Last week, the prime minister, Keir Starmer, announced a sweeping ban on under-16s that would stop them accessing social media apps including Snapchat, TikTok, YouTube, Instagram, X and Facebook by 2027.

The move has been nicknamed an ‘Australia plus’ ban, after Australia became the first country to introduce a nation-wide ban on children accessing these apps at the end of last year.

But how is it actually going over there? Political correspondent Aletha Adu teamed up with Guardian Australia social media host and reporter Matilda Boseley to find out

Charlotte Ritchie presents a wildly ambitious and unapologetically brainy YouTube documentary that takes in Big Bang soundwaves, singing dolphins and an astonishing amount in between. Don’t miss it for the world

One of the big things to have come out of David Attenborough’s 100th birthday celebrations this year was the scale of ambition he had during his tenure behind camera. It was Attenborough who commissioned Kenneth Clark’s Civilisation and Jacob Bronowski’s The Ascent of Man, two vast documentary series that became defining texts on the history of art and science.

The consensus seemed to be that this sort of thing – huge, cerebral, expensive – would simply not get made today, unless it was dumbed down and cut-price and rebranded as Amanda Holden’s Top 10 Renaissance Willies. So it comes as something of a surprise to learn that the Cosmic Shambles Network’s new documentary series, For the Record: An Incomplete History of Music, takes its title as seriously as it does.

Company says it is taking the matter seriously after Today show host filmed himself walking down a London street with his arm slung around Robinson

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Nine Entertainment executives are meeting to consider the future of Channel Nine’s highest-paid presenter, Karl Stefanovic, after the Today show co-host published and then quickly deleted an interview with UK far-right activist Tommy Robinson.

Stefanovic, who is on leave from Today, filmed himself walking down a London street with his arm slung around Robinson, who has spearheaded recent nationalist demonstrations in the UK.

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Move for greater prominence on social media comes as ministers warn online misinformation risk becoming ‘existential for our democracy’

Plans to hand established broadcasters and media companies greater prominence on digital platforms such as YouTube and TikTok have been unveiled, as ministers warned online misinformation risked becoming “existential for our democracy”.

In proposals that set up a new clash with global tech companies, content from the likes of the BBC, ITV and Channel 4 would have to be awarded more promotion by their algorithms – with special rules considered for times of social unrest or crisis.

TV streamers and family shows set to benefit as brands cease marketing to teenagers on sites such as YouTube

• Analysis: impact of social media ban in UK hinges on how firm it is

Brands are expected to cut more than £1bn of digital advertising spending due to the UK’s ban on social media for under-16s, with streaming services tipped to benefit as advertisers try to reach large audiences of teenagers.

The ban, due to come into force early next year, will leave UK advertisers scrambling to reassess marketing plans as millions of under-16s effectively disappear as a demographic that can be marketed to on platforms including Facebook, Instagram, Snapchat and YouTube.

Liz Kendall also wants Ofcom to report to parliament every year on how effectively social media firms are keeping under-16s off their platforms

Starmer acknowledges some teenagers will get round these restrictons. But that does not make the rules pointless, he says.

Will it mean that no child ever looks at social media again? No.

But look, this might shock you, but it doesn’t shock parents of teenagers; they get around other laws too.

Some technology companies want us to think that social media is unchangeable, part of an almost natural order.

But we have to resist that kind of learned helplessness. We have agency, we can change it, and we will.

Meta, YouTube and Snapchat say ban, which would stop children using their platforms, will drive them to ‘less safe services’

• How will the ban work?

• UK parents: how do you feel about the ban?

Britain’s plans to ban social media for under-16s will push teenagers towards more harmful platforms, the world’s biggest technology companies have said as ministers push to enact the new restrictions by next spring.

Meta, YouTube and Snapchat have all criticised the ban, which was announced by Keir Starmer on Monday and would stop younger teenagers from using their services.

After falling for a scam call, ‘The Tech Chap’ host Tom Honeyands realised he’d given away vital details in social media posts

When Tom Honeyands realised he had been defrauded out of £70,000 he was furious and embarrassed – and left wondering if he had given away too many details on his social media vidoes.

Honeyands was on a work trip to Tokyo when he got a call from someone claiming to be from Lloyds bank. The caller asked if he had made a recent transaction in Singapore and when he said no, the scammer said his account had been compromised and that security details needed to be reset.

Measures to include restrictions on ‘safe’ social media apps, with some fearing banning some platforms and not others will lead to legal challenges

Teenagers under the age of 16 are to be banned from accessing “high-risk” social media apps while safer platforms will be subjected to restrictions, under a sweeping government crackdown.

