intervening years.”
So reads the official series summary for the 2021 reboot of early aughts TV hit Gossip Girl. We’re currently steeped in ‘90s/‘2000s nostalgia, and the show was highly anticipated. But it’s since been widely panned in reviews as failing to recapture the vitality of its predecessor. Why?
One reason is that the primary storytelling device—an omnipresent narrator using social media— feels a little stale. For many years social media has been the bogeyman in portrayals of modern adolescence, to the extent that it has become a trope (see for example Hard Candy, 2005; Nerve, 2014; and 13 Reasons Why, 2017). And as use of social media as a storytelling device becomes more repetitive, these stories become more dark and cynical—and more predictable.
The reason this storyline is so common is that it reflects the popular narrative that social media is inherently damaging to adolescents. Our research has found that the “Social Media and Mental Health” narrative popularized in the media reinforces the deeply ingrained assumption that the modern world poses a series of threats to children and teenagers. Technology, in this narrative, exposes adolescents to “too much too soon,” damaging self-esteem, increasing the risk of bullying, and driving the fragmentation of community relationships and the breakdown of the nuclear family. In this line of reasoning, little good can come from social media, a perception reflected in Euphoria’s plot line about revenge porn and underage pornography, and the anonymous trolling that propels the story forward in Gossip Girl 2.0.
In reality, the role social media plays in adolescents’ lives is more nuanced. Although recent revelations show how damaging social media can be, it also allows adolescents to do important developmental tasks like exploring their identities and making independent decisions in a new way. Young people who feel marginalized at home and school often find support online, where they can connect with others who share their experiences and interests—especially important for young people who may feel stigmatized, like LGTBQ+ youth. Social media makes it easier to find community and become involved in civic action and volunteering. Adolescents organize for change online, connecting, learning, and building support for social justice in their communities. Social media has been critical for young people’s political advocacy around BLM, climate change, voting, gun safety, and other high-impact issues. These examples include all the hallmarks of good stories, including conflict, tension, and controversy—but also relatable characters and relationships an audience can root for.
Depicting social media as inherently dangerous does a disservice to adolescents who need support as they navigate their digital lives, and these days doing so may not even make for a good story. So how can we tell better stories and convey social media as a potential force for good?
Center stories around concepts of discovery and exploration over “doom and gloom,” to help people think about how technology helps young people find their identities.
Through plot, use social media as a device that connects adolescents to their communities, rather than tearing them apart.
Tell stories about how social media fosters civic and political engagement. Avoid stereotypical portrayals of young people as zombies glued to their phones, and instead show how they are becoming active and engaged citizens.
Create characters who connect through social media to lift each other up, rather than spread mean-spirited gossip.
When exploring the connection between social media use and mental health, lead with the positives, don’t just dwell on the over-familiar risks and harms. Social media can support young people’s mental health in important ways, too.
Now more than ever—with so much of our lives online due to COVID—it’s time to tell stories that capture the reality of social media and adolescence. Social media isn’t just a risk, it’s an opportunity, and in 2022 it’s only becoming more important for young people. Social media continues to evolve, as does adolescents’ use of it as a tool and a medium for expression. Stories about social media and adolescence should evolve, as well.
Freelancer
What We Talk About When We Talk About Middle School
Our research has identified the need for a new narrative around early adolescence, one that recognizes it for the remarkable period of discovery it is.
As Gen Xers entered and passed through adolescence in the ‘90s, they got a glimpse of what coming of age was like in the late ‘60’s through the eyes of Kevin Arnold and Winnie Cooper, the main characters on The Wonder Years. What they - and the countless viewers who’ve watched the Emmy award-winning series - since found was that the world around them had changed, but puberty and the middle school years hadn’t. As the particular upheaval of the 1960s and ‘70s unfolded around them, the show’s characters also experienced familiar turbulence and triumphs of early adolescence: exploring new interests, forming new relationships, and, discovering who you want to be in the world, all while your body is rapidly changing and maturing. By depicting middle school years as a time of discovery and yes, wonder, the show challenged our expectations about early adolescence.
What made The Wonder Years so compelling, both for nostalgic Boomers and Gen Xers who were the same age as the show’s stars, was how accurately it captured the experience of becoming an adolescent. The first few seasons were full of early adolescent milestones. Kevin had his first (and second and third) crushes, dealt with awkward physical changes, and experienced evolving relationships with friends and family. The show also tackled some of the higher-stakes events in adolescence like bullying, drinking, and difficult break-ups. Kevin and his friends sometimes made mistakes, faced disappointment, tested their own limitations, and failed. In The Wonder Years, early adolescence was often difficult and confusing, but it was also a time of transformation and discovery and joy. Both the difficulties and the joyful discoveries are critical to healthy adolescent development. They also make for very good television.
In 2021, ABC rebooted The Wonder Years, this time focusing on a Black middle-class family living in Alabama in the same period as the original series. Like the original series, it promises to share the ubiquitous moments that add up to the experiences of early adolescence—the “little things,” says the trailer: first crushes, first kisses, new experiences, newfound freedoms. The change in location and race of the family suggests that the show will also depict challenges that the white, middle-class Kevin and friends never faced (this will be explored further in a future blog).
