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TikTok Parents Are Taking Advantage Of Their Kids. It Needs To Stop


TikTok Parents Are Taking Advantage of Their Kids. It Needs to Stop


TikTok Parents Are Taking Advantage of Their Kids. It Needs to Stop

Rachel Barkman's son started accurately identifying different species of mushroom at the age of 2. Together they'd go out into the mossy woods near her home in Vancouver and forage. When it came to occasionally sharing in her TikTok videos her son's enthusiasm and skill for picking mushrooms, she didn't think twice about it -- they captured a few cute moments, and many of her 350,000-plus followers seemed to like it.

That was until last winter, when a female stranger approached them in the forest, bent down and addressed her son, then 3, by name and asked if he could show her some mushrooms. 

"I immediately went cold at the realization that I had equipped complete strangers with knowledge of my son that puts him at risk," Barkman said in an interview this past June. 

This incident, combined with research into the dangers of sharing too much, made her reevaluate her son's presence online. Starting at the beginning of this year, she vowed not to feature his face in future content. 

"My decision was fueled by a desire to protect my son, but also to protect and respect his identity and privacy, because he has a right to choose the way he is shown to the world," she said.

These kinds of dangers have cropped up alongside the rise in child influencers, such as 10-year-old Ryan Kaji of Ryan's World, who has almost 33 million subscribers, with various estimates putting his net worth in the multiple tens of millions of dollars. Increasingly, brands are looking to use smaller, more niche, micro- and nano-influencers, developing popular accounts on Instagram, TikTok and YouTube to reach their audiences. And amid this influencer gold rush there's a strong incentive for parents, many of whom are sharing photos and videos of their kids online anyway, to get in on the action. 

The increase in the number of parents who manage accounts for their kids -- child influencers' parents are often referred to as "sharents" -- opens the door to exploitation or other dangers. With almost no industry guardrails in place, these parents find themselves in an unregulated wild west. They're the only arbiters of how much exposure their children get, how much work their kids do, and what happens to money earned through any content they feature in.

Instagram didn't respond to multiple requests for comment about whether it takes any steps to safeguard child influencers. A representative for TikTok said the company has a zero-tolerance approach to sexual exploitation and pointed to policies to protect accounts of users under the age of 16. But these policies don't apply to parents posting with or on behalf of their children. YouTube didn't immediately respond to a request for comment.

"When parents share about their children online, they act as both the gatekeeper -- the one tasked with protecting a child's personal information -- and as the gate opener," said Stacey Steinberg, a professor of law at the University of Florida and author of the book Growing Up Shared. As the gate opener, "they benefit, gaining both social and possibly financial capital by their online disclosures."

The reality is that some parents neglect the gatekeeping and leave the gate wide open for any internet stranger to walk through unchecked. And walk through they do.

Meet the sharents

Mollie is an aspiring dancer and model with an Instagram following of 122,000 people. Her age is ambiguous but she could be anywhere from 11-13, meaning it's unlikely she's old enough to meet the social media platform's minimum age requirement. Her account is managed by her father, Chris, whose own account is linked in her bio, bringing things in line with Instagram's policy. (Chris didn't respond to a request for comment.)

You don't have to travel far on Instagram to discover accounts such as Mollie's, where grown men openly leer at preteen girls. Public-facing, parent-run accounts dedicated to dancers and gymnasts -- who are under the age of 13 and too young to have accounts of their own -- number in the thousands. (To protect privacy, we've chosen not to identify Mollie, which isn't her real name, or any other minors who haven't already appeared in the media.)

Parents use these accounts, which can have tens of thousands or hundreds of thousands of followers, to raise their daughters' profiles by posting photos of them posing and demonstrating their flexibility in bikinis and leotards. The comment sections are often flooded with sexualized remarks. A single, ugly word appeared under one group shot of several young girls in bikinis: "orgy."

Some parents try to contain the damage by limiting comments on posts that attract too much attention. The parent running one dancer account took a break from regular scheduling to post a pastel-hued graphic reminding other parents to review their followers regularly. "After seeing multiple stories and posts from dance photographers we admire about cleaning up followers, I decided to spend time cleaning," read the caption. "I was shocked at how many creeps got through as followers."

But "cleaning up" means engaging in a never-ending game of whack-a-mole to keep unwanted followers at bay, and it ignores the fact that you don't need to be following a public account to view the posts. Photos of children are regularly reposted on fan or aggregator accounts, over which parents have no control, and they can also be served up through hashtags or through Instagram's discovery algorithms.

The simple truth is that publicly posted content is anyone's for the taking. "Once public engagement happens, it is very hard, if not impossible, to really put meaningful boundaries around it," said Leah Plunkett, author of the book Sharenthood and a member of the faculty at Harvard Law School.

This concern is at the heart of the current drama concerning the TikTok account @wren.eleanor. Wren is an adorable blonde 3-year-old girl, and the account, which has 17.3 million followers, is managed by her mother, Jacquelyn, who posts videos almost exclusively of her child. 

Concerned onlookers have pointed Jacquelyn toward comments that appear to be predatory, and have warned her that videos in which Wren is in a bathing suit, pretending to insert a tampon, or eating various foodstuffs have more watches, likes and saves than other content. They claim her reluctance to stop posting in spite of their warnings demonstrates she's prioritizing the income from her account over Wren's safety. Jacquelyn didn't respond to several requests for comment.

Last year, the FBI ran a campaign in which it estimated that there were 500,000 predators online every day -- and that's just in the US. Right now, across social platforms, we're seeing the growth of digital marketplaces that hinge on child exploitation, said Plunkett. She doesn't want to tell other parents what to do, she added, but she wants them to be aware that there's "a very real, very pressing threat that even innocent content that they put up about their children is very likely to be repurposed and find its way into those marketplaces."

Naivete vs. exploitation

When parent influencers started out in the world of blogging over a decade ago, the industry wasn't exploitative in the same way it is today, said Crystal Abidin, an academic from Curtin University who specializes in internet cultures. When you trace the child influencer industry back to its roots, what you find is parents, usually mothers, reaching out to one another to connect. "It first came from a place of care among these parent influencers," she said.

Over time, the industry shifted, centering on children more and more as advertising dollars flowed in and new marketplaces formed. 

Education about the risks hasn't caught up, which is why people like Sarah Adams, a Vancouver mom who runs the TikTok account @mom.uncharted, have taken it upon themselves to raise the flag on those risks. "My ultimate goal is just have parents pause and reflect on the state of sharenting right now," she said. 

But as Mom Uncharted, Adams is also part of a wider unofficial and informal watchdog group of internet moms and child safety experts shedding light on the often disturbing way in which some parents are, sometimes knowingly, exploiting their children online.

The troubling behavior uncovered by Adams and others suggests there's more than naivete at play -- specifically when parents sign up for and advertise services that let people buy "exclusive" or "VIP" access to content featuring their children.

Some parent-run social media accounts that Adams has found linked out to a site called SelectSets, which lets the parents sell photo sets of their children. One account offered sets with titles such as "2 little princesses." SelectSets has described the service as "a classy and professional" option for influencers to monetize content, allowing them to "avoid the stigma often associated with other platforms."

Over the last few weeks, SelectSets has gone offline and no owner could be traced for comment.

In addition to selling photos, many parent-run dancer accounts, Mollie's included, allow strangers to send the dancers swimwear and underwear from the dancers' Amazon wish lists, or money to "sponsor" them to "realize their dream" or support them on their "journeys."

While there's nothing technically illegal about anything these parents are doing, they're placing their children in a gray area that's not explicitly sexual but that many people would consider to be sexualized. The business model of using an Amazon wish list is one commonly embraced by online sugar babies who accept money and gifts from older men.

