TikTok's rise redefines social media as entertainment, while Twitter's unique role in public discourse faces uncertainty
The landscape of social media is shifting from networking to content distribution. TikTok excels with its 'interest graph,' fostering personalized entertainment that encourages passive viewing, according to tech analyst Eugene Wei. Although Twitter has a smaller user base, it plays a crucial role in public dialogue by merging personal and public broadcasting, creating a facade of social unity through likes, retweets, and trending topics. This conviviality, examined through Achille Mbembe's framework, uncovers intricate user-power relationships. Meanwhile, Meta grapples with reliance on advertising and the impact of Apple's privacy updates, while platforms like Discord prioritize small-group interactions. Newer apps such as Gas and BeReal struggle to establish viable business models. The New York Times highlights TikTok's flourishing ad revenue, contrasting with Meta's difficulties, emphasizing the growing divide between 'social' and 'media.'
Key facts
- TikTok's ad business is thriving, according to a New York Times report
- TikTok uses an 'interest graph' derived from data surveillance for content curation
- Twitter has never been especially popular or influential relative to other platforms
- Twitter's context collapse was always implicit, blending personal and public broadcasting
- Meta's share prices have suffered due to pandemic restrictions waning
- Apple's recent operating-system tweaks have made user tracking harder for social media companies
- Eugene Wei describes TikTok as replacing the 'social graph' with an 'interest graph'
- Achille Mbembe's analysis in 'On the Postcolony' (2005) is applied to platform governance
Entities
Artists
- Ian Bogost
- Eugene Wei
- Dallas Smythe
- Achille Mbembe
Institutions
- The Atlantic
- New York Times
- TikTok
- Meta
- Apple
- Discord
- Twitch
- Snap
- Gas
- BeReal