Our research has identified the need for a new narrative around early adolescence, one that recognizes it for the remarkable period of discovery it is. People already think that adolescence is a difficult, risky time when we either need to be protected from ourselves, or we just need to “get through it” to the better parts of our lives. We need more shows like The Wonder Years, shows that portray early adolescence in realistic, sensitive (but still funny) ways. Of course, these depictions should also evolve to explore LGBTQ+ identity, racism, and other topics that were still backgrounded or even unspoken on network television in the late 1980s.
Here are some ways to tell better stories about early adolescence that show audiences what a remarkable time of opportunity - and wonder - it really is:
Accentuate the positive. Too often, narratives about early adolescence focus on negative stereotypes, emphasizing risk and vulnerability rather than opportunity. Instead, look for balance: when portraying the typical trial and error of early adolescence, avoid the temptation to overplay the ridicule angle and balance it with stories of resilience.
Avoid depicting stereotypical bullying and peer-pressure scenarios and instead show positive, supportive peer relationships. Early adolescent relationships are about much more than peer pressure—friends help us explore our identities and are crucial sources of support. And when depicting the joys and heartache of crushes, first kisses and break-ups, don’t belittle these experiences—they also help make us who we are.
Make early adolescents relatable. This is a time of life every adult has been through, and everyone has experienced both the difficulties and the joyful discoveries. Emphasize universal challenges and truths associated with the coming-of-age experience, but depict it in all its complexity—including diverse voices and storylines.
Have adults play a supportive role. Healthy relationships with adults are just as important for early adolescents as peers. Parents, teachers and other adults shouldn’t just be adversaries in your story—they can also be guides and resources (and sometimes comic relief).
So many of the milestones, feelings, and experiences that color our “wonder years” have not changed over time. Neither has one of the winning formulas to frame those years in a way that wins hearts and minds—by portraying them not as a period to just “get through,” but rather as an opportunity to experience life-defining development and growth. The reboot of The Wonder Years does just that, but makes the show relevant for an audience that is more diverse and, importantly, in need of storylines that represent their experiences of this period of discovery.
Freelancer
Foster Youth Storytelling: Less Vulnerability, More Resiliency
Both news and popular media are used to portraying foster youth as permanently damaged, either by the circumstances that led them to foster care and/or by the broken system that failed them.
Tune into any crime series for an episode or two and odds are you’ll come upon at least one plot line involving foster youth. After all, we assume that these young people make perfect characters for crime-and-punishment storytelling: they’re vulnerable, abandoned, and hopeless. The Law & Order franchise, and Law & Order: SVU in particular, regularly feature these types of storylines. Both news and popular media are used to portraying foster youth as permanently damaged, either by the circumstances that led them to foster care and/or by the broken system that failed them (for instance Dexter and Killing Eve). The central characters of both Dexter and Killing Eve are both cold-blooded killers shaped by their experiences as foster children. As a result, transition age foster youth are stigmatized and “otherized,” worth saving but never really capable of integrating into families and communities.
When they are not being demonized, the experiences of foster youth are often trivialized instead. From Diff’rent Strokes, to The Blind Side, we’ve seen the temptation to fast forward to the simplistic, happy ending without the complex, difficult aspects of healthy development and identity formation. These storylines don’t leave room to depict the varied resources and supports that transition-age foster youth need to thrive, or the ways in which their needs and desires are similar to other adolescents.
Each of these storylines - the hopeless and the minimized - demand greater nuance. A good example of how to do it is The Fosters (2013-2018). The show took a big step towards compelling storytelling about foster youth with a modern-family dynamic that avoided many of the common traps. The characters faced abandonment, abusive situations, and trust issues, but in ways that spoke to the complexities of finding your footing on the way to adulthood when you don’t have the usual connections to family and a stable home. It also demonstrated the resiliency of foster youth who have the right supports, like stable, ongoing relationships and a sense of community.
Over the course of its five seasons, The Fosters also showed the challenges and experiences that adolescents have in common, whether fostered or not. These included struggles like sibling rivalry, bullying, and racism, as well as the joyful discovery of talents, passions, and sexualities.
Depicting these shared challenges and opportunities for growth brought the characters out of the realm of “the other” and made them identifiable, winning audience fandom and critical acclaim in the process.
Our research provides a framework for better, more nuanced storytelling when it comes to portrayals of transition-age foster youth. Here are some ideas for how to do it:
Include the ways in which foster youth are similar to other adolescents, not just what makes them different. Realistic storytelling should show the everyday challenges and discoveries transition-age foster youth face as they become adults.
Show what foster youth need to make their journey to adulthood happy and successful. Don’t just depict their adolescence as a time to survive, but as a time to thrive, when they have caring relationships and stable living situations.
Avoid the overly simplistic “shame and blame” plots when it comes to birth and foster parents. Instead, place foster youth’s experiences within a larger narrative about the racial and economic inequalities that set the stage for a youth’s trajectory.
Widen the lens beyond the family and show community connections. The reality is that foster youth are often disconnected from the communities around them, and this can be as challenging as the lack of family. Make the place they live a protagonist too—opening up new opportunities for the central characters to grow, and new possibilities for original stories.
Freelancer
Reckoning with Race in Adolescent Stories
Diversity and inclusion in film and television contributes to young people of color’s identity formation in positive ways when they avoid stereotyping.