"Our Conditions of Use and Sale make clear that users of Amazon Services must be 18 or older or accompanied by a parent or guardian," said an Amazon spokesperson in a statement. "In rare cases where we are made aware that an account has been opened by a minor without permission, we close the account."

Adams says it's unlikely to be other 11-year-olds sending their pocket money to these girls so they attend their next bikini modeling shoot. "Who the fuck do you think is tipping these kids?" she said. "It's predators who are liking the way you exploit your child and giving them all the content they need."

Turning points

Plunkett distinguishes between parents who are casually sharing content that features their kids and parents who are sharing for profit, an activity she describes as "commercial sharenting." 

"You are taking your child, or in some cases, your broader family's private or intimate moments, and sharing them digitally, in the hope of having some kind of current or future financial benefit," she said.

No matter the parent's hopes or intentions, any time children appear in public-facing social media content, that content has the potential to go viral, and when it does, parents have a choice to either lean in and monetize it or try to rein it in.

During Abidin's research -- in which she follows the changing activities of the same influencers over time -- she's found that many influencer parents reach a turning point. It can be triggered by something as simple as other children at school being aware of their child's celebrity or their child not enjoying it anymore, or as serious as being involved in a car chase while trying to escape fans (an occurrence recounted to Abidin by one of her research subjects). 

One influencer, Katy Rose Pritchard, who has almost 92,000 Instagram followers, decided to stop showing her children's faces on social media this year after she discovered they were being used to create role-playing accounts. People had taken photos of her children that she'd posted and used them to create fictional profiles of children for personal gratification, which she said in a post made her feel "violated."

All these examples highlight the different kinds of threats sharents are exposing their children to. Plunkett describes three "buckets" of risk tied to publicly sharing content online. The first and perhaps most obvious are risks involving criminal and/or dangerous behavior, posing a direct threat to the child. 

The second are indirect risks, where content posted featuring children can be taken, reused, analyzed or repurposed by people with nefarious motives. Consequences include anything from bullying to harming future job prospects to millions of people having access to children's medical information -- a common trope on YouTube is a video with a melodramatic title and thumbnail involving a child's trip to the hospital, in which influencer parents with sick kids will document their health journeys in blow-by-blow detail.

The third set of risks are probably the least talked about, but they involve potential harm to a child's sense of self. If you're a child influencer, how you see yourself as a person and your ability to develop into an adult is "going to be shaped and in some instances impeded by the fact that your parents are creating this public performance persona for you," said Plunkett.

Often children won't be aware of what this public persona looks like to the audience and how it's being interpreted. They may not even be aware it exists. But at some point, as happened with Barkman, the private world in which content is created and the public world in which it's consumed will inevitably collide. At that point, the child will be thrust into the position of confronting the persona that's been created for them.

"As kids get older, they naturally want to define themselves on their own terms, and if parents have overshared about them in public spaces, that can be difficult, as many will already have notions about who that child is or what that child may like," said Steinberg. "These notions, of course, may be incorrect. And some children may value privacy and wish their life stories were theirs -- not their parents -- to tell."

Savannah and Cole LaBrant with daughter Everleigh

Savannah and Cole LaBrant have documented nearly everything about their children's lives.

Jim Spellman/WireImage

This aspect of having their real-life stories made public is a key factor distinguishing children working in social media from children working in the professional entertainment industry, who usually play fictional roles. Many children who will become teens and adults in the next couple of decades will have to reckon with the fact that their parents put their most vulnerable moments on the internet for the world to see -- their meltdowns, their humiliation, their most personal moments. 

One influencer family, the LaBrants, were forced to issue a public apology in 2019 after they played an April Fools' Day Joke on their 6-year-old daughter Everleigh. The family pretended they were giving her dog away, eliciting tears throughout the video. As a result, many viewers felt that her parents, Sav and Cole, had inflicted unnecessary distress on her.

In the past few months, parents who film their children during meltdowns to demonstrate how to calm them down have found themselves the subject of ire on parenting Subreddits. Their critics argue that it's unfair to post content of children when they're at their most vulnerable, as it shows a lack of respect for a child's right to privacy.

Privacy-centric parenting

Even the staunchest advocates of child privacy know and understand the parental instinct of wanting to share their children's cuteness and talent with the world. "Our kids are the things usually we're the most proud of, the most excited about," said Adams. "It is normal to want to show them off and be proud of them."

When Adams started her account two years ago, she said her views were seen as more polarizing. But increasingly people seem to relate and share her concerns. Most of these are "average parents," naive to the risks they're exposing their kids to, but some are "commercial sharents" too.

Even though they don't always see eye to eye, the private conversations she's had with parents of children (she doesn't publicly call out anyone) with massive social media presences have been civil and productive. "I hope it opens more parents' eyes to the reality of the situation, because frankly this is all just a large social experiment," she said. "And it's being done on our kids. And that just doesn't seem like a good idea."

For Barkman, it's been "surprisingly easy, and hugely beneficial" to stop sharing content about her son. She's more present, and focuses only on capturing memories she wants to keep for herself.

"When motherhood is all consuming, it sometimes feels like that's all you have to offer, so I completely understand how we have slid into oversharing our children," she said. "It's a huge chunk of our identity and our hearts."

But Barkman recognizes the reality of the situation, which is that she doesn't know who's viewing her content and that she can't rely on tech platforms to protect her son. "We are raising a generation of children who have their entire lives broadcast online, and the newness of social media means we don't have much data on the impacts of that reality on children," she said. "I feel better acting with caution and letting my son have his privacy so that he can decide how he wants to be perceived by the world when he's ready and able."


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TikTok Parents Are Taking Advantage Of Their Kids. It Needs To Stop


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TikTok Parents Are Taking Advantage of Their Kids. It Needs to Stop


TikTok Parents Are Taking Advantage of Their Kids. It Needs to Stop

Rachel Barkman's son started accurately identifying different species of mushroom at the age of 2. Together they'd go out into the mossy woods near her home in Vancouver and forage. When it came to occasionally sharing in her TikTok videos her son's enthusiasm and skill for picking mushrooms, she didn't think twice about it -- they captured a few cute moments, and many of her 350,000-plus followers seemed to like it.

That was until last winter, when a female stranger approached them in the forest, bent down and addressed her son, then 3, by name and asked if he could show her some mushrooms. 

"I immediately went cold at the realization that I had equipped complete strangers with knowledge of my son that puts him at risk," Barkman said in an interview this past June. 

This incident, combined with research into the dangers of sharing too much, made her reevaluate her son's presence online. Starting at the beginning of this year, she vowed not to feature his face in future content. 

"My decision was fueled by a desire to protect my son, but also to protect and respect his identity and privacy, because he has a right to choose the way he is shown to the world," she said.

These kinds of dangers have cropped up alongside the rise in child influencers, such as 10-year-old Ryan Kaji of Ryan's World, who has almost 33 million subscribers, with various estimates putting his net worth in the multiple tens of millions of dollars. Increasingly, brands are looking to use smaller, more niche, micro- and nano-influencers, developing popular accounts on Instagram, TikTok and YouTube to reach their audiences. And amid this influencer gold rush there's a strong incentive for parents, many of whom are sharing photos and videos of their kids online anyway, to get in on the action. 

The increase in the number of parents who manage accounts for their kids -- child influencers' parents are often referred to as "sharents" -- opens the door to exploitation or other dangers. With almost no industry guardrails in place, these parents find themselves in an unregulated wild west. They're the only arbiters of how much exposure their children get, how much work their kids do, and what happens to money earned through any content they feature in.

