Ruling that Meta and YouTube deliberately designed addictive products marks possible watershed moment for social media

The young woman at the heart of what has been called the tech industry’s “big tobacco” moment was on YouTube at six and Instagram by nine. More than a decade later, she says, she still can’t live without the social media she became addicted to.

“I can’t, it’s too hard to be without it,” Kaley, now 20, told a jury at Los Angeles’ superior court. This week, five men and seven women handed down a verdict on the design of two of the world’s most popular apps that vindicated Kaley’s position.

With two unprecedented trial defeats, big tech firms face crisis akin to that faced by cigarette makers in the 1990s

In the span of just two days, the most powerful social media company in the world faced a more severe public reckoning than it has in years.

Jurors in California and New Mexico gave back-to-back verdicts this week that for the first time ever found Meta liable for products that inflict harm on young people. For years, lawmakers, parents and advocates have raised red flags over how social media can hurt children, but now the tech firms are being held to account via court rulings that could set long-lasting precedents.

As many organizations celebrate outcome, some are skeptical as to what it means for privacy protections

The verdict in a landmark social media trial that Meta and YouTube deliberately designed addictive products has sparked calls for reform across borders. International human rights and tech freedom groups issued statements after the decision, praising jurors for holding social media companies accountable for harms to children and urging tech giants to change their design features to ensure children are safe.

Amnesty International said in a statement on Thursday that “this court decision is clear: these platforms are unsafe by design and meaningful change is urgently needed”.

In a court of law, tech titans will be judged not for who they are, but what they do. We should take comfort in that

Jury verdicts are meant to speak the truth, and today’s verdict in a California courtroom spoke the truth about the pernicious effects of platforms such as Instagram and YouTube on young people in the United States and around the world. The jury found two social media giants, Meta and YouTube, responsible for injuries incurred by a 20-year-old woman over the course of her childhood.

The plaintiff, referred to in court as KGM, claimed that her social media use had begun when she was six years old. Her suit alleged that the sites she regularly used had features designed to hold her attention and keep her coming back.

With 5.17 million YouTube subscribers, the 27-year-old might be the most successful ‘ASMRtist’ in the world

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It would be crass for Jonah Singer to reveal what he makes from being a YouTube content creator, but he will show Guardian Australia his new $100,000 mic. The 5128-C is a head and torso simulator (a half-manikin fitted with ear mics, capable of binaural recording); he’s named it Alex, after a Minecraft character. It lives in his beautiful studio (part of his larger studio and office complex) in Sydney’s inner west. Yes, the 27-year-old is doing all right.

As “Jojo”, Singer specialises in ASMR: autonomous sensory meridian response. It’s the tingly, relaxed sensation that some people get when exposed to “triggers” such as whispering, rustling and mouth noises.

Die Jury in einem Prozess in den USA sieht es als erwiesen an, dass die Unternehmen nicht ausreichend vor den Gefahren der Plattformen warnen. Das Urteil gilt als wegweisend.

Jury in Los Angeles awards plaintiff damages of $6m, with Meta to pay 70% and YouTube the remainder

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Meta and YouTube have been found liable for deliberately designing addictive products that hooked a young user and led to her being harmed, a jury ruled on Wednesday. Jurors found the tech companies to be both negligent and having failed to provide adequate warnings about the potential dangers of their products.

The jury awarded the plaintiff in the case damages of $6m, with Meta to pay 70% and YouTube the remainder. It took nearly nine days of deliberations for the Los Angeles jury to reach its verdict. This lawsuit, over social media’s alleged harm to young people, was the first of its kind to go to trial.

Footage of women walking between bars and clubs in UK city centres, often filmed covertly, is proliferating online – attracting thousands of views and profits for those who post them. Can anything be done to stop the creepshots?

‘My friend just sent me this video, told me she’d found me in it,” read the text. “As I was looking for myself, I noticed you’re in it too. I didn’t know I was being filmed, guess you don’t either, just wanted to let you know …”

When Nancy Naylor Hayes received the message in November 2023, she felt a twinge of fear. It was from an acquaintance she hadn’t heard from in years. “I was panicking,” she says. The text pointed her to a Facebook link, which led to a montage of clips of women filmed on the streets of Manchester during nights out.