This year ABC rebooted the classic 1990s series The Wonder Years, a show we discussed in our previous blog as a portal for talking about middle school and early adolescence. The time period of the late 1960s remains the same and the two series share many of the same coming-of-age themes, but there is one big difference. Instead of focusing on a middle-class white family in California, the family at the center of the reboot is a middle-class Black family living in Alabama.
Changing the race of a character or the cast of a show or film, or racebending, has a long history in America. While it has often been a tool of discrimination and whitewashing, it’s been used more recently to increase representation of people of color and disrupt established narratives. The Wonder Years reboot does the latter.
Research has consistently shown how important it is that children and young people see characters who not only look like them but also sound like them. Diversity and inclusion in film and television contributes to young people of color’s identity formation in positive ways when they avoid stereotyping (and the same can be said for LGBTQ+ youth). The new Wonder Years joins shows like Reservation Dogs and On My Block in mixing coming-of-age comedy with the drama of growing up in a society plagued by discrimination and structural racism.
Based on an early viewing, the reboot accurately depicts the universals of early adolescence - not just its awkwardness and heartbreaks, but also the ways in which young people explore their identities, make discoveries about themselves and the world around them, and benefit from the support of caring adults. It has to tread the fine line between overgeneralization and authentic portrayal of the experience of Black families in the South in the late ‘60s. In the original series, Kevin getting pulled over and ticketed is an annoyance. In the reboot, Dean gets the “police talk” from his parents well before he can even drive.
These shows have a delicate balance to strike. We know that all portrayals of adolescence better serve development when they address this stage of life not just as one to survive - filled with heightened risk - but also as a unique opportunity to build lifelong resilience and agency. That’s why narratives that effectively tackle race and equity in adolescence are ones that not only present adversity in believable ways, but also authentically show characters growing in resilience by navigating through it.
Here are a few recommendations, informed by our research, to support that approach.
Portray racism as embedded in everyday institutions, not just through transient interpersonal interactions. Highlighting how our institutions and social norms maintain racial inequality, limit opportunities, and create unequal access for people of color helps audiences to see their own roles in perpetuating these norms—and how it harms adolescents. For instance, in the fourth season of The Wire, the show portrayed to wide acclaim, an accurate view of Baltimore Schools: dysfunction, waste and mismanagement, a dearth of resources. The viewer absorbed the ways in which adolescents in such a large, underfunded school system struggle with navigating education and social pressures without the safety nets provided by more advantaged districts.
Use storylines that connect young people to their communities in positive ways. When adolescents are connected to their communities, both adolescents and communities thrive. Centering young people’s stories in the communities that shape them also makes for compelling narratives. The success of Hulu’s Reservation Dogs comes in part from its showing how the characters’ lives and outlooks are shaped by their experiences living in a reservation community. The characters and conditions that surround the four main adolescent characters are often played for laughs, but they also help make the story more meaningful.
Tell stories of resilience and agency, not just adversity. Authentic depictions of adolescents of color cannot ignore the challenges of growing up in a racist society. But depictions of some young people, particularly young Black men, being “lost” reinforces harmful stereotypes and can have a negative effect on identity formation. Stories that show young people not only confronting but also tackling oppressive, racist systems - not just racist individuals - makes for engaging storylines and shows audiences how structural racism works (see The Hate U Give).
Freelancer
When Dramatizing Adolescent Advocacy, Keep It Real
While a search for identity through advocacy tends to be the primary theme in works that explore adolescent engagement, a search for community can be an equally compelling source.
Dear White People begins with the character Sam White on her regular campus radio show, a device at the center of both the 2014 film and the Netflix series by the same name. The series questions whether and how the “post-race” claims from the ivory tower of a fictional Ivy League university translate to on-the-ground student life. Spoiler alert: those claims don’t always prove true to their idealistic word. Race relations at Winchester University remain, in a word, fraught. And a good number of its students are not okay with that.
As a reflection of our current, real-world moment, race is a central issue catalyzing advocacy among the series’ lead characters, but it certainly isn’t the only one. If anything, it’s the search for identity - who am I and how is that defined? - that drives the characters of Dear White People to challenge established systems. Unlike other depictions of adolescent engagement, such as The Hate U Give, which centers on a flashpoint of racial justice uprising, Dear White People focuses on advocacy as a workaday pursuit for its characters. True to life, these social justice storylines are peppered in with the rest of the adolescent experience: love and heartbreak, experimentation and error, friendship and betrayal. And that’s what makes it authentic.
While a search for identity through advocacy tends to be the primary theme in works that explore adolescent engagement, a search for community can be an equally compelling source. In Reservation Dogs, we meet four indigenous youths who are determined to cut ties with the Oklahoma reservation where they were raised, but who inadvertently strengthen those ties over the course of a season. They discover their craved sense of community right where they are and, as co-creator Sterlin Harjo explains, “decide to become vigilantes and clean up the community, but in a funny way.” The teens’ community engagement remains credible throughout every episodic adventure by avoiding sentimental simplicity and embracing how messy, funny, and sometimes painful these connections are. It’s life.
Our research-based takeaways for portrayals of adolescent advocacy:
Depict adolescence engagement in authentic ways. To be compelling, characters must be more than “do-gooders.” Let them seek out engagement organically, and as part of adolescents’ typical exploration of self-identity.