Instagram didn't respond to multiple requests for comment about whether it takes any steps to safeguard child influencers. A representative for TikTok said the company has a zero-tolerance approach to sexual exploitation and pointed to policies to protect accounts of users under the age of 16. But these policies don't apply to parents posting with or on behalf of their children. YouTube didn't immediately respond to a request for comment.

"When parents share about their children online, they act as both the gatekeeper -- the one tasked with protecting a child's personal information -- and as the gate opener," said Stacey Steinberg, a professor of law at the University of Florida and author of the book Growing Up Shared. As the gate opener, "they benefit, gaining both social and possibly financial capital by their online disclosures."

The reality is that some parents neglect the gatekeeping and leave the gate wide open for any internet stranger to walk through unchecked. And walk through they do.

Meet the sharents

Mollie is an aspiring dancer and model with an Instagram following of 122,000 people. Her age is ambiguous but she could be anywhere from 11-13, meaning it's unlikely she's old enough to meet the social media platform's minimum age requirement. Her account is managed by her father, Chris, whose own account is linked in her bio, bringing things in line with Instagram's policy. (Chris didn't respond to a request for comment.)

You don't have to travel far on Instagram to discover accounts such as Mollie's, where grown men openly leer at preteen girls. Public-facing, parent-run accounts dedicated to dancers and gymnasts -- who are under the age of 13 and too young to have accounts of their own -- number in the thousands. (To protect privacy, we've chosen not to identify Mollie, which isn't her real name, or any other minors who haven't already appeared in the media.)

Parents use these accounts, which can have tens of thousands or hundreds of thousands of followers, to raise their daughters' profiles by posting photos of them posing and demonstrating their flexibility in bikinis and leotards. The comment sections are often flooded with sexualized remarks. A single, ugly word appeared under one group shot of several young girls in bikinis: "orgy."

Some parents try to contain the damage by limiting comments on posts that attract too much attention. The parent running one dancer account took a break from regular scheduling to post a pastel-hued graphic reminding other parents to review their followers regularly. "After seeing multiple stories and posts from dance photographers we admire about cleaning up followers, I decided to spend time cleaning," read the caption. "I was shocked at how many creeps got through as followers."

But "cleaning up" means engaging in a never-ending game of whack-a-mole to keep unwanted followers at bay, and it ignores the fact that you don't need to be following a public account to view the posts. Photos of children are regularly reposted on fan or aggregator accounts, over which parents have no control, and they can also be served up through hashtags or through Instagram's discovery algorithms.

The simple truth is that publicly posted content is anyone's for the taking. "Once public engagement happens, it is very hard, if not impossible, to really put meaningful boundaries around it," said Leah Plunkett, author of the book Sharenthood and a member of the faculty at Harvard Law School.

This concern is at the heart of the current drama concerning the TikTok account @wren.eleanor. Wren is an adorable blonde 3-year-old girl, and the account, which has 17.3 million followers, is managed by her mother, Jacquelyn, who posts videos almost exclusively of her child. 

Concerned onlookers have pointed Jacquelyn toward comments that appear to be predatory, and have warned her that videos in which Wren is in a bathing suit, pretending to insert a tampon, or eating various foodstuffs have more watches, likes and saves than other content. They claim her reluctance to stop posting in spite of their warnings demonstrates she's prioritizing the income from her account over Wren's safety. Jacquelyn didn't respond to several requests for comment.

Last year, the FBI ran a campaign in which it estimated that there were 500,000 predators online every day -- and that's just in the US. Right now, across social platforms, we're seeing the growth of digital marketplaces that hinge on child exploitation, said Plunkett. She doesn't want to tell other parents what to do, she added, but she wants them to be aware that there's "a very real, very pressing threat that even innocent content that they put up about their children is very likely to be repurposed and find its way into those marketplaces."

Naivete vs. exploitation

When parent influencers started out in the world of blogging over a decade ago, the industry wasn't exploitative in the same way it is today, said Crystal Abidin, an academic from Curtin University who specializes in internet cultures. When you trace the child influencer industry back to its roots, what you find is parents, usually mothers, reaching out to one another to connect. "It first came from a place of care among these parent influencers," she said.

Over time, the industry shifted, centering on children more and more as advertising dollars flowed in and new marketplaces formed. 

Education about the risks hasn't caught up, which is why people like Sarah Adams, a Vancouver mom who runs the TikTok account @mom.uncharted, have taken it upon themselves to raise the flag on those risks. "My ultimate goal is just have parents pause and reflect on the state of sharenting right now," she said. 

But as Mom Uncharted, Adams is also part of a wider unofficial and informal watchdog group of internet moms and child safety experts shedding light on the often disturbing way in which some parents are, sometimes knowingly, exploiting their children online.

The troubling behavior uncovered by Adams and others suggests there's more than naivete at play -- specifically when parents sign up for and advertise services that let people buy "exclusive" or "VIP" access to content featuring their children.

Some parent-run social media accounts that Adams has found linked out to a site called SelectSets, which lets the parents sell photo sets of their children. One account offered sets with titles such as "2 little princesses." SelectSets has described the service as "a classy and professional" option for influencers to monetize content, allowing them to "avoid the stigma often associated with other platforms."

Over the last few weeks, SelectSets has gone offline and no owner could be traced for comment.

In addition to selling photos, many parent-run dancer accounts, Mollie's included, allow strangers to send the dancers swimwear and underwear from the dancers' Amazon wish lists, or money to "sponsor" them to "realize their dream" or support them on their "journeys."

While there's nothing technically illegal about anything these parents are doing, they're placing their children in a gray area that's not explicitly sexual but that many people would consider to be sexualized. The business model of using an Amazon wish list is one commonly embraced by online sugar babies who accept money and gifts from older men.

"Our Conditions of Use and Sale make clear that users of Amazon Services must be 18 or older or accompanied by a parent or guardian," said an Amazon spokesperson in a statement. "In rare cases where we are made aware that an account has been opened by a minor without permission, we close the account."

Adams says it's unlikely to be other 11-year-olds sending their pocket money to these girls so they attend their next bikini modeling shoot. "Who the fuck do you think is tipping these kids?" she said. "It's predators who are liking the way you exploit your child and giving them all the content they need."

Turning points

Plunkett distinguishes between parents who are casually sharing content that features their kids and parents who are sharing for profit, an activity she describes as "commercial sharenting." 

"You are taking your child, or in some cases, your broader family's private or intimate moments, and sharing them digitally, in the hope of having some kind of current or future financial benefit," she said.

No matter the parent's hopes or intentions, any time children appear in public-facing social media content, that content has the potential to go viral, and when it does, parents have a choice to either lean in and monetize it or try to rein it in.

During Abidin's research -- in which she follows the changing activities of the same influencers over time -- she's found that many influencer parents reach a turning point. It can be triggered by something as simple as other children at school being aware of their child's celebrity or their child not enjoying it anymore, or as serious as being involved in a car chase while trying to escape fans (an occurrence recounted to Abidin by one of her research subjects). 

One influencer, Katy Rose Pritchard, who has almost 92,000 Instagram followers, decided to stop showing her children's faces on social media this year after she discovered they were being used to create role-playing accounts. People had taken photos of her children that she'd posted and used them to create fictional profiles of children for personal gratification, which she said in a post made her feel "violated."

All these examples highlight the different kinds of threats sharents are exposing their children to. Plunkett describes three "buckets" of risk tied to publicly sharing content online. The first and perhaps most obvious are risks involving criminal and/or dangerous behavior, posing a direct threat to the child. 