Under-18s will also be banned from using romantic or sexual AI chatbots after a consultation on keeping children safe online.

Analysts say Alphabet-owned platform’s evolution is one of the defining media shifts of the decade

YouTube has overtaken Netflix in average daily viewing among users around the world, according to analysis that reveals the digital platform’s ever greater media muscle.

A major shift to watching YouTube on television has fuelled a growing rivalry between the world’s pre-eminent digital and streaming platforms. “YouTube is not just cat videos any more,” Netflix’s co-chief executive, Ted Sarandos, said recently. “YouTube is TV.”

With the constant risk of being recorded, many young people are afraid of showing enthusiasm – let alone doing something so potentially embarrassing as dancing in public. Is there a way to set themselves free?

In a video posted to TikTok, where Katie Whitney has 2.5 million followers, she says to camera, bluntly: “This video is for Cynthia Erivo. If you’re not Cynthia Erivo … you can keep on scrolling.” Her demeanour then shifts, her voice becomes softer; more the way a person might talk to their puppy: “Hi Cynthia. Hi baby. Hey baby. How are you?” It’s toe-curling – or, in modern parlance, cringe – to watch. “I feel traumatised,” says one commenter. Others post photos of a stunned-looking Erivo and imagine: “What if the Wicked star were to actually watch this video?” Cringe!

Now 25, but having started making this kind of content – “weird skits” – at 20, Whitney is part of what is known online as CringeTok, a subsection of the internet that deals in content designed to make your toes curl. It’s in many ways a reaction to a fear of being “cringe”, which is seeping into all parts of life – from social media to classrooms to the workplace.

Record-breaking box office for Backrooms and Obsession has opened the door for twentysomething YouTube creators as the industry rethinks what audiences want

At this time last year, the idea of a wide-release feature film-maker cutting their teeth on YouTube was, if not unheard of, certainly still a niche origin story. Siblings Michael and Danny Philippou had just released Bring Her Back, the follow-up to their surprise horror hit Talk to Me, to pretty-good reviews and OK box office; clearly they would continue to work, but the slightly diminished returns didn’t predict a YouTube explosion. Nor did the outright lousiness of Shelby Oaks, from longtime YouTube film critic Chris Stuckmann, when it premiered in theaters later in 2025. Generous horror-festival buzz died down as more people actually laid eyes on the movie; Stuckmann was an obvious enthusiast, and some saw promise in his first effort, but a clumsy found-footage pastiche without much emotional sense didn’t seem like the next big thing, either.

But in 2026, something has shifted. In January, YouTuber Markiplier self-released his adaptation of the video game Iron Lung to theaters, and it outgrossed any number of big-studio titles. Then Curry Barker, whose comedy sketches have been a YouTube fixture, unveiled his feature debut Obsession. The film, made for under a million dollars, has become the box office phenomenon of the summer so far, managing a virtually unheard-of feat when its second and third weekends actually outgrossed its first. Obsession is sharing multiplex space with Backrooms, directed by 20-year-old Kane Parsons, who previously brought the spooky internet meme to life in a series of YouTube shorts. Despite being set in a series of purgatorial, sparsely furnished, fluorescent-lit “liminal spaces”, it was the top movie at the North American box office this weekend, poised to become the biggest-grossing movie from distributor A24 in a matter of days. Backrooms also opened to bigger numbers than any number of starrier or bigger-brand 2026 titles like Wuthering Heights, Scream 7, The Devil Wears Prada 2 or the last Pixar movie. That makes three YouTube-trained film-makers who have presided over some of this year’s biggest and/or most surprising hits. With them have come countless social media posts about how YouTube, not film school, provides the real training tomorrow’s directors need.

Influencer and Britain’s Got Talent judge had made football, comedy and challenge videos with group since 2013

KSI, the social media influencer and Britain’s Got Talent judge, has announced he is leaving the YouTube collective Sidemen.

The 32-year-old, whose real name is Olajide Olatunji, has made football, comedy and challenge videos with the group since 2013.

The births, fledgling flights and even first dates on Robert Fuller’s site are about to hit a million global subscribers

Having enjoyed setting up bird boxes with his father as a child, the wildlife artist Robert Fuller wanted to go one step further. While he happily spent hours making the boxes and dotting them around the Yorkshire Wolds, he found it tantalising that he was unable to see exactly what the nesting owls, kestrels and kingfishers were up to.

It transpires Fuller was not alone in his curiosity. His YouTube channel, which livestreams footage from his artificial habitats and documents his love of British nature, is about to hit a million global subscribers. His channel now generates on average 2.8m monthly views.

