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From the New York Times-bestselling author of Goodnight iPad comes a new commentary on the perils of our tech-obsessed lives and a fully charged romp for readers of all ages.

In the last decade, South Korean webtoons have joined television dramas (K-dramas) and K-pop as an important element of the Korean Wave abroad. Domestically, the South Korean public can idly browse or religiously follow thousands of free or subscription webtoons on their smartphones. Webtoon artists may dream of achieving broader success by having their works adapted transmedially, as a web drama (online TV drama) or even better, as a network, cable or Netflix series that achieves mainstream success. Two significant subgenres of webtoons are \"lifestyle webtoons\" (saenghwarwept'un) and \"family webtoons\" (kajogwept'un) and these two subgenres are combined in what I am calling \"childcare webtoons\" (yugawept'un). While South Korea also follows global media trends of \"mom blogs\" and Instagram microcelebrities or Youtubers sharing their parenting journeys (\"sharenting\"), \"childcare webtoons\" are a particularly rich space for observing changing mothering ideologies and parenting norms. This article examines \"mom humor\" and other stories mothers tell across the South Korean Internet, paying particular attention to what kinds of emotional expression are sanctioned and what is taboo. I analyze webtoons such as \"I'm a Mom (Nanŭn ŏmmada)\" and \"The Birth of a Married Woman(Yubunyŏŭi t'ansaeng),\" suggesting that even as the tedium of everyday motherhood is increasingly critiqued through media, the still somewhat rigid gender roles and maternal expectations in South Korea translate into an overall more muted and subtle \"mom humor\" alongside the still more socially expected stories of maternal gratitude and fulfillment.

While medical education has remained relatively constant over the past century, the rising popularity of internet-based technologies, such as applications for social networking, media sharing, or blogging, has drastically changed the way in which physicians-in-training interact with educators, peers, and the outside world. The implementation of these new technologies creates new challenges and opportunities for medical educators. Representation, the absence of established policies and legal precedents, and the perception of the lay public exemplify some of the issues that arise when considering the digital images used by trainees. While some of these issues affect higher education generally, medical schools are faced with additional challenges to ensure that graduates exemplify the ideals of medical professionalism. We present a case vignette with subsequent discussion to highlight the complexities of ensuring medical professionalism in the digital age.

Cyberbullying is a pervasive form of online aggression that can lead to considerably negative and harmful consequences. Previous research with adolescents and emerging adults has identified a range of motivations for cyberbullying perpetration. A frequently reported motive to cyberbully others is for humorous entertainment. The overall aim of the research program was to explore the role of humour within cyberbullying from the perspective of young people and emerging adults and to explore the factors which mediate the severity perception of humoristic cyberbullying.A sequential exploratory mixed methods approach with three studies was employed. Study 1 utilised seven focus groups with 28 adolescents (aged 11-15) to gain insight into the attitudes, understandings, and perspectives of young people concerning the role of humour within cyberbullying. Using Reflexive Thematic analysis (Braun & Clarke, 2006; 2021), Study 1 identified a number of core factors related to severity perceptions of humoristic cyberbullying, which were incorporated into 96 hypothetical vignettes for experimental studies 2 and 3. Study 2 explored 356 adolescents aged 11- 16 (Mean age = 13.24, SD = 1.28) severity perception of online aggressive humour. For the purpose of rigour and exploration of age differences in severity perceptions, Study 3 was designed to replicate the design of Study 2. Study 3 was conducted with an older sample population of 417 participants aged between 16-21 (Mean age = 17.14, SD = 1.11). Additionally, Study 3 incorporated three covariates, cyberbullying victimisation and perpetration experiences and aggressive humour style, which were added to the design with the aim to account for potential confounding effects.Findings from multilevel modelling indicated that severity perceptions of the humoristic cyberbullying vignettes were influenced by range of factors in Study 2 and 3. Key findings were found to be attributed to gender differences, the influence of repetition and audience and social context across both studies. A final key finding from covariate analysis reported from Study 3 indicated a relationship between aggressive humour style and lower severity perceptions. Aspects of these findings challenge and support the cyberbullying definition, and therefore substantially contribute to the growing body of literature that is building a theoretical framework around cyberbullying. Implication and the prospects of future research leading from the findings of this thesis are expansive and are imperative to the future understanding of the role of humour within cyberbullying behaviours.

This thesis project explores how internet subcultures creatively remix, mimic, and parody iconic, popular culture and political images to generate dialogue between institutional powers and users on the Internet, specifically looking at the Instagram account @justhumansof as a form of Bakhtinian (1968) carnival. A perspective of affordances of technology and mobile media (Baym, 2015; Schrock, 2015) is used to understand how @justhumansof affords a platform for users to engage in the critique of hegemonic norms of capitalist society. Hence, this study looks at how technological affordances of mobile media, such as the ability for users to share, comment, and widely disseminate memes and parodic images, allow users to participate in a broader communication context that serves to critique systems of power. Visual rhetorical analysis was performed on a set of six memes and textual analysis was done on their respective comment sections. Overall findings support the notion that memes can stimulate conversations critical of the hegemonic status quo, at least incrementally. It appears that carnivalesque memes bring together online users in a digital space to vent about shared experiences living under capitalism. Other findings suggest that the carnivalesque environment on @justhumansof creates an illusion of subversion. These findings raise interesting questions: to what degree can subversion take place on a platform built on upholding the status quo? How much change can carnivalesque memes truly bring? And how much of that is illusory? Apparently, it is complicated.

FOCUS ON WEB STARS As for that new angle, the focus is on delivering short comedy clips via a base of performers culled from the world of YouTube, Vine and Instagram for ways to reach new platforms using improved production values. In addition to the formal service launch, Comedy, com has also notched a $1.5 million round of seed funding from Rhodium, 2B Angels, Sandler Investments, NXTP Labs and some individuals from the digital video, TV and social-media sectors, including Dean Valentine (former CEO of UPN), Nishkaam Mehta (head of mobile growth at Hulu), Rajesh Sawhney (founding president of Reliance Entertainment) and Douglas Cohen (data scientist at Facebook). ?

Fred Brown, founder and chief executive of Next IT, which creates virtual chatbots, said his company learned firsthand the importance of creating a computer with a sense of humor when he asked his 13-year-old daughter, Molly, to test Sgt. Star, the Army's official chatbot, which allows potential recruits to ask questions about the Army, just as you would in a recruiting station.