The second are indirect risks, where content posted featuring children can be taken, reused, analyzed or repurposed by people with nefarious motives. Consequences include anything from bullying to harming future job prospects to millions of people having access to children's medical information -- a common trope on YouTube is a video with a melodramatic title and thumbnail involving a child's trip to the hospital, in which influencer parents with sick kids will document their health journeys in blow-by-blow detail.

The third set of risks are probably the least talked about, but they involve potential harm to a child's sense of self. If you're a child influencer, how you see yourself as a person and your ability to develop into an adult is "going to be shaped and in some instances impeded by the fact that your parents are creating this public performance persona for you," said Plunkett.

Often children won't be aware of what this public persona looks like to the audience and how it's being interpreted. They may not even be aware it exists. But at some point, as happened with Barkman, the private world in which content is created and the public world in which it's consumed will inevitably collide. At that point, the child will be thrust into the position of confronting the persona that's been created for them.

"As kids get older, they naturally want to define themselves on their own terms, and if parents have overshared about them in public spaces, that can be difficult, as many will already have notions about who that child is or what that child may like," said Steinberg. "These notions, of course, may be incorrect. And some children may value privacy and wish their life stories were theirs -- not their parents -- to tell."

Savannah and Cole LaBrant with daughter Everleigh

Savannah and Cole LaBrant have documented nearly everything about their children's lives.

Jim Spellman/WireImage

This aspect of having their real-life stories made public is a key factor distinguishing children working in social media from children working in the professional entertainment industry, who usually play fictional roles. Many children who will become teens and adults in the next couple of decades will have to reckon with the fact that their parents put their most vulnerable moments on the internet for the world to see -- their meltdowns, their humiliation, their most personal moments. 

One influencer family, the LaBrants, were forced to issue a public apology in 2019 after they played an April Fools' Day Joke on their 6-year-old daughter Everleigh. The family pretended they were giving her dog away, eliciting tears throughout the video. As a result, many viewers felt that her parents, Sav and Cole, had inflicted unnecessary distress on her.

In the past few months, parents who film their children during meltdowns to demonstrate how to calm them down have found themselves the subject of ire on parenting Subreddits. Their critics argue that it's unfair to post content of children when they're at their most vulnerable, as it shows a lack of respect for a child's right to privacy.

Privacy-centric parenting

Even the staunchest advocates of child privacy know and understand the parental instinct of wanting to share their children's cuteness and talent with the world. "Our kids are the things usually we're the most proud of, the most excited about," said Adams. "It is normal to want to show them off and be proud of them."

When Adams started her account two years ago, she said her views were seen as more polarizing. But increasingly people seem to relate and share her concerns. Most of these are "average parents," naive to the risks they're exposing their kids to, but some are "commercial sharents" too.

Even though they don't always see eye to eye, the private conversations she's had with parents of children (she doesn't publicly call out anyone) with massive social media presences have been civil and productive. "I hope it opens more parents' eyes to the reality of the situation, because frankly this is all just a large social experiment," she said. "And it's being done on our kids. And that just doesn't seem like a good idea."

For Barkman, it's been "surprisingly easy, and hugely beneficial" to stop sharing content about her son. She's more present, and focuses only on capturing memories she wants to keep for herself.

"When motherhood is all consuming, it sometimes feels like that's all you have to offer, so I completely understand how we have slid into oversharing our children," she said. "It's a huge chunk of our identity and our hearts."

But Barkman recognizes the reality of the situation, which is that she doesn't know who's viewing her content and that she can't rely on tech platforms to protect her son. "We are raising a generation of children who have their entire lives broadcast online, and the newness of social media means we don't have much data on the impacts of that reality on children," she said. "I feel better acting with caution and letting my son have his privacy so that he can decide how he wants to be perceived by the world when he's ready and able."


Source

TikTok Wants To Remind You To Take Breaks From The App


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TikTok Wants to Remind You to Take Breaks From the App


TikTok Wants to Remind You to Take Breaks From the App

What's happening

TikTok is releasing more tools in the coming weeks to enable people to limit screen time.

Why it matters

It's another example of how social media companies are responding to criticism that their apps have harmful mental health impacts, especially on young people.

TikTok users who spend too much time mindlessly scrolling through the app's short-form videos will soon have another way to limit their screen time.

TikTok said in a blog post Thursday that it's releasing a new tool in the coming weeks that'll enable you to schedule reminders to take a break from the app after a certain amount of time. TikTok currently has a tool that can prompt you to enter a passcode if you've spent 40, 60, 90 or 120 minutes on the app. The new screen-time tool includes an option to set reminders for whatever amount of time you choose such as 10 or 20 minutes. TikTok also said it will also remind users between the ages of 13 and 17 about the screen-time tool if they use the app for more than 100 minutes in a single day.

TikTok does allow users under 13 years old to use the app, but their experience is limited so they don't have access to certain features such as sharing and commenting on videos or maintaining a profile or followers. The company didn't respond to questions about how screen breaks apply to users under 13. 

TikTok's screen time breaks tool

TikTok will let you schedule breaks from the app.

TikTok

In addition, TikTok is releasing a screen time dashboard that will give you a sense of how much time you're spending scrolling through videos. The dashboard includes data about daily time spent on the app, the number of times you open TikTok and how much you use the app during the daytime versus the night time. TikTok also published a new mental well-being guide in its Safety Center that includes tips about how to respond to friends and family who are struggling with their mental health. 

"Having a positive relationship with digital devices and apps isn't just about measuring screen time," Jordan Furlong, product manager for digital well-being at TikTok, said in the blog post. "It's also about feeling in control of how we use technology and ensuring that the time we spend online contributes positively to our sense of well-being."

The release of new tools that encourage screen time limits is another example of how social media companies are responding to criticism that their apps are harming people's mental health, especially teenagers. In March, a group of state attorneys general said it was investigating how TikTok harms young users and what the company knew about those harms.

Last year, The Wall Street Journal published an investigation that showed how TikTok's algorithm can send users down a rabbit hole of content by using data such as how long users linger on a video. That can be problematic if the app continues to show sad videos to someone who is depressed or pushes more extremist content to conspiracy theorists. 

The potential negative mental health impacts of social media on users have been an ongoing discussion for many years. Concerns about this issue, though, reached new heights after Frances Haugen, a former Facebook product manager turned whistleblower, leaked documents, including one that showed how Instagram can make teenage girls feel worse about their bodies. Facebook, now Meta, said that its research was mischaracterized and that Instagram can also help teenagers connect to their family and friends. 

US lawmakers have held a series of hearings related to the topic and heard testimony from various social media companies including TikTok that say they're taking the mental health of their users seriously.

Social media apps have been trying to give people more control over how they use the platform. In 2018, Facebook and its photo-and-video service Instagram released tools to limit time spent on the app. Instagram also unveiled new parental controls in March. 

In 2020, TikTok released parental controls that allow parents to limit the amount of time their children spent on the app. It's unclear whether these tools have been working or are widely used among TikTok's more than 1 billion users. TikTok hasn't released data about how many people use daily screen time limits. 


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Funny Business: TikTok Is Putting A New Spin On Standup Comedy


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Funny Business: TikTok Is Putting a New Spin on Standup Comedy


Funny Business: TikTok Is Putting a New Spin on Standup Comedy

As the lights dim, the doors fly open and the shadow of Reuben Kaye — "actress, model and," as he tells his audience every night, "the only horseman of the apocalypse to ride side saddle" — is thrown across the auditorium, stretching up the wall like something from your wildest fever dream.