Debut from 20-year-old director examines memory, reality and fear after Chiwetel Ejiofor accesses an infinite series of hidden rooms that all feel creepily askew

All the lonely people … where do they all belong? YouTuber Kane Parsons makes his feature directing debut with this icily brilliant and genuinely disturbing conceptual horror film based on his web series, and scripted by Will Soodik. There is something here of J-horror, the V/H/S found footage franchise, Dan Erickson’s Severance and Nathan Fielder’s The Rehearsal. It’s about people walled up in their own memories, imprisoned in endlessly remembered scenes from their past, or miserably perceived versions of their present existences in which they have become caricatures of themselves, gargoyle stars of their paralysed inner world of failure. Or perhaps the action of the film is not metaphorical in this or any other sense, and the “backrooms” of the title simply exist.

Chiwetel Ejiofor and Renate Reinsve give barnstormingly good performances as Clark and Mary; it is the early 90s and Clark is a failed architect, separated from his wife, and an alcoholic who to make ends meet self-hatingly manages a drearily and eerily vast discount furniture store, called Cap’n Clark’s Ottoman Empire. He does dumb TV ads dressed as a pirate while uneasily aware he should be a sultan to make the “Ottoman empire” pun work. He goes to see a therapist, Mary, a sad, gentle person who markets her own self-help audio tapes and is haunted by childhood memories of her abusive mother.

The content creators behind channels like Chloe VS History are using AI tools to ‘bring history to life in a really visceral way’

“I have just arrived in Tudor London, 1536,” a young woman in a green puffer jacket tells the camera. “I’m going to check in at my room in the inn, get into the market. Then, later I am meeting the actual king – yep, Henry VIII – in person.”

On YouTube and other social platforms, users are flocking to watch AI-generated “history influencers”, characters that vlog their travels to historical settings.

2025 fuhr der Youtuber Mishka Polyakov zur Insel des isolierten Volks der Sentinelesen und hinterließ eine Coladose. Dafür musste er ins Gefängnis. Inzwischen ist er wieder unterwegs. Welche Bedrohung geht von Leuten wie ihm aus?

It was just a creepy picture on the internet. Now it’s the year’s freakiest film. Its 20-year-old auteur Kane Parsons and stars Chiwetel Ejiofor and Renate Reinsve take us through the terrifying labyrinth

Chiwetel Ejiofor has been on a lot of movie sets, but Backrooms was something different: a 30,000 sq ft labyrinth of apparently random corridors and chambers, all carpeted, fluorescent lit and decorated in the same sickly yellow wallpaper. It was so big that people were getting lost in it, says Ejiofor: “Especially on those first days. As you try to navigate your way around and you’re like: ‘I’m sure it’s this door, I’m sure that’s the way.’” He’s laughing at the recollection. “And you find yourself just back in the wrong corner of the whole studio and you’re like: ‘Get me some help!’”

This is kind of the point of Backrooms – the movie and the online phenomenon that spawned it. It’s a concept that takes some unpacking, but as the premise for a buzzy A24 horror freakout, you could summarise it as something like “The Blair Witch Project meets Severance” or “The Shining set in an infinite Travelodge”or maybe “the exact opposite of a Wes Anderson movie”. Comparisons fall short, partly because the Backrooms concept feels as if it’s come from another world – a parallel dimension, even. Ejiofor concurs: “There was stuff that we were doing by the end of the film that I was just like: ‘This is among the most bizarre things I have ever been involved in.’”

Defying criticisms of ‘slop’ and ‘theft’, the growing culture of AI-powered creativity is attracting interest from Hollywood

In a former hemstitching workshop where artisans sewed pleats for Stockholm’s 19th-century bourgeoisie, a distinctly 21st-century craft is taking root: AI film-making.

One day last week, an actor, director and composer squeezed into a tiny studio booth to record a voiceover for their next AI release. Critics disparage AI movies as “automated slop” or cheating, and fume at what they claim to be industrial-scale copyright theft. But this had a distinctly homespun feel, the little team fussing over a monologue by a poetic Scottish gorilla inhabiting a transhumanist cyberpunk universe. It was a bit like recording the Archers, one of them joked.

The 26-year-old has received rave reviews for his micro-budget horror Obsession, support from Ari Aster and control of a Texas Chain Saw Massacre remake

Things have been going scarily well for 26-year-old film-maker Curry Barker.

The past 18 months have seen him level up from lo-fi YouTube comedy skits to an $800 horror short that went viral to a breakout feature picked up for $15m to being handed the reins of one of the most legendary franchises in Hollywood. It’s almost too good to be true.