Don’t be afraid to be open-ended. Developing one's identity is complex and ongoing, lasting well into adulthood and one could argue a lifelong process of discovery. Similarly, our communities ebb and flow, while the fight against injustice is unlikely to be resolved anytime soon. Good stories embrace the open-endedness and ambiguity of this process of discovery, leaving open the possibility of new opportunities for growth and for making change.
Make community a character. The link between support for adolescent development and connected communities is proven and strong. Positive, meaningful relationships can be about more than just family and peers. Communities can also be protagonists – full of key players that help young people develop their identities as they become full members of the adult world. Reservation Dogs does this beautifully by connecting its main characters to various community members in hilarious and touching ways.
Comedy yields credibility. Engagement and advocacy can be portrayed as part of developing positive identity—but there’s a fine line between powerful and precious. Humor, especially around shared, everyday adolescent experiences (e.g. early romance) will keep characters relatable when they stand up for their still-evolving beliefs.
Freelancer
Nuance Needed in Adolescent Mental Health Stories
Even before the pandemic, mental health challenges were the leading cause of poor life outcomes for youth.
Though the COVID-19 pandemic has impacted the mental health of adolescents in ways we are just beginning to understand, it’s also been a boon to our collective awareness of an issue that existed long before “social distancing” became a fixture in the national lexicon. Adolescence is a developmental period when many mental health problems like depression and substance use begin to emerge – and social and environmental factors can compound these issues. Even before the pandemic, mental health challenges were the leading cause of poor life outcomes for youth. In the 10 years before 2019, the number of high school students reporting persistent sadness or hopelessness had increased by 40% to more than 1 in 3 students. The pandemic has only magnified these pre-existing challenges with shuttered schools, social isolation, and compounded financial and psychological strain on families.
As the pandemic continues, general awareness of the importance of adolescent mental health has increased considerably. But awareness of a problem doesn’t automatically lead to sensitive storytelling. The backlash toward the television show 13 Reasons Why from media critics, educators, and parents points to the difficulties writers face when tackling mental health crises and suicide in adolescents. Graphic, sensationalized content about teen mental health often walks a thin line between relatability and exploitation.
When done right, though, fictional stories may lead to positive outcomes by reducing stigma and normalizing conversations about mental health. This was even the case with the controversial 13 Reasons Why, as research by the Center for Scholars and Storytellers found adolescent viewers were more likely to seek information about issues depicted in the show and have conversations with friends and parents about the topics. Nuanced portrayals of adolescents struggling with mental health and even suicide can be compelling and supportive of healthy development. Here are some recommendations for how to use our research in your stories about mental health:
Strive toward trauma-informed content. This means telling stories in ways that are sensitive - rather than sensationalizing - and empowering towards characters who are experiencing trauma. In the 2012 film The Perks of Being a Wallflower, we see the main character Charlie learn to cope with PTSD from sexual abuse through an evolution of methods – from friendships, to self-medication with drugs and alcohol, and finally to inpatient treatment. The Perks of Being a Wallflower reflects what we know about resilience in adolescence while telling a beautiful (and critically acclaimed) coming of age story.
Model resilience by balancing bleakness with hope. Experts suggest that talking openly about suicide can sometimes serve as a protective factor among adolescents, and CSS’s research reinforces this finding. The 2010 film It’s Kind of a Funny Story does an effective - and affecting - job of this. The main character Craig has the self-awareness to recognize when “normal” stress responses to external pressures become unhealthy, leading him to seek help for what has become full-fledged depression. It’s important to show viewers what supportive environments and relationships look like so that young people know these resources are available.
Move beyond “bootstraps” and “individual savior” storylines. Supporting adolescent mental health is not a one-person job or a matter of self-agency as many false narratives would have us believe. In reality, creating the kinds of deep and complex connections needed is a community-wide undertaking. Think about including not just families, but also schools, community-based organizations, and the healthcare system in supporting roles.
Finding an authentic balance in stories about adolescence and mental health can be difficult. But these narratives also have the potential to accurately and inspiringly show audiences what adolescent development looks like – and how we can support young people who are struggling, together.
Freelancer
Rebooting Adolescent Romance Stories
The experience of romantic awakening is individual and varied, but universal in its critical importance to developing social and emotional skills and discovering one's identity.
Young love is a story that’s been told in ways that both warm the heart and elicit sympathetic cringing. The experience of romantic awakening is individual and varied, but universal in its critical importance to developing social and emotional skills and discovering one's identity. These early relationships help us figure out who we are, make independent decisions, and learn to understand the concept of consent. And while they certainly have a biological component, understanding how to navigate them is not at all instinctive. That’s why young people need positive environments and supportive relationships with adults and peers to build healthy romantic relationships. But making authentic adolescent development a through line in stories about young romance doesn’t mean you have to give up the humor - or even the cringing.
The To All the Boys… franchise is a great example of how to do this. The Netflix film trilogy (adapted from the YA novel series) stays true to rom-com expectations while portraying adolescent love in an ever-evolving and age-appropriate way. What makes these movies so fun to watch - in addition to their appealing performances - is witnessing the main character Lara Jean figure out what she wants in her relationship, and what she wants for herself. Lara Jean and Peter’s relationship is filled with trial and error, ultimately culminating in a decision to give long-distance dating a go. Will it work out? The finale leaves it up in the air, but adolescent love is an exploration of the unknown, just as it is in adulthood. To All the Boys… doesn’t have to compromise the romance to tell a developmental story.