Meta and YouTube accused of creating harmful products in trial seen as a bellwether for attitudes towards social media

The first-ever jury trial over the potential harms of social media wrapped up on Thursday. Lawyers for Meta and YouTube have argued their platforms are safe for the vast majority of young people, while lawyers for a young woman at the center of the case say the tech companies have designed their products to be addictive, leading to mental health issues in children and teens.

“How did they become such behemoths?” Mark Lanier, a lawyer for the plaintiffs, said during closing arguments in Los Angeles superior court on Thursday, according to NBC. “It’s the attention economy. They’re making money off capturing your attention.”

Lead plaintiff, now 20, says use of social media made her relationships with friends and family anxious and strained

The young woman at the heart of the landmark trial about the addictive nature of social media testified for the first time on Thursday, saying she got hooked on YouTube starting at age six and Instagram at nine. By the time she was 10, she said, she had become depressed and was engaging in self-harm.

The woman, who is now 20 and known by her initials KGM, is the lead plaintiff in an expansive lawsuit against YouTube and Meta, which owns Instagram and Facebook. The crux of the case alleges social media companies intentionally create addictive products, leading to mental health issues in young people.

Self-declared sleuths have inserted themselves into the search for Nancy Guthrie, compromising the investigation for views and clicks

On the 10th day of the search for Nancy Guthrie, reporters camped outside of the missing woman’s home noticed a strange man strut right up to the front door. It had been more than a week since the mother of Today show host Savannah Guthrie had disappeared, and authorities had just announced they had a new lead from Ring footage of what looked like a “potential subject” attempting to tamper with the doorbell camera on the morning of her disappearance. So now who was this unknown person, clad in a gray top and black pants, carrying a large black bag and striding to the door?

It was a Domino’s delivery driver.

Television outranks laptops, tablets and smartphones across all age groups, according to audience review

The television has replaced laptops, tablets and smartphones as the most common device for UK viewers to watch YouTube at home, according to data confirming the platform’s place as a living room mainstay.

More than half of all YouTube viewing through a domestic wifi connection is now done through the traditional TV, making it the top-ranking YouTube device across all age groups.

The YouTube gaming star’s weird and divisive adaptation of his obscure horror film is a game within a film about a game – and hints at new directions for storytelling

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Something weird struck me early on while watching the movie Iron Lung, which has so far taken $32m at the box office, despite being a grungy low-budget sci-fi thriller adapted from an independent video game few people outside of the horror gaming community have even heard of. Set after a galactic apocalypse, it follows a convict who must buy his freedom by piloting a rusty submarine through an ocean of human blood on a distant planet. Ostensibly, he’s looking for relics that may prove vital for scientific research, but what he finds is much more ghastly. So far, so strange.

The film was also written, directed and financed by one person – the YouTube gaming superstar Mark “Markiplier” Fischbach – who also stars. But that’s not the weird part, either. The weird part is that watching the film Iron Lung feels like watching Fischbach play Iron Lung the game. Maybe it’s the fact that he spends most of the movie sitting at the sub’s controls, trying to figure out how to use them correctly – like a gamer would. Maybe it’s that, as the film progresses, he has to solve a series of environmental puzzles linked by various codes, computer read-outs and little injections of narrative – just like in a video game. Long periods of the movie involve Fischbach trying to decide what to do next, the camera close up on his confused face. This is incredibly similar to watching his YouTube videos about playing Iron Lung, an experience he often found bewildering. It was the most metatextual experience I’ve had in the cinema since The Truman Show – but I’m not sure this is what Fischbach intended.

​In this week’s newsletter: Iron Lung, a largely unheralded indie horror game adapted for the big screen by a YouTuber is a hit of a very modern kind, built on blood, sweat and parasocial relationships

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Two very unusual films were released last weekend. One you will have absolutely heard of: Melania, the soft-focus hagiocumentary of the US first lady, which was plonked into thousands and thousands of often entirely empty cinemas across the globe by Amazon and Jeff Bezos in what is widely perceived as a favour-currier to the White House. Melania’s $7m takings in the US were marginally better than forecasted (and far ahead of the risible numbers for the film elsewhere) but, given the documentary’s vast cost, still represents a dramatic loss (especially if the rumour that Amazon paid for the film to be in some cinemas is true). Then again, this was a rare multimillion dollar film where the primary marker of success was probably not financial.

