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Humor and play are at the center of TikTok culture. Through the platform’s unique functionalities such as the “Use this Sound” and “Duet” features, people use and repurpose sounds in combination with dance and other performative “challenges” that invite imitation and transformation in novel and creative ways. Users have found on TikTok an ideal site to engage in memetic culture for a wide variety of prosocial aims: from calling out China’s treatment of Uighurs to “memeing” politicians for their poor commitments to matters of concern like climate change. All too often, though, users on TikTok also participate in practices that can advertently and inadvertently be harmful, such as viral trends trivializing police brutality and domestic violence and racist parodies. In a moment where various countries are discussing new regulations to push platforms to address, consistently and transparently, illegal and lawful harmful content and conduct, this commentary argues that humor should be taken seriously for online safety.

During times of crisis such as the Covid-19 pandemic, digital platforms are under public scrutiny to guarantee users’ online safety and wellbeing. Following inconsistencies in how platforms moderate online content and behavior, governments around the world are putting pressure on them to curb the spread of illegal and lawful harmful content and behavior (e.g., UK’s Draft Online Safety Bill). These efforts, though, mainly focus on overt abuse and false information, which misses more mundane social media practices such as racial stereotyping that are equally popular and can be inadvertently harmful. Building on Stoever’s (2016) work on the “sonic color line,” this article problematizes sound, specifically, as a key element in racializing memetic practices on the popular short-video platform TikTok. We examine how humorous audio-visual memes about Covid-19 on TikTok contribute to social inequality by normalizing racial stereotyping, as facilitated through TikTok’s “Use This Sound” feature. We found that users’ appropriations of sounds and visuals on TikTok, in combination with the platform’s lack of clear and transparent moderation processes for humorous content, reinforce and (re)produce systems of advantage based on race. Our article contributes to remediating the consistent downplaying of humor that negatively stereotypes historically marginalized communities. It also advances work on race and racism on social media by foregrounding the sonification of race as means for racism’s evolving persistence, which represents a threat to social cohesion.

This article explores monetization and networking strategies within the consolidating creator economy. Through a large-scale study of linking practices on YouTube, we investigate how creators seek to build their online presence across multiple platforms and widen their income streams. In particular, we build on a near-complete sample of 153,000 “elite” YouTube channels with at least 100,000 subscribers, retrieved at the end of 2019, and investigate the URLs found in 137 million video descriptions to analyze traces of these strategies. We first situate our study within relevant literature around the creator economy, the role of platforms, and issues such as social capital building and economic precarity. We then outline our data and analytical approach, followed by a presentation of our findings. The article finishes with a discussion on how monetization and networking strategies via placing URLs in video descriptions have become more important over time, but also differ substantially between channel sizes, content categories, and geographic locations. Our empirical analysis shows that YouTube, as a highly unequal platformed media system, thrives on the economic pressures it exerts on its creators.

YouTube’s “up next” feature algorithmically selects, suggests, and displays videos to watch after the one that is currently playing. This feature has been criticized for limiting users’ exposure to a range of diverse media content and information sources; meanwhile, YouTube has reported that they have implemented various technical and policy changes to address these concerns. However, there is little publicly available data to support either the existing concerns or YouTube’s claims of having addressed them. Drawing on the idea of “platform observability,” this article combines computational and qualitative methods to investigate the types of content that the algorithms underpinning YouTube’s “up next” feature amplify over time, using three keyword search terms associated with sociocultural issues where concerns have been raised about YouTube’s role: “coronavirus,” “feminism,” and “beauty.” Over six weeks, we collected the videos (and their metadata, including channel IDs) that were highly ranked in the search results for each keyword, as well as the highly ranked recommendations associated with the videos. We repeated this exercise for three steps in the recommendation chain and then examined patterns in the recommended videos (and the channels that uploaded the videos) for each query and their variation over time. We found evidence of YouTube’s stated efforts to boost “authoritative” media outlets, but at the same time, misleading and controversial content continues to be recommended. We also found that while algorithmic recommendations offer diversity in videos over time, there are clear “winners” at the channel level that are given a visibility boost in YouTube’s “up next” feature. However, these impacts are attenuated differently depending on the nature of the issue.