Here’s what our research shows about creative storytelling approaches that give adolescent romantic relationships the credit they deserve.
Treat them like the real thing. Romantic relationships in adolescence aren’t just “practice” for grown-up relationships—they are real, and they matter a lot to healthy development.
Make breakups matter, too. Break-ups are as important for healthy development as forming romantic relationships. You can make them dramatic without trivializing them - like Kurt and Blaine’s breakup in Glee - and play them for laughs while still making them consequential - à la She’s the Man.
More than just the two of us. Romantic relationships are never just about two people. They are supported and nurtured - and yes, sometimes hindered - by the relationships they already have. Compelling stories about adolescent love should portray these supports and the ways in which other relationships might work against them, too.
Zoom out. Social inequality plays a role in romantic relationships, as it does in every portrayal of adolescent development. Highlighting the big-picture social conditions that threaten positive relationship outcomes can help build tension in a more authentic portrayal of the challenges adolescents face, even when they have strong connections to each other. The now classic 2000 movie Love and Basketball does this brilliantly, in two ways. First, it is a thoughtful exploration of how gender norms play a role in romantic relationships. Second, it indirectly speaks to the ways in which stories about young people of color are marginalized in film by not making racism the central storyline.
Highlight positive identity development. Romantic relationships are a productive vehicle for identity exploration, and can be used to convey the importance of staying true to that identity. For instance, in the movie The Duff, main character Bianca holds her ground after a superficially cruel insult from classmates, and ends up rewriting the social order while finding romance in the process.
Don’t sell out for laughs. Sure, adolescent romance is rich territory for mining jokes, but there’s a fine line between extracting the universally human humor in them and trivializing them. So far, the new Mindy Kaling series The Sex Life of College Girls, finds this middle ground. Though it certainly portrays the messiness of college-age relationships and sex, it counter-balances these with real moments that illustrate the importance of romance to healthy self-discovery.
Freelancer
The Case for Authentic Disability Representation in Media and Why Our Society Desperately Needs It
HIGHLIGHTS
• More than 95% of all characters with disabilities seen on television are played by non-disabled actors.
• Media can make a difference by helping to normalize disability and expose people, disabled and able bodies alike, to disabled characters they can admire and relate to.
• Hollywood is leaving approximately $125 billion annually on the table by not having authentic and accurate disability representation.
Our society is currently buzzing with diversity, equity and inclusion (DEI) movements. From the classroom to corporate board rooms, and all over social media, you can find people of all ages discussing things like how to be anti-racist or how to properly use gender pronouns. While these are all vastly important conversations to have, the largest marginalized group in the world is consistently left out of this conversation: the disabled population. All of these DEI efforts are vital as we strive to continue learning and growing to make our world a more loving place, but we will never succeed if we’re ignoring the world's largest marginalized community.
The media mirrors this societal oversight — disability representation lags far behind every other marginalized group. In the U.S. today, one in four people (26 percent) have a disability and yet only 3.1 percent of characters on-screen are disabled. In children’s television representation is even worse - less than one percent.
With over a quarter of our population identifying as disabled, recent market research found that Hollywood is leaving billions of dollars on the table. That is a striking number, but not what’s most concerning. Media tends to reflect our society’s values so more importantly, above everything -- the lack of visibility all around is killing disabled people. Let’s explore why.
As children, we observe the world around us in order to make meaning of our own lives, identities, and experiences. When we see people we can relate to and look up to, it helps us create a sense of self. However, when we don’t see anyone similar around us we can relate to, we turn to movies and television to fill that role. When we see positive portrayals of characters we connect with, it can positively impact our mental health. My younger brother, who has Cerebral Palsy, had virtually no positive portrayals in media. No characters that looked like, talked like, or processed the world like him. Not only did that impact my brother’s sense of self, I realized the lack of representation in media impacted the way non-disabled people interacted with my brother and those like him.
We often fear what we don’t understand, and some disabilities may look or sound startling if you’ve never seen it before. This is where media has an opportunity to be largely impactful by creating exposure and understanding through authentic representation. Media can make a difference by helping to normalize disability and expose people, disabled and able bodies alike, to disabled characters they can admire and relate to. I witnessed this lack of exposure first hand with my brother, and his physical differences due to his Cerebral Palsy. People stared, but it wasn’t their fault; they had never been exposed to people with bodies that were built and functioned atypically. My brother uses a walker as a mobility aid, but often still falls down due to weakness in his leg muscles. Sometimes he’d knock things over in public on his way down, which made my family a spectacle. When we were younger I tried to hide my embarrassment, pushing my emotions aside, pretending it was no big deal. But I desperately wished others could see my brother as I did: just a kid with some extra challenges.
This lack of exposure and understanding has been seen throughout history, perpetuating more misunderstanding and stigma around the disabled population. Historically, disabled people have been killed, sent away, hidden from the public, or socially pressured to hide their disabilities if possible. This is why it’s vital that we include characters with disabilities in media, especially children’s media -- so we can normalize all types of bodies and neurodiversity. Studies have shown that kids who are exposed to diverse types of people at a young age grow up to be less discriminatory and more accepting individuals. If kids and adults could get to know and interact with more disabled people, whether in real life or on screen, seeing my brother wouldn’t be such an event to stare at.