With over 3,500 shows at this year's Edinburgh Fringe — the world's biggest arts festival, which runs in the capital every year for all  of August — it's pretty hard to stand out if you're a performer wanting to make a name for yourself. But there are shows, and then there are the jazz-hands, capital-letters *SHOWS.*

Kaye's The Butch Is Back is definitely the latter. Whereas many Fringe shows happen in the city's rabbit warren of old vaults, upstairs at pubs and in hotel conference rooms, with very little in the way of lighting, backdrops and tech, Kaye's is a Las Vegas show in miniature. With his band, he sings, dances and interacts with the audience with rapid-fire patter and comedic timing that fills the high ceilings of the old church he performs in with hoots and screeches.

This isn't Kaye's first rodeo at the Fringe, but he returns in 2022 after two years of being restricted to his homeland of Australia with some new tricks up his sleeve. Since his last Fringe run, Kaye has found success on TikTok, where he has 203,000 followers, which has not only opened him up to new audiences, but forced him to write faster and better in a way that's transformed his shows.

"This show is pretty much a TikTok, it does not stop," he said in an interview in the bar of Fringe venue Assembly Checkpoint last week. "The opening number and the closing number are written as TikToks — line after line after line, boom, boom, boom, costume change — as quick as it can be. And it's also amazing cardio."

Reuben Kaye photographed during Edinburgh festival Fringe

Reuben Kaye on stage in Edinburgh.

Andrew Lanxon/CNET

Kaye's act isn't the only place where TikTok has made its mark. The short-form video app's fingerprints are all over the Fringe this year, shaking up the 75-year-old arts festival with an injection of new talent and energy. Freshly TikTok-famous comedians have come to the Fringe for the first time, buoyed by their online success, while old hands are using the platform to find new audiences and experiment with material. 

"The Edinburgh Fringe is all about offering anyone a stage and everyone a seat — and that's the ethos of TikTok too," said Melissa McFarlane, head of content programming at TikTok, in a statement.

TikTok, which has enjoyed an explosion of popularity over the last few years (now at over 1 billion active monthly users, compared to 2.1 billion on YouTube and 2.9 billion on Facebook), boasts a physical presence in Edinburgh as the festival's first virtual partner. The company broadcasts live on its own platform from the TikTok stage, invites creators to make use of its live studio in the heart of Edinburgh and works with performers to hone their TikTok skills.

The result: a festival with more original and unique acts for audiences, and new opportunities for a more diverse group of performers who might not have necessarily gotten a shot in this notoriously difficult business.

"It opened me up to a new demographic of people who would not have thought cabaret was for them," said Kaye. "TikTok comedians are incredibly — to use an overused phrase — diverse. They're people of color, they're queer, they're trans women and comedy has for a very long time been a white boys club."

A ball for debutantes

One of those who performed on TikTok's stage was Serena Terry from Derry, Northern Ireland, who on TikTok goes by Mammy Banter. With 1.4 million followers, Terry is popular for her sketches of parenting petulant children and teens, but until TikTok reached out inviting her to take one of its one-off standup spots she'd never performed live comedy.

"It's incredible that TikTok can create these opportunities for people who have just jumped on the app in the last few years and haven't done any standup comedy, but have established themselves in the digital world," she said. "Absolute superstars have been born at the Fringe, so it was just a no-brainer for me."

She had just two weeks to write and learn her show, but the experience has given her a taste for live performance. "It really has got me excited and it's taken me out of my comfort zone in a very good way," she said. Now she's considering bringing back a full show next year.

Other comedians who found success on TikTok during the pandemic have brought their debut shows to Edinburgh for the entire month-long run.

After dancer and choreographer Christopher Hall lost all of his work for the third time in the UK's series of COVID-19 lockdowns, he decided that it was finally time to do what he'd long dreamed of and try his hand at comedy. He'd held back from posting on TikTok, in part due to worrying what others would think, but the isolation of lockdown gave him a safety net. 

"If everyone thought it was stupid, I wasn't gonna see them for at least six months," he said. "Because it just started off with zero followers, I was like, it could either blow up, or it could just be a sketchbook of ideas." 

Hall wrote videos based on what he was experiencing at the time: being a millennial forced to move back in with his parents. He posted one TikTok per day and on the fifth day he scored his first viral 100,000-view hit. He now has more than 130,000 followers and is in the middle of a month-long Fringe run of a two-man comedy show Two Sour Gays, with fellow comic Mark Bittlestone.

Among those making their Fringe debuts after finding success on TikTok, many have harbored long-running ambitions of working in comedy that finally came to fruition during the pandemic.

Like Hall, sisters Chloe and Tabby Tingey had a background in musical theater before making musical comedy TikToks during lockdown. Tabby had studied musical theater at Glasgow Conservatory and Chloe had won a scholarship to study songwriting at Berklee College of Music, but both had long given up on their dreams of working in the arts by the time they moved in together during the pandemic. Everything that came next was a "happy accident," said Chloe.

Two girls in pink dresses

Chloe and Tabby Tingey are the Sugarcoated Sisters.

Steve Ullathorne

They started making TikTok videos of Tabby weightlifting Chloe — "she's very strong, she's like an ox," Chloe said of her sister. But after discovering comedy content on the app they switched to making musical parodies, with a video of them making fun of Chicago's Cell Block Tango being their first big hit. 

After winning best newcomer at the UK's Musical Comedy Awards earlier this year and racking up 401,000 followers, the pair, who collectively go by the Sugarcoated Sisters, decided to try the festival. TikTok has supported them by securing a spot on the inside front page of the Fringe brochure and putting them on digital bulletin boards.

Selling out shows

Edinburgh Fringe has a reputation for being a star maker, having launched the careers of performers and writers including Phoebe Waller-Bridge, Bo Burnham and Robin Williams. But the reality for many performers is that they will shell out their savings to bring a show to the festival and then have to perform it every night to mostly empty rooms.

Girl in pink dungarees sitting cross legged

Micky Overman is at the Fringe for the third time.

Matt Crockett

It's especially tough for new performers who haven't already established an audience to help them sell out their rooms. "There's a lot of pressure on people coming here for the first time." said Micky Overman, a comic on her third Fringe run with her show Small Deaths. But she's noticed that debut acts from TikTok aren't struggling in the same way as others. "New people that are debuting and people who are successful online are properly selling their shows this year," she said. 

The livestreams on TikTok's virtual stage have translated into real-world ticket sales, according to McFarlane. There's no way for artists to tell for sure how many people are coming to shows solely because of TikTok, but it's harder to find a spare seat at shows with those who boast huge followings. The comedian Rosie Holt, who is known for her online political satire, had to add extra performances after the whole run sold out before the festival even started — something that's almost unheard of aside from the most famous names.

"We're very charmed in the fact that our followings online seem to really translate to in-person audiences," said Hall. He and his comedy partner both have largely UK-based followings that led to near sold-out shows. It's not so easy to fill Edinburgh seats if your following is more international.

Blond woman in skimpy pink outfit

Shirley Gnome got on TikTok during the pandemic.

Shirley Gnome

Chloe and Tabby Tingey were unsure what impact their following would have on ticket sales given that only half of their audience is based in the UK. But they usually get people coming to them at the end of shows identifying themselves as followers, with one woman flying all the way from Illinois to see them live. "She stayed for four days and had a whale of a time," said Tabby.

Finlay Christie, a debut act who has regularly been selling out his show OK Zoomer after shooting to fame on TikTok (173,000 followers), described feeling "the looming specter of digital" at this year's Fringe. "You see the odd act up here who's got a following and bringing their show up here and selling out, but it still feels like you're trying to impress the gatekeepers," he said. Most newer acts have been assigned to smaller rooms, but he said he wouldn't be surprised if in the next few years they're headlining big venues.

