Author: Nina Borcuch

Categories
Media

Spend A Social Media (Work!) Day With Me

One of the things we rarely consider is how much time we actually spend scrolling through social media. From the minute we wake up to the moment we fall asleep, we frequently fall into the trap of doom scrolling – a topic Emma Chamberlain frequently mentions on her podcast. She has spent a lot of time attempting to escape this pattern.

https://www.youtube.com/watch?v=gHDu4gyWFqw
source: YouTube

But, have we ever actually tried to hold ourselves accountable for it? If the answer is not – I’ll do it in this post.

Today, I documented and reflected on the ‘labour’ involved in my social media usage, as well as how platforms benefit from it. Are we actually getting rewarded for this ‘work’?

source: Pinterest

Sadly, even platforms like Spotify trick us into doing free labour (even though I already pay for the subscription) and create this commodification pattern almost everywhere nowadays. I had a lovely time listening to Madeline Argy’s moving to LA journey while making breakfast, though.

After this, I took a moment to scroll on TikTok. I used to spend hours (!!!) on this app. Once you start scrolling, it’s difficult to stop, especially after a long day. Videos are short and entertaining, and the algorithm always perfectly chooses what to put on my ‘for you page’ to keep me invested. 

The amount of user-generated content on TikTok is incredible, too. So many partnerships and hidden promotions, it’s hard to keep up with them. I feel constantly tricked into thinking someone’s genuinely recommending a product to me until I notice the word ‘sponsored’ at the bottom of the video. Brands don’t even have to use traditional forms of advertisements anymore since TikTok users do it for them. Also, have you heard of TikTok shop? Probably, because their ads are tied to almost all the videos on the platform now. It’s all impossible to escape.

I then moved onto Instagram and browsed through posts from magazines, brands, and my favourite celebrities. Even if I don’t often explicitly interact with them, the platform uses data such as which posts I engage with the most, to build its algorithm, which then displays more content that it believes I’ll find interesting (I usually do).

I’ve observed that Instagram ads are tailored to my preferences. I opened a link that was advertised to me in between my friends’ Instagram stories once – it was a Vogue subscription deal for only £1. I obviously had to subscribe to it. After that, I noticed a lot of similar ads appearing on my Instagram page.

And lastly, Facebook’s Messenger. It’s an app I use to keep in touch with my family and friends from home. It is surprisingly also a form of digital labour. With each conversation, Facebook gathers more information about me. One of my friends is already trying to avoid it due to its tracking and data collection. And if you don’t care about that – I think it steals more of our time than needed, creating an environment of the ‘need’ of sending your friends every screenshot or a selfie all the time.

After today, I noticed a huge and constant pressure of connectivity online. Each and every social media we use is designed to keep us online taking an outstanding amount of time from our everyday lives. Is this something we’re aware of on a daily basis? I think it’s too normalised for us to realise how much we actually pay for our online presence.

Anya Mayerowitz in Glamour’s article pays attention to the risk of ‘becoming irrelevant’. I think it is a great example of today’s world and social media usage. The creation of this social media ecosystem and the need for constant usage and connection is becoming increasingly invasive and the digital work we, as the users, do is something we should pay more attention to.

Is it worth the hassle? Are those platforms really ‘free’? What do you think about it? Leave a comment down below! 😛

Categories
Impact Stories

Airbnb.org: Platform capitalism or utopian standards?

I came across this ad the other day:

It made me think of Californian ideology. For those of you who haven’t heard of it –it comes from an article by Barbrook and Cameron published in Mute magazine in 1995 and it’s basically an ideology evolving around technology being able to fix anything. According to Aibnb’s above advertisement – is this a platform that can save the world?

Platforms such as Airbnb drive the digital economy forward. Airbnb runs a marketplace where hosts can rent out their houses. Its nonprofit project, Airbnb.org, provide free housing to people in need. Despite its seeming altruism, is it really?