COVID-19 pandemic emphasized society’s “ableist” values
A larger reason we must strive for more disabled representation is because authentic representation can actually shift societal cultural values. Our society needs to start valuing the lives of disabled people. In the beginnings of the COVID-19 pandemic, many disabled people in group homes were essentially triaged as less important lives to save and they and their staff didn’t receive access to essential COVID-19 precautions and resources. This resulted in an astounding death toll for this group. In New York, one study found people with intellectual and developmental disabilities, who were living in group homes with roommates and care staff, were dying at nearly 8 times the rate. In England, one article reported 60 percent of the deaths from COVID-19 in 2020 were disabled individuals and many of these deaths were preventable. Yet, mainstream media has not been covering this. The lack of news coverage is telling, and reflects our society’s ableism at its finest - the idea that non-disabled lives are more important than disabled ones.
Unfortunately, this is just one blaring example of ableism that directly resulted in a devastating number of disabled deaths. People with intellectual and developmental disabilities overall tend to have a higher mortality rate. In some cases there may be other health factors related to their condition that makes their lifespan shorter. However, in many cases it’s a lack of access to and receiving proper and effective healthcare that is the true barrier. Disabled people are dying unnecessarily, period. This can only change when our society as a whole starts valuing disabled lives - but first they must see ableism as a problem. One way we fight ableism? All together now! More accurate and authentic portrayals in the media.
Disability as a prop or “inspiration porn” in media
In 2020, CSS released a report on the importance of authentically inclusive representation in regards to diverse identities, with a special focus on race. One way to ensure authentic representation is by breaking harmful group stereotypes - for example in the case of race, not only showing Asians as quiet and nerdy, or Black women as sexualized and dominant. In the same way we must also be mindful with our portrayals of disability and what it means to be authentic. Oftentimes if disabled people are visible on screen at all, they are depicted as unintelligent (or off-puttingly intelligent), as a burden, or simply a prop to progress the story along. The character is reduced to one aspect of their identity, their disability. Often a main, non-disabled character is motivated by or learns a lesson thanks to this disabled side character. When portrayals are limited to this and people are diminished to just their disability, we as a society expect them to be merely a side character in our world which leads to more discrimination and exclusion.
While often well-intended, there is another problematic trope of these generic and cliché portrayals of disabled people. The main character, typically an able-bodied person, often helps or “saves” a disabled person, or even uses the struggles and triumphs of a disabled character to inspire others. This surface-level touching story is commonly referred to as “inspiration porn.” This can be tricky because good intent unfortunately reduces the disabled character to being objectified only to inspire others, rather than celebrating and spotlighting the disabled person as just a person. This instead promotes the message that disabled people should be pitied or need help rather than celebrating them for the intricate humans they are and what they have to give to the world.
In this way, the media we consume has the power to create negative biases towards disabled individuals unintentionally. However, we also know that when thoughtfully portrayed, narrative stories have the power to dismantle biases and shift our culture to be a more inclusive society. Researchers studied this phenomenon by comparing internalized racial bias to LGBTQ+ biases during the Obama years. You might think having a Black president would shift our internalized racism, however the levels of bias didn’t change over the eight years. Yet, during those same years, LGBTQ+ biases dropped significantly which researchers attribute to popular media and television shows that were LGBTQ+ inclusive, like Glee. So how can we do this with disability?
Getting it right: include disabled individuals
There’s a common saying amongst the disabled community: nothing about us without us. In the context of storytelling, this speaks directly to the idea that if the story features a disabled character, there should be people involved both behind and in front of the camera who can directly relate to the character. We have a lot of room for growth, as more than 95 percent of all characters with disabilities seen on television are played by non-disabled actors. However, there are a few recent shows that have made waves in authentic disability representation. Shows like Speechless, Special, and Everything’s Going to be Okay intentionally and authentically portray disability by actually hiring creators and actors who are disabled. The lead characters in Speechless and Special have Cerebral Palsy, as do the actors who portrayed them. In Everything’s Going to be Okay, one of the lead characters is Autistic and the actress who plays her has Autism Spectrum Disorder. These shows also had creators behind the camera who had direct experiences with the disabilities portrayed in the show and the combination of having actors and creators with lived experiences made these shows stand out and recognized for their work.
But let’s talk business.
So why should a behemoth industry like Hollywood care? For one, research shows that disability-inclusive workplaces significantly increase revenue, profit margins, and employee productivity. Inclusive or universal design, is the concept that when things are designed for people with permanent disabilities, everyone in society benefits. It’s sometimes referred to as the “curb-cut effect” as a curb-cut was designed for wheel-chair users, but people pushing strollers, or people riding bikes, or a film crew unloading equipment, also benefit. At the end of the day, Hollywood is a business, so to speak to that angle - in 2019 the Ruderman Family Foundation found that Hollywood is leaving approximately $125 billion dollars annually on the table by not having authentic and accurate disability representation. Talk about missed opportunities!
