MK

Some invest a lot of time and skill in crafting TikTok videos, but neither time nor skill is required. If TikTok “enables everyone to be a creator,” as its former mission statement proclaimed, this is because creative labor on the platform has been automated and deskilled.

Yet the cultural dominance of the iPhone — and the transformation of the open internet into “walled gardens” and apps focused on simplifying the user experience — has taken the “triumph of seamless usability” to a new level. This “tyranny of convenience,” to borrow Tim Wu’s phrase , should sensitize us to what may be lost when democratization

Cultural production is ever more finely attuned to attention, which is ever more pervasively measured and monetized. Commerce and culture are locked in an ever-tighter embrace.

It’s a genre of content I like to call “Type of Guy” syndrome, where people on the internet create a mostly fictional straw man to represent a certain kind of person they dislike and then project it onto the one in front of them.

This is also why journalists became so dependent on Twitter: It’s a constant stream of sources, events, and reactions—a reporting automat, not to mention an outbound vector for media tastemakers to make tastes.