The video highlights qualities like generosity, community, and inclusiveness rather than profit or the platform’s effect on property markets. This storyline draws attention away from the platform’s profit-driven basis and presents Airbnb’s crisis management role as normal – even essential. 

Barbrook and Cameron critiqued such occurrence. They think it assumes that everyone has equal access to technology and that the internet alone can fix big problems.

By presenting individual hosts who provide accommodation, Airbnb.org highlights the superstructure – the intellectual and cultural framework that supports and explains the economic system. These hosts are portrayed as unselfish contributors to a worldwide solution, which is consistent with the concept of “techno-utopianism.”

‘Information technologies, so the argument goes, empower the individual, enhance personal freedom, and radically reduce the power of the nation-state. Existing social, political and legal power structures will wither away to be replaced by unfettered interactions between autonomous individuals and their software.’

Barbrook and Cameron, 1995

One of the main issues is that hosts don’t know who is going to stay at their property. Since it’s voluntary, there’s a third party taking care of booking details. Some hosts seem to be unhappy with this solution.

source: Reddit

Hosts are being compensated by various organisations supporting Airbnb.org idea or offer a discounted rate for those in need stays. However, are the hosts actually prepared to handle such difficult situations? People in need tend to be different customers than regular Airbnb users due to their urgent circumstances/states. They tend to be distressed, whereas, some hosts might not be equipped enough to deal with such difficulties.

Additionally, there are costs like utilities, homeowner’s insurance, and a cleaning charge that Airbnb will not pay for. Airbnb benefits from free PR and the satisfaction of having assisted thousands of people without charging them anything. In the meantime, the host may experience some property damage or other liabilities. The liability is almost passed onto volunteers instead of reliable sources.

However, should we be that critical about it when people get help they needed? During LA recent fires, Airbnb provided free, emergency housing for 25,000 people impacted by LA wildfires.

How do you perceive it? Is the digital economy a good shift or just a disguise for good PR? Please let me know in the comments below! 🙂

Categories
Media

The Development Of Polish Media Broadcasting

Recently, I came across McChesney’s book: “Rich media, poor democracy: Communication politics in dubious times”. It inspired me to write this post since I believe that the Polish community has a great understanding of McChesney’s words. Poland, as a nation, is highly aware of what he was worried about – about who’s delivering the news. 

source: The Independent

Media being non-political and independent is a crucial part of democracy. Polish media is (or was?) very politically influenced which has a big impact on media delivery.

In recent years, TVP’s main evening news broadcasts, and TVP Info, became a propaganda machine for the PiS government, and the new coalition, led by pro-EU Prime Minister Donald Tusk, had promised voters to turn state media into a platform for “reliable information”.

~ BBC
source: NPR

McChesney in his book highlights that how media functions in nations should be a much bigger topic. It is worth our attention as it affects the opinions of many people and

“plays (…) a central role in (…) having an informed and participating citizenry”.

He highlights how “a media system should serve the entire population and promote democratic rules”. Does Polish media follow this thinking? Let’s find out.

The media in Poland today is mainly shaped by capitalist principles. But this hasn’t always been the case in Poland’s media landscape. The majority of the media was under state control throughout the socialist period, which ended in 1989. Private media enterprises grew as a result of Poland’s shift to a free-market economy following the fall of communism.

Despite this shift, the influence of the past socialist system could still be seen in the media landscape even resulting in acts that might be considered as propaganda (highly politically motivated and driven) up until recently.

Source: Notes from Poland (2021) – in translation: The Donald Tusk’s campaign of lies 

TVP is a public broadcasting channel (government-controlled) that is known for its strictly political influence and drive. TVP media accounts for about one-third of the broadcasting market in Poland. Ultimately, despite a variety of channels to choose from – TVP remains one of the biggest and most influential, channels in Poland. 