Imagining an inclusive world
All in all, it’s time we start recognizing and celebrating people with disabilities as a valuable part of our society because disability impacts ALL of us. Disability is the only minority group anyone can join at any time. Take a moment to let that sink in. Disability is the only minority group anyone can join at any time. In the UK they found that eighty percent of the disabled population were not born with a disability. That means that experiencing disability personally or through a loved one very likely will be a part of your life if it isn’t already. This is a universal experience that pervades race, sexuality, and socioeconomic status, so it’s time we start talking about it and representing it as so. Let’s use the power of media and storytelling to foster connection and belonging, to uplift others, and truly create a more inclusive world. Hire disabled people and let them tell their stories. My dream is to see a world where diversity is truly celebrated and embraced, and this includes disability. As we all know “with great power comes great responsibility,” so Hollywood - it’s time to walk the walk and step up to the responsibility of the power you have, to truly make our world a better place. I want to look around and see films and series’ that show people like my brother having a life filled with purpose, connection, mishaps, friendships and love. Because even though the challenges may look different on the outside, we can all relate to the pains and joys of what it means to be human.
More Than an Afterthought: Authentically Representing Intersectionality in Media
HIGHLIGHTS
• It is important to not think of intersectionality as simply adding up multiple identities that have no influence on one another.
• Without taking intersectionality into account, progressive ideas and movements lack substance.
• When creating a character, list out the intersectional elements of their identity and consider how to work these into all aspects of their characterization on-screen.
In college, I was briefly part of an organization that advocated for gender-oppressed people’s rights on campus. The group had themed weeks, like Sex Education Week and Period Awareness Week. The last theme of the semester was Intersectionality Week.
As a woman of color, I laughed. Intersectionality is not something I could wait weeks to live out. It’s my daily life. But too often, I find that advocacy groups and well-meaning people who are trying to support movements do the same thing. Intersectionality consistently shows up as an afterthought when it really should be a part of their mindset from the beginning, given that most movements have been started by the most marginalized people.
Intersectionality refers to the way that different identity markers, such as race, gender, sexuality, and class, interact and affect each other. These “intersections” produce experiences that are distinct to those who have the intersectional identity. Kimberle Crenshaw, the legal scholar who coined the term, wrote about Black women’s experiences in the workplace, saying that “the intersectional experience is greater than the sum of racism and sexism.” Crenshaw analyzed the way that the legal system separated Black women’s identities into “Black” and “woman,” but refused to account for how those two characteristics would overlap in a way that is unique to Black women.
Intersectionality is often treated like an addition problem. Women of color experience oppression because they are women + because they are people of color. A queer woman of color would experience homophobia + misogyny + racism. However, this goes against the foundation of what intersectionality is.
While it may seem like the Addition Problem Approach is a sincere attempt at understanding oppression, it can actually center privileged people instead. This is because there cannot be a universal experience of homophobia added to a universal experience of misogyny added to a universal experience of racism. Each one of these forms of oppression is influenced by the other, and the result is not an overlap of different shades of discrimination, but its own entity.
Too often, when we think about sexism, what we’re actually thinking about is the sexism that white, cis women face. When we talk about homophobia, we’re actually referring to white queer people’s struggles. When discussing racism, we generally think of the ways that it affects men of color. These associations are problematic because we believe that we can then understand intersectional identities and issues, but we’re just adding variables that never fit the equation in the first place.
The Addition Problem Approach has been used to explain intersectionality to people who have never heard about it before, but it cannot be the tool that we use when trying to actively work towards inclusion. Rather, there needs to be a consistent and active focus on intersectionality.
Let’s talk about what that might look like. In the context of gender, the starting point of a conversation cannot be an assumption that everyone understands femininity to be the same thing. A lot of conversation surrounding feminism and gender identity seems to push back against the idea of women being feminine. However, it’s important to understand that our society’s “default” ideas of gender are intertwined with whiteness, and so anyone who isn’t white will have a different interaction with the construct.
For instance, Black women are often hypermasculinized, meaning that their femininity is not just doubted, but rejected. The way that non-Black people enforce gender on Black people has roots in slavery, where the destruction of people’s identities was essential to their dehumanization and enslavement. Hortense Spillers, a Black feminist scholar, famously delves into the relationship between gender in Black communities and slavery in “Mama’s Baby, Papa’s Maybe: An American Grammar Book.”
In media, there are patterns of Black women being portrayed as masculine. Consider the way that media outlets have talked about Serena Williams and Michelle Obama. In movies and television, similar patterns appear. This may manifest as casting a Black woman or girl in minor roles where she is only a prop for a white main character’s development, she is never thought of as a love interest, or her romantic life is a joke to other characters and the audience. In Pitch Perfect, Cynthia-Rose’s sexuality and romantic relationships are made fun of constantly, and the jokes about her make up nearly her entire character. In Sex and the City, Jennifer Hudson’s character, Louise, is more of a pitied character than a fully realized one.
Given the context of Black history, how would shunning femininity be the solution to misogyny? Of course, there are many Black people who don’t want to be feminine. But the point is that society’s current approach to gender is steeped in anti-Blackness and racism, and mainstream feminism’s idea of rejecting femininity as a form of freedom only works for a few people. If we don’t think about the way people with intersectional identities experience gender, then it’s just another case of supporting a kind of activism that doesn’t actually help people who are being hurt.