The other unusual film released last weekend you are less likely to have heard of, even though it dwarfed Melania’s takings. Adapted from a video game of the same name, Iron Lung is a grimy post-apocalyptic sci-fi horror in which a convict has to pilot a rusty submarine through an ocean of human blood on a distant planet. That peculiar plotline isn’t the most unusual thing about the film, though. No, what’s really remarkable is that Iron Lung came close to topping the US box office, earning $17m in its opening weekend, despite being entirely self-financed by an American YouTuber.

Online gaming legend Mark Fischbach writes, directs and stars in this feature about a convict on a vague intergalactic mission – but his barebones production has nothing to show

William Goldman’s old showbiz maxim continues to apply that nobody knows anything. Independently financed horror movie Iron Lung has been smuggled into multiplexes without the usual promotional hoopla, where it was keenly awaited by the massed followers of its Hawaiian writer-director-star Mark Fischbach, better known as YouTube gaming legend Markiplier. Many of us have long sensed culture is making a decisive break with the analogue in favour of the (perhaps terminally) online and Fischbach’s film makes that paradigm shift not just visible but visceral; it feels not unlike spending 12 hours on Twitch with all the curtains closed.

Though Markiplier is approaching the horror genre from a notionally fresh angle – by adapting Dave Szymanski’s eponymous space-submarine sim – he lands on the narratively rusty idea of an astronaut straying beyond his depth; this is Moon in dimmer light. Beset by ominous rumbles and mounting doubts about the state of mankind, the begrimed and squalid craft singlehandedly piloted by Fischbach’s straggle-haired convict Simon is indistinguishable from the average teenage bedroom. Our hero staggers round this intergalactic deathtrap completing vaguely specified missions – ram this, repair that, download something or other – like a harassed dad ticking off his Sunday to-do list. In this, Simon proves more proficient than Fischbach’s offscreen self, who is either stumped by or oblivious to the film’s fundamental issues.

From the person who scrolls on the toilet to the one without any social media, what do their digital habits tell us?

• Will Storr: we have lost so much of ourselves to smartphones – can we get it back?

Dayeon, 16: the teenager who spends less than an hour a day on screens

The mysterious Cornish electronic music pioneer has gained an extraordinary second life in the TikTok era. Writers and musicians explain why his glitchy slipperiness is so in tune with life today

QKThr, an obscure cut from Aphex Twin’s 2001 album, Drukqs, sounds like an ambient experiment recorded on a historic pirate ship. Shaky fingers caress the keys of an accordion to create an uncanny tone; clustered chords cry out, subdued but mighty, before scuttling back into dreamy nothingness.

This 88-second elegy has always been overshadowed by another song on Drukqs, the Disklavier instrumental Avril 14th, which alongside Windowlicker is the Cornish producer’s best-known track. But QKThr has become a weird breakaway success, featuring on nearly 8m TikTok posts, adorning everything from cute panda videos to lightly memed US presidential debates, and a fail video trend dubbed “subtle foreshadowing”.

Exclusive: German research into responses to health queries raises fresh questions about summaries seen by 2bn people a month

• How the ‘confident authority’ of AI Overviews is putting public health at risk

Google’s search feature AI Overviews cites YouTube more than any medical website when answering queries about health conditions, according to research that raises fresh questions about a tool seen by 2 billion people each month.

The company has said its AI summaries, which appear at the top of search results and use generative AI to answer questions from users, are “reliable” and cite reputable medical sources such as the Centers for Disease Control and Prevention and the Mayo Clinic.

Plan follows pressure on broadcaster to put more content on platform, but raises questions about licence fee

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The BBC could soon make programmes for YouTube, after being put under pressure to produce more content on the increasingly dominant digital platform.

The corporation would begin making some content released first on the platform under proposals that could be announced as soon as next week as it seeks to reach younger viewers, who are the heaviest users of YouTube.