In 2021, TVP provided almost 100% negative coverage of former opposition (during PiS’s governance) leader. Headlines such as “Tusk in the club of Putin’s friends”, casually headlined Wiadomości (TVP’s main news programme) the day after Tusk’s return. Moreover, The National Broadcasting Council (KRRiT), whose members are controlled by PiS allies, has used its licensing powers to intimidate different broadcasters such as TVN. 

source: wyborcza.pl

Major reforms have been implemented in several industries after the 2023 election (a change in the ruling party). In the past, Poland was moving towards a similar direction to that of Russia or Hungary where political forces are gaining more control over the media and endangering democratic norms. However, Poland’s current Prime Minister, Donald Tusk (yes, the one getting hate on TVP), has made protecting media independence and making changes a top priority in order to guarantee more freedom and transparency in Poland’s media environment.

Therefore, Poland experienced some changes and its media space is a better place for everyone now. Previous acts, however, were in line with McChesney’s idea, which emphasises how media that is excessively influenced by economic and political factors can sabotage informed discourse and public benefit by serving specific agendas rather than encouraging diverse, democratic conversation.

Younger generations who rely more on the internet and social media platforms for news have access to a broader range of viewpoints and global events. However, for many older people, TVP and even TVN present (or used to) a narrow, politically charged view of the world, focused heavily on national political disputes. This limits the potential for diverse, informative news coverage.

In Poland, the media landscape prevented people from engaging with global issues and understanding the full scope of what is happening in the world. The focus on political ‘news’ at the expense of other important topics further perpetuates a narrow, one-sided perspective.

Have you heard of this controversy before? Let me know in the comments if You’d like me to elaborate on the topic of Polish broadcasting scene.

Categories
Entertainment

Netflix use in Poland

source: Netflix

Last weekend, a friend from home came to visit me, and she thought of watching a TV show she was dying to see. I didn’t recognise the name when she said it. It turns out that the third season premiere has made it a viral show in Poland right now. We were excited to binge-watch it, however, it was not available on UK Netflix.

“From”; source: IMDB

We tried to find it online. Sadly, it was only accessible on Amazon Prime and similar platforms for £1.89 per episode. My flatmate advised using a VPN to watch it through Polish Netflix when I asked him for help. 

During summer, I had a similar situation when I wanted to continue a series I started at home and discovered that I would have to pay an additional £20 to watch it in the UK. Although I’ve always considered streaming services in the UK to be more extensive, this shocked me by reminding me that different countries always offer different and, personalised to their audience, shows.

This made me consider the role that streaming has in Polish culture. TV is ingrained in my family’s everyday routine and serves as more than just entertainment. In my home, the television turns on at 6 a.m. and stays on until 11 p.m. Netflix has grown to be a major part of it.

“Świat według Kiepskich”; source: Polsat

Poland’s top shows are dominated by crime dramas, political thrillers, and documentaries, reflecting its more serious culture. However, children’s programmes also score highly, proving that Netflix is often a family activity. It has evolved into a platform where people of all ages may find something they like.  

source: Netflix search


When I first arrived in the UK, I was shocked to find out that the most watched shows there typically fit into completely different categories. Programmes like Love Island seem to be the most talked-about and watched shows. Instead of going for more complex stories, these shows focus on reality TV and relaxing entertainment. On the contrary, every time I heard from my friends back home about a new TV series that everyone in Poland is watching – it’s always something serious/scary/thriller-y or documentary.

TV series: 1670, source: Netflix
TV series: 1983, source: IMBD

Polish-made series reflect Polish taste in filmography – they are mostly dark, mysterious, historical, thriller/action-based, emotional, dramatic, ominous or violent.

Some of the most popular Polish-made TV series are:
– High Water
– 1670
– 1983
– Sexify

“High Water”; source: YouTube

Polish Netflix’s aim to provide stories that represent Poland’s history, cultural values, and cinematic tastes is demonstrated by its regional choices. At the same time, Netflix in the UK appears to have a more escapist and entertainment-focused interest. These differences highlight how important it is for streaming services to customise their material to local audiences rather than providing a universal, same for everyone, selection.  