Conversely, East Asian women are hyperfeminized, and consistently characterized as submissive and only useful for sexual gratification. Examples include characters in Miss Saigon or Memoirs of a Geisha. While femininity is something that East Asian women are given access to, the interaction between race and gender is something that is marred with force and harm.
As a South Asian woman, I know people who look like me are either fetishized and seen as some exotic, sexual toy, or are ridiculed and thought to be sexless. One example that is branded in my mind is an early scene in How I Met Your Mother, a show that dominated my early teenage years. The men of the main cast are sitting in a taxi with Ranjit, a driver who reappears multiple times throughout the series. They ask him where he’s from, and he replies, “Bangladesh.” When Ted, Marshall, and Barney follow up by asking, “Are the women in your country beautiful?”, Ranjit shows them a picture of his wife. The protagonists respond by looking at each other and choking out, “He could have just said no.” This one scene is the only time I have ever heard an American show mention the name of the country that half of my family is from. It made my stomach drop, and as a tween watching the show, immediately convinced me that I would always be laughed at, always thought of as ugly. These aren’t just instances of racism; it is discrimination that works specifically because of intersectionality.
All of these examples demonstrate that the goal of blindly destroying masculinity and femininity as constructs is narrow-minded. The separate associations of femininity to domesticity and sexualization or masculinity with apathy, violence, and machismo undermine the layers of institutional oppression that people of color experience. To be clear, breaking down gender norms and the gender binary is key. However, doing so without actively centering histories of enslavement, genocide, and imperialism is not only irresponsible but harmful.
Problematic representation can also appear indirectly. Netflix's Moxie aims to tell a story about students engaging with feminism, but is ultimately a white feminist portrayal of social justice. Though historically, advocacy movements have consistently been started and led by Black women, Moxie places Black women and other characters of color to the side and characterizes white women as rebels. This not only ignores Black women's prominence in activism, but also paints over the suppression that intersectional people have faced in building advocacy groups.
I’ve given a few examples of the way race and gender intersect. There are thousands of layers within each category, and I haven’t even talked about intersections that involve socioeconomic status, religion, sexuality, neurodivergence, or disability. Intersectionality is not simple. It cannot be something that content creators and writers think about at the end of a project.
Instead, intersectional identities and histories need to be the mission from the beginning. Privileged people need to work more on understanding their roles in creating and contributing to discriminatory systems rather than assuming they know how to talk about or even create content portraying progress. Intersectionality is deeply complex, but it merits prioritization and continuing efforts to educate oneself.
For example, Pose offers insight into the way that the lives of trans women of color are also completely shaped by gender and race in ways that are different from cis women of color. Again, trans women of color often have to fight for femininity. Pose starts with intersectionality, rather than tacking it onto the end. While the show had limited representation of dark-skinned Black trans women, it provides a look into what mindful content creation looks like. Other examples of works that have prioritized intersectionality include Grown-ish, One Day at a Time, Grey’s Anatomy, Moonlight, and Girls’ Trip. While these works vary wildly in genre and tone, all of them include plotlines that are influenced by characters’ identities without identity markers making up the entirety of the characters.
This work extends beyond who’s in front of the camera. In addition to content creators and writers needing to research and learn about their characters’ identities, it is essential that there be diverse representation throughout a film or television show’s development, production, and distribution. For instance, the iCarly reboot has not only cast multiple Black characters, but has also hired Black hairstylists like Cora Diggins. The result has been stunning hairstyles for the characters in the show, as well as an outpouring of praise and support for the show’s decisions. Intersectionality was not just an afterthought here, but clearly something that was carefully considered throughout the process.
Ultimately, intersectionality is key. Without taking intersectionality into account, progressive ideas and movements lack substance. Progress doesn’t begin until intersectionality shows up, so it is critical to consider where in the work the subject is brought in. Shows and movies that attempt to lift up marginalized communities without thinking about intersectionality are only perpetuating different systems of prejudice and oppression. While it may feel daunting or overwhelming to think about the countless identity markers that people and characters have, there is beauty in investigating. Intersectionality isn’t an invisible or elusive concept: there are people with intersectional identities everywhere who live rich and deeply complex lives.
Actionable Insights
Prioritize telling stories with leading characters that have intersectional underrepresented identities.
When creating a character, list out the intersectional elements of their identity and consider how to work these into all aspects of their characterization on-screen.
Think about characters with multiple marginalized identities, and tell stories that do not consist solely of their struggles with those identities.
When telling stories of characters with intersectional identities, hire cast and crew members who can draw from their own intersectional identities to positively influence the authenticity of the overall storytelling.
When telling stories that aren’t “part of the real world,” like fantasy or science-fiction works, ensure that intersectional identities are represented without writing marginalization into their characters (i.e., make sure the characters are not just representations of their real-world oppression).
5 Content Creators to Listen To:
@kennathevampireslayer (TikTok)
@daejahtalkstv (TikTok & YouTube)
@crutches_and_spice (TikTok)
Khadija Mbowe (YouTube)
@thecounsciouskid (Instagram)
Jasmine Baten
Master’s student in Media and Communications, American University
Disclaimer: The views, thoughts, and opinions expressed in this blog belong solely to the author, and do not necessarily reflect the views of the Center for Scholars & Storytellers.