Comedy is a notoriously difficult industry to get into, involving immense financial risk and relying on club promoters to book acts. TikTok is changing this, said Hall, as it paves the way for people of all races, sexualities, genders and socio-economic backgrounds to get a leg up in an industry that might have otherwise been inaccessible to them. It can help prove that minority acts have mass-market appeal.

Form dictating content

Comedians who have succeeded at TikTok have seen a massive influx of new interest in their work. At the Fringe, this lifts some of the need to pass out flyers. "It's not like here where you're just shouting into the wind and hoping people walk past," said Kaye.

TikTok's algorithm makes it much easier to reach people who will appreciate you, weeding out those who never would have come to see you live anyway, said Lara Ricote, who is performing her show GRL/LATNX/DEF at the Fringe for the first time. "It's like, oh, you love hard-of-hearing comedy? Guess what I do?" she said. "That difference is very cool. You can arrive at it quicker when usually it's a freakin' 25-year process to find your audience."

Girl in dungarees

Lara Ricote's show is about what it's like to be Latin, hard of hearing and a girl.

Steve Ullathorne

The algorithm has delivered the Sugarcoated Sisters a following of good-humored musical theater lovers. "They're so specific and genius at tailoring the content to people who are interested in it," said Tabby. "It seems like the kind of community that they're creating around the Edinburgh Fringe on TikTok is really supportive, really engaged."

But it's not just about reeling audiences in, said Overman. It's equally valuable in ensuring that people who come to see your show and enjoy it can find more content when they look you up after. "Give them something that they come back to," she said. It's not like newer comics have Netflix specials they can point people towards, she added, but TikTok allows fans to connect with more of their content. "That's how they can become invested."

The Sugarcoated Sisters' most viral hit — an original song about Chloe's bipolar and Tabby's diabetes, which they thought might be too niche to resonate at the time of writing — is now the opener to their show. But on the whole, it's rare to see much overlap between a comedian's stage show and their TikTok presence.

If there is crossover, it tends to be that TikTok informs the live comedy rather than the other way around. "I definitely have incorporated things that were popular on TikTok back into my show," said Shirley Gnome, who found TikTok to be a great way of testing out what material was resonating best among audiences during the pandemic. 

The adage that content dictates form doesn't apply to TikTok, said Kaye. It's usually the other way around. Many existing stand-up comedy acts have found success using TikTok for sketch and character-based comedy, which is somewhat out of fashion at the Fringe right now.

Man in a gold smoking jacket holding a mask of his own face

Milo McCabe is better known as Troy Hawke.

Steve Ullathorne

Milo McCabe, who goes by the stage name Troy Hawke, struck gold when he started making TikToks using a character he first invented eight years ago — a well-spoken greeter who stands outside of stores. McCabe is a Fringe veteran, but has returned to the Fringe this year to perform his show to sold-out rooms, with audiences who have come to ogle "the bloke from the video." 

"I've had to tweak it slightly and… make it a little bit easier to digest," he said, noting his show is different from his TikToks. "That's what I've been doing in the show day by day."

Living for live

Many established comedians have yet to get on TikTok, unsure either of how to use it or whether there's an audience for them on the app.

It turns out that TikTok is an ideal medium for comedians, as it gives them full creative control of their material so they ensure their jokes land as planned. McCabe has honed his editing skills, shaving off tenths of a second here and cutting anything that sounds inauthentic until it sounds "more fluid and watchable."

Ricote is still trying to figure out a way to make TikTok work for her as someone who doesn't do characters and wants to focus on standup. To get a closeup on your face, which she understands to be better for the algorithm, it means having a tripod setup close to her and performing for the camera while also performing for the audience. At this point, she said, "it's not for the room anymore."

Posting standup on TikTok at least partly takes away the purity of the art form, said Overman. "But at the same time we would all be lying to ourselves if we were saying that we didn't want to reach a big audience. And it's right there."

For the majority of comedians wanting to make it big at Edinburgh or anywhere else in the world of comedy, finding an audience who will engage with them as they perform to sold-out rooms is always the end goal. While others on the app try to follow the well-trodden influencer pathway of acquiring enough followers to score brand partnerships, comics are largely avoiding monetizing their followings on the platform. 

"For me," said Gnome, "that's not very interesting." Rather than flogging products, she is motivated by the thrill of being in front of a real audience. "I'm really live oriented… so it really all does come back to the live thing."


Source

Funny Business: TikTok Is Putting A New Spin On Standup Comedy


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Funny Business: TikTok Is Putting a New Spin on Standup Comedy


Funny Business: TikTok Is Putting a New Spin on Standup Comedy

As the lights dim, the doors fly open and the shadow of Reuben Kaye — "actress, model and," as he tells his audience every night, "the only horseman of the apocalypse to ride side saddle" — is thrown across the auditorium, stretching up the wall like something from your wildest fever dream.

With over 3,500 shows at this year's Edinburgh Fringe — the world's biggest arts festival, which runs in the capital every year for all  of August — it's pretty hard to stand out if you're a performer wanting to make a name for yourself. But there are shows, and then there are the jazz-hands, capital-letters *SHOWS.*

Kaye's The Butch Is Back is definitely the latter. Whereas many Fringe shows happen in the city's rabbit warren of old vaults, upstairs at pubs and in hotel conference rooms, with very little in the way of lighting, backdrops and tech, Kaye's is a Las Vegas show in miniature. With his band, he sings, dances and interacts with the audience with rapid-fire patter and comedic timing that fills the high ceilings of the old church he performs in with hoots and screeches.

This isn't Kaye's first rodeo at the Fringe, but he returns in 2022 after two years of being restricted to his homeland of Australia with some new tricks up his sleeve. Since his last Fringe run, Kaye has found success on TikTok, where he has 203,000 followers, which has not only opened him up to new audiences, but forced him to write faster and better in a way that's transformed his shows.

"This show is pretty much a TikTok, it does not stop," he said in an interview in the bar of Fringe venue Assembly Checkpoint last week. "The opening number and the closing number are written as TikToks — line after line after line, boom, boom, boom, costume change — as quick as it can be. And it's also amazing cardio."

Reuben Kaye photographed during Edinburgh festival Fringe

Reuben Kaye on stage in Edinburgh.

Andrew Lanxon/CNET

Kaye's act isn't the only place where TikTok has made its mark. The short-form video app's fingerprints are all over the Fringe this year, shaking up the 75-year-old arts festival with an injection of new talent and energy. Freshly TikTok-famous comedians have come to the Fringe for the first time, buoyed by their online success, while old hands are using the platform to find new audiences and experiment with material. 

"The Edinburgh Fringe is all about offering anyone a stage and everyone a seat — and that's the ethos of TikTok too," said Melissa McFarlane, head of content programming at TikTok, in a statement.

TikTok, which has enjoyed an explosion of popularity over the last few years (now at over 1 billion active monthly users, compared to 2.1 billion on YouTube and 2.9 billion on Facebook), boasts a physical presence in Edinburgh as the festival's first virtual partner. The company broadcasts live on its own platform from the TikTok stage, invites creators to make use of its live studio in the heart of Edinburgh and works with performers to hone their TikTok skills.

The result: a festival with more original and unique acts for audiences, and new opportunities for a more diverse group of performers who might not have necessarily gotten a shot in this notoriously difficult business.

"It opened me up to a new demographic of people who would not have thought cabaret was for them," said Kaye. "TikTok comedians are incredibly — to use an overused phrase — diverse. They're people of color, they're queer, they're trans women and comedy has for a very long time been a white boys club."