I asked my friends whether there’s anything they think is not available for them on major streaming platforms – they all answered no. All of their go-to streaming platform is Netflix. Netflix’s ability to adapt its material to other regions is spot on. In addition to a wide variety of American and other television shows, Polish audiences can enjoy local productions that appeal to their tastes. 

Netflix in Poland is very successful. Polish audiences feel represented and engaged thanks to this personalised approach. What’s more platform’s investment in the region was further shown by its Warsaw-based office (a central hub for Netflix’s Central and Eastern Europe (CEE) productions).

Have You watched any of the Polish productions on Netflix yet? Let me know in the comments!

Categories
Impact Stories

‘It’s Just a Period’: How Bodyform Is Breaking the Taboo (And Why It Matters)

When was the last time you saw a TV ad talk about periods without the typical blue liquid? For decades, menstruation has been treated like a big secret – something to hide and not talk about. 

In recent years, Bodyform’s campaigns have moved far beyond product demonstrations to starting a social conversation. They’re telling real and relatable stories about periods and reproductive health. 

Let’s unpack how Bodyform’s bold approach is breaking taboos and why it’s such a big deal.

This ad caught my attention when I saw it on X. Why? Bodyform shows ‘real’ blood instead of blue liquid and is transparent with the audience portraying periods as something natural.

Growing up I also experienced a stigma around periods and was terrified when I first got it. My mum was never transparent about it, same with my friends and family. What’s more, social media wasn’t that big when I was younger, so I never had an opportunity to see a campaign showing young girls how normal and natural periods are. School ‘sex-ed’ was too embarrassing to focus on and they didn’t teach me much. The only source of information I had was Bravo magazine (which also was not perceived well by adults). They wrote about taboo and coming-of-age topics. They educated me and most of my friends.

Lodged between the ads for tampons, zit concealers and mobile phone ring tones is a weekly sex advice column splashed with photos of teenagers, au naturel — kind of like Penthouse Letters for kids. It’s the kind of thing that would land the publishers in jail were it to hit newsstands on the other side of the Atlantic.

 Daryl Lindsey

So, if you hadn’t had Bravo – how do you know what’s going on with your body if no one’s willing to tell you?

Bodyform is fighting this occurrence and trying to be as clear as possible to both, young girls and misunderstood in the society women. It empowered many women and should continue to.

source: YouTube
source: YouTube

However, some comments on their YouTube have also been made by surprised and terrified audiences.

source: YouTube

It encourages sisterly encouragement – likes, shares and stories told in 140 characters are easily digestible, and a soft way to get adolescents, in particular, hooked on the movement – and, of course, your brand.

The Guardian

What’s more, people are less likely to seek treatment for conditions like PCOS, or irregular cycles when women’s health is taboo.

Millions of people are still affected by period poverty, which is the lack of access to menstruation supplies, although it is frequently disregarded due to the stigma associated with periods. Although Bodyform’s commercials don’t completely resolve these problems, they certainly stir conversation. And the first stage towards change is that.Their campaigns, according to critics, are part of a broader trend known as “femvertising,” in which companies use feminist messages to promote their goods.

Bodyform’s campaigns focus on the human experience rather than just pads. They demonstrate that, whether it’s about the heartache of miscarriage, pregnancy, or the IUV, we should start paying real attention to it.

Bodyform gains by presenting itself as an advocate for empowerment. Although their advertisements make us, women, feel good, they also link those feelings to purchasing their goods. This is a valid question is it possible for a brand to benefit from the very problems it draws attention to while still genuinely campaigning for change?

To anyone who’s interested in the commodification of feminism I recommend Popular Feminism and Popular Misogyny (2018) by Sarah Banet-Weiser. She speaks about popular feminism and critiques how feminism, has been commercialised and repurposed to fit within capitalist frameworks. 

How do you feel about Bodyform’s strategy? Are they pushing the boundaries or are they just another company embracing the empowerment trend? Leave a comment below with your opinions. I’d love to know what you think!