A ball for debutantes

One of those who performed on TikTok's stage was Serena Terry from Derry, Northern Ireland, who on TikTok goes by Mammy Banter. With 1.4 million followers, Terry is popular for her sketches of parenting petulant children and teens, but until TikTok reached out inviting her to take one of its one-off standup spots she'd never performed live comedy.

"It's incredible that TikTok can create these opportunities for people who have just jumped on the app in the last few years and haven't done any standup comedy, but have established themselves in the digital world," she said. "Absolute superstars have been born at the Fringe, so it was just a no-brainer for me."

She had just two weeks to write and learn her show, but the experience has given her a taste for live performance. "It really has got me excited and it's taken me out of my comfort zone in a very good way," she said. Now she's considering bringing back a full show next year.

Other comedians who found success on TikTok during the pandemic have brought their debut shows to Edinburgh for the entire month-long run.

After dancer and choreographer Christopher Hall lost all of his work for the third time in the UK's series of COVID-19 lockdowns, he decided that it was finally time to do what he'd long dreamed of and try his hand at comedy. He'd held back from posting on TikTok, in part due to worrying what others would think, but the isolation of lockdown gave him a safety net. 

"If everyone thought it was stupid, I wasn't gonna see them for at least six months," he said. "Because it just started off with zero followers, I was like, it could either blow up, or it could just be a sketchbook of ideas." 

Hall wrote videos based on what he was experiencing at the time: being a millennial forced to move back in with his parents. He posted one TikTok per day and on the fifth day he scored his first viral 100,000-view hit. He now has more than 130,000 followers and is in the middle of a month-long Fringe run of a two-man comedy show Two Sour Gays, with fellow comic Mark Bittlestone.

Among those making their Fringe debuts after finding success on TikTok, many have harbored long-running ambitions of working in comedy that finally came to fruition during the pandemic.

Like Hall, sisters Chloe and Tabby Tingey had a background in musical theater before making musical comedy TikToks during lockdown. Tabby had studied musical theater at Glasgow Conservatory and Chloe had won a scholarship to study songwriting at Berklee College of Music, but both had long given up on their dreams of working in the arts by the time they moved in together during the pandemic. Everything that came next was a "happy accident," said Chloe.

Two girls in pink dresses

Chloe and Tabby Tingey are the Sugarcoated Sisters.

Steve Ullathorne

They started making TikTok videos of Tabby weightlifting Chloe — "she's very strong, she's like an ox," Chloe said of her sister. But after discovering comedy content on the app they switched to making musical parodies, with a video of them making fun of Chicago's Cell Block Tango being their first big hit. 

After winning best newcomer at the UK's Musical Comedy Awards earlier this year and racking up 401,000 followers, the pair, who collectively go by the Sugarcoated Sisters, decided to try the festival. TikTok has supported them by securing a spot on the inside front page of the Fringe brochure and putting them on digital bulletin boards.

Selling out shows

Edinburgh Fringe has a reputation for being a star maker, having launched the careers of performers and writers including Phoebe Waller-Bridge, Bo Burnham and Robin Williams. But the reality for many performers is that they will shell out their savings to bring a show to the festival and then have to perform it every night to mostly empty rooms.

Girl in pink dungarees sitting cross legged

Micky Overman is at the Fringe for the third time.

Matt Crockett

It's especially tough for new performers who haven't already established an audience to help them sell out their rooms. "There's a lot of pressure on people coming here for the first time." said Micky Overman, a comic on her third Fringe run with her show Small Deaths. But she's noticed that debut acts from TikTok aren't struggling in the same way as others. "New people that are debuting and people who are successful online are properly selling their shows this year," she said. 

The livestreams on TikTok's virtual stage have translated into real-world ticket sales, according to McFarlane. There's no way for artists to tell for sure how many people are coming to shows solely because of TikTok, but it's harder to find a spare seat at shows with those who boast huge followings. The comedian Rosie Holt, who is known for her online political satire, had to add extra performances after the whole run sold out before the festival even started — something that's almost unheard of aside from the most famous names.

"We're very charmed in the fact that our followings online seem to really translate to in-person audiences," said Hall. He and his comedy partner both have largely UK-based followings that led to near sold-out shows. It's not so easy to fill Edinburgh seats if your following is more international.

Blond woman in skimpy pink outfit

Shirley Gnome got on TikTok during the pandemic.

Shirley Gnome

Chloe and Tabby Tingey were unsure what impact their following would have on ticket sales given that only half of their audience is based in the UK. But they usually get people coming to them at the end of shows identifying themselves as followers, with one woman flying all the way from Illinois to see them live. "She stayed for four days and had a whale of a time," said Tabby.

Finlay Christie, a debut act who has regularly been selling out his show OK Zoomer after shooting to fame on TikTok (173,000 followers), described feeling "the looming specter of digital" at this year's Fringe. "You see the odd act up here who's got a following and bringing their show up here and selling out, but it still feels like you're trying to impress the gatekeepers," he said. Most newer acts have been assigned to smaller rooms, but he said he wouldn't be surprised if in the next few years they're headlining big venues.

Comedy is a notoriously difficult industry to get into, involving immense financial risk and relying on club promoters to book acts. TikTok is changing this, said Hall, as it paves the way for people of all races, sexualities, genders and socio-economic backgrounds to get a leg up in an industry that might have otherwise been inaccessible to them. It can help prove that minority acts have mass-market appeal.

Form dictating content

Comedians who have succeeded at TikTok have seen a massive influx of new interest in their work. At the Fringe, this lifts some of the need to pass out flyers. "It's not like here where you're just shouting into the wind and hoping people walk past," said Kaye.

TikTok's algorithm makes it much easier to reach people who will appreciate you, weeding out those who never would have come to see you live anyway, said Lara Ricote, who is performing her show GRL/LATNX/DEF at the Fringe for the first time. "It's like, oh, you love hard-of-hearing comedy? Guess what I do?" she said. "That difference is very cool. You can arrive at it quicker when usually it's a freakin' 25-year process to find your audience."

Girl in dungarees

Lara Ricote's show is about what it's like to be Latin, hard of hearing and a girl.

Steve Ullathorne

The algorithm has delivered the Sugarcoated Sisters a following of good-humored musical theater lovers. "They're so specific and genius at tailoring the content to people who are interested in it," said Tabby. "It seems like the kind of community that they're creating around the Edinburgh Fringe on TikTok is really supportive, really engaged."

But it's not just about reeling audiences in, said Overman. It's equally valuable in ensuring that people who come to see your show and enjoy it can find more content when they look you up after. "Give them something that they come back to," she said. It's not like newer comics have Netflix specials they can point people towards, she added, but TikTok allows fans to connect with more of their content. "That's how they can become invested."

The Sugarcoated Sisters' most viral hit — an original song about Chloe's bipolar and Tabby's diabetes, which they thought might be too niche to resonate at the time of writing — is now the opener to their show. But on the whole, it's rare to see much overlap between a comedian's stage show and their TikTok presence.

If there is crossover, it tends to be that TikTok informs the live comedy rather than the other way around. "I definitely have incorporated things that were popular on TikTok back into my show," said Shirley Gnome, who found TikTok to be a great way of testing out what material was resonating best among audiences during the pandemic. 

The adage that content dictates form doesn't apply to TikTok, said Kaye. It's usually the other way around. Many existing stand-up comedy acts have found success using TikTok for sketch and character-based comedy, which is somewhat out of fashion at the Fringe right now.

Man in a gold smoking jacket holding a mask of his own face

Milo McCabe is better known as Troy Hawke.

Steve Ullathorne

Milo McCabe, who goes by the stage name Troy Hawke, struck gold when he started making TikToks using a character he first invented eight years ago — a well-spoken greeter who stands outside of stores. McCabe is a Fringe veteran, but has returned to the Fringe this year to perform his show to sold-out rooms, with audiences who have come to ogle "the bloke from the video." 

"I've had to tweak it slightly and… make it a little bit easier to digest," he said, noting his show is different from his TikToks. "That's what I've been doing in the show day by day."

Living for live

Many established comedians have yet to get on TikTok, unsure either of how to use it or whether there's an audience for them on the app.

It turns out that TikTok is an ideal medium for comedians, as it gives them full creative control of their material so they ensure their jokes land as planned. McCabe has honed his editing skills, shaving off tenths of a second here and cutting anything that sounds inauthentic until it sounds "more fluid and watchable."

Ricote is still trying to figure out a way to make TikTok work for her as someone who doesn't do characters and wants to focus on standup. To get a closeup on your face, which she understands to be better for the algorithm, it means having a tripod setup close to her and performing for the camera while also performing for the audience. At this point, she said, "it's not for the room anymore."

Posting standup on TikTok at least partly takes away the purity of the art form, said Overman. "But at the same time we would all be lying to ourselves if we were saying that we didn't want to reach a big audience. And it's right there."

For the majority of comedians wanting to make it big at Edinburgh or anywhere else in the world of comedy, finding an audience who will engage with them as they perform to sold-out rooms is always the end goal. While others on the app try to follow the well-trodden influencer pathway of acquiring enough followers to score brand partnerships, comics are largely avoiding monetizing their followings on the platform. 

"For me," said Gnome, "that's not very interesting." Rather than flogging products, she is motivated by the thrill of being in front of a real audience. "I'm really live oriented… so it really all does come back to the live thing."


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Make YouTube More Kid-Friendly: 5 Things Parents Can Control


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Make YouTube More Kid-Friendly: 5 Things Parents Can Control


Make YouTube More Kid-Friendly: 5 Things Parents Can Control

There's a ton of content on YouTube, and kids can easily spend hours wading through the ocean of videos online. From Cocomelon to gamer streams like PewDiePie and TikTok compilations, YouTube can be a video-filled playground for a kid, especially when they have access to a tablet

So, what are parents to do? Rather than let your young kid run amok with uninhibited freedom on YouTube, you can practice restraint by activating restrictions. While there are ways to use safety settings on your Android or Apple phones or TV streaming devices, YouTube has an assortment of features that go beyond the basic set of parental controls. You can curb screen time, monitor content, block videos and more. 

Read more: Best Kids' Tablets for 2022

The separate YouTube Kids app is designed to cater to younger children, but the main YouTube app offers myriad other ways to oversee what your child is watching as well, even if they're older. Here are the main tools available to parents, arranged roughly in order of easiest to most involved -- from a single toggle to setting up and using separate apps.

'Dismiss' what you don't want your kid to see

YouTube's algorithm notoriously tracks your life and what you like to watch. Then it uses that information to recommend more related -- or surprisingly random -- videos to grab your attention. Imagine how many videos kids are bombarded with after taking in the latest Marvel trailer, for example. There's a way to shut that down.

YouTube encourages parents to dismiss content they don't want their kids to see by clicking on the three dots on a video or channel and choosing "Not Interested." Such content will not pop up in their recommendation feed again. This function is available only to users of mobile phones, which may keep you on your toes when your child is checking out something that's way too mature for them. 

Unlike some of the other safety options, this one isn't on autopilot and requires you to be an active viewer. It's ideal if you're watching with your kids at the doctor's office, the beach or in an Uber, where you'll learn to be quick with the dismissive clicks when autoplay is rolling.

Restricted Mode

An option that's separate from the "Not Interested" function, YouTube's Restricted Mode is a single setting that lets you hide inappropriate content. It's available on all devices, including smart TVs and tablets. From a phone or tablet, click your account profile, navigate to General and then hit the gear icon for Settings. Toggle Restricted Mode to "On." Unless you're viewing YouTube on a smart TV, you must sign in to your Google account to flip on this setting.

You can use this feature to manage videos for a child of any age, including teens. Restricted Mode is also accessible if you run a supervised account for your child.

Supervise your child's account

Introduced on YouTube in 2021, supervised accounts have been available for parents in beta mode. They operate exactly how they sound. Initially, these accounts were specifically for kids under 13, but now the feature includes older teens. 

Content ratings are set by parents. Per YouTube, parents can choose from three content settings -- Explore, Explore More and Most of YouTube -- that correspond with ratings for tweens and teens. These settings apply to the main YouTube app and YouTube Music.

  • Explore is generally for viewers ages 9 and older. Some of the videos may contain low levels of violence, controlled substances or provocative language. YouTube also notes that educational videos about the human body or mental health are also in this grouping. 
  • Videos under Explore More are geared toward the 13-and-over crowd. In addition to vlogs, music videos, gaming clips and other content, there may be mild profanity, violence, controlled substances and "non-explicit sexual references."
  • The app's Most of YouTube setting denotes videos that are for older teens, with the exception of those marked for users who are 18+ and a selection of filtered content. 

Worried about ads? Supervised accounts prevent personalized ads from being shown, and certain other ads aren't allowed. Video creators are required to notify YouTube if their content spotlights product placements, so you may occasionally see these occurrences. 

According to YouTube, updated features for supervised accounts now include the ability to block specific channels, and supervised experiences have expanded to eligible smart TVs and YouTube Music on Android, iOS, the web and Google Assistant on smart displays. 

Head to YouTube Kids

Prefer to keep it simple for kiddos under age 13? Just set them up with a YouTube Kids account. The app is entirely separate from the main YouTube app and houses age-appropriate content that's either curated by YouTube or you, the parent. Videos are chosen and filtered by a group of parents, child experts and YouTube engineers before hitting the platform, and you still have the ability to flag or block channels and individual videos.  

Additionally, parents and caregivers with Google accounts can sign in and send content directly to their kids using the YouTube Kids app. But it's the parental controls that may give you real peace of mind.

After creating kids' profiles, you're able to choose content based on age or set it up where you must approve each video. With the latter, you can select collections or specific channels for your child's viewing experience, and kids are prevented from searching for anything on the app. Parents can also set timers or track their child's viewing history. If you want to go the extra mile, you can opt to pay for a premium account to lock out any ads. 

Manage YouTube with Google's Family Link app

Google isn't only YouTube's parent company, but it also owns Family Link, an app that allows users to filter content and manage screen time for kids. It's not a requirement in order to use parental controls, YouTube's supervised accounts or other safety features, but it may make your life easier.

Family Link lets you connect new or existing Google accounts for your child. For kids under age 13, you can register a new account, and Family Link allows you to use parental controls and supervision on existing accounts for children of any age. However, with the latter, your kid must consent to parental supervision in order for you to activate it. From there, you can install and activate Family Link on their individual devices and manage YouTube from your own account. Should your kids deactivate supervision on their devices, you'll receive a notification, and Android devices will lock.

Family Link is available on the YouTube website, Chromebook, iOS 11 devices and higher and certain Android devices running versions 5.0 or higher. Download the app and you'll be walked through the steps to add your child's new or existing Google account. Once the accounts are linked and sign-up is complete, your kids can log in to their devices using Family Link. From there, you can set up restrictions or lock devices for each child by simply tapping his or her name in Family Link.

With your kid's YouTube app access tethered to yours, you can then set boundaries for screen time, content or bedtime. You'll be able to monitor what videos they watch and how often, whether it's on the regular YouTube app, YouTube Kids or YouTube Music. 

For more, check out Netflix's parental control features and how you can set up and use your Wi-Fi router's parental controls. Plus, here are the best apps to download to keep your kids safe online


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