Prime Video Snags Exclusive Streaming Rights to ‘The Chosen' and Bear Grylls' ‘Chosen in the Wild'
The pact also includes theatrical distribution and streaming rights for new releases about the crucifixion and the resurrection, which will be key components of the final two seasons of 'The Chosen.' In addition, Amazon has signed a first-look series and film deal with 5&2 Studios.
''The Chosen' has had renowned success captivating audiences across generations, and we are looking forward to collaborating with Dallas and 5&2 Studios on a larger scale,' Amazon MGM Studios TV head Vernon Sanders said in a statement. 'As we look ahead, we see massive opportunities to develop additional faith-inspired content for our global Prime Video customers.'
'For several years, the team at Amazon MGM Studios has proved over and over they're passionate about this show and our fans,' Jenkins added. 'They're going to make us better and get the show to more people, and I can't wait to build this relationship.'
The historical drama, which is set against the backdrop of Roman oppression in first-century Israel, shares an authentic look at Jesus' life and teachings. Season 5 takes place during Holy Week.
'Tables are turned. Friends are betrayed. And powerful leaders plot the death of Jesus,' the logline states.
The latest installment will debut theatrically on March 28, followed by a premiere on Prime Video in the U.S. this June. The series will be available on Prime Video in the UK, Canada, Australia, New Zealand, Sub-Saharan Africa and Latin America at a later date this year.
Meanwhile, 'The Chosen in the Wild' will see Grylls take Jenkins and the cast of 'The Chosen' on their own adventures into the wilderness to find out exactly what makes his guests tick, explore their personal journeys and push them to their ultimate limits over the course of six episodes.
Lionsgate handles global distribution for 'The Chosen' and 'The Chosen In The Wild with Bear Grylls.'
'Amazon MGM Studios is the perfect partner to take this already highly sought-after property to the next level,' Lionsgate worldwide TV distribution head Jim Packer said. 'This wide-ranging, multi-territory deal presents a unique opportunity to deepen engagement with 'The Chosen''s loyal fanbase while drawing in new viewers around the world.'
CAA represented 5&2 Studios on the deal, together with Andrew Kramer of Willkie Farr & Gallagher, LLP.
The post Prime Video Snags Exclusive Streaming Rights to 'The Chosen' and Bear Grylls' 'Chosen in the Wild' appeared first on TheWrap.
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Elle
17 minutes ago
- Elle
'The Summer I Turned Pretty': Lola Tung Is Ready For What Comes After Summer
Tyler Joe All clothing, accessories, and fine jewellery, Chanel. It's sweltering hot in the sun-drenched, top-floor café on the Lower East Side that Lola Tung is using as her makeshift dressing room. The electric fans do little to battle the July humidity, and the bottled water for the crew has gone lukewarm. The actress feels the heat, too, as she changes from one Chanel look into another for her ELLE photo shoot, but she powers through. After all, she thrives in the summer. At 22 years old, Tung is the star of Prime Video's The Summer I Turned Pretty , the wildly popular TV show based on Jenny Han's bestselling book series of the same name. The television adaptation debuted in 2022 and introduced her as protagonist Isabel 'Belly' Conklin, a teenager caught in a love triangle between two of her longtime family friends: Conrad Fisher (Christopher Briney) and his younger brother, Jeremiah (Gavin Casalegno). With a literary fan base, a cast of good-looking newcomers, a soundtrack filled with Taylor Swift songs, and a love triangle that could rival Team Edward vs. Team Jacob, TSITP had all the makings of a pop culture sensation. And sure enough, it shot to the No. 1 slot on the streamer when it first premiered, even bringing a resurgence in popularity for Han's books and, as if she could get any bigger, Swift's own music catalogue. Tung, who was born and raised in New York and attended the famous LaGuardia School of Performing Arts, was a freshman at Carnegie Mellon when she was cast as Belly—her first on-screen role ever. Since then, she has skyrocketed to It-girl status with the wardrobe and followers (4 million on Instagram, but who's counting?) to match. 'When we were filming the show, people were like, 'Your lives are going to change,' and we were all like, "I don't know what you're talking about,"' she says later over Zoom, reflecting on earlier seasons with the cast. 'It's really wonderful to know that there are people who love the show so much and that your work means something to [them].' As evidenced by social media posts from fans, the viewers aren't just the YA demographic, but also women in their 20s and older, even moms who watch the series with their kids. (Belly's mother, Laurel, played by Jackie Chung, also has her own arc in the series.) There's just something universally irresistible about a summer coming-of-age romance set on the beach. The world couldn't help but dive in. Three years later, TSITP is back for its third and final season. As viewers lock in for one last vacation at Cousins Beach, Tung is saying a bittersweet goodbye to her breakout role and looking ahead to what's next. 'I've loved getting to play [Belly] for so long. It's kind of like graduating,' she says. 'I'm excited to show a different part of myself—and even have people see me in a different world.' Until then, fans are savoring every last episode of TSITP we have left. Tyler Joe If you had heard the screams coming out of Bryant Park last Wednesday night, you would have thought there was a live concert taking place. In reality, it was a premiere screening of The Summer I Turned Pretty season 3. Crowds gathered on the grass with blankets, snacks, and friends in tow, cheering when the cast made an appearance and gasping along at each plot twist. 'I've never experienced that ever in my life,' Tung recalls. 'There were just so many people.' Viewers had a lot to chew on in these new episodes : Belly is now a junior in college and four years deep into a relationship with Jeremiah. However, things don't really seem to be settled between her and Conrad, even after they broke up years ago at prom. She and Jeremiah face an obstacle in season 3, episode 1, when Belly learns that he slept with another girl during a spring break trip to Cabo—twice! The circumstances of the hookup are murky; in classic Ross and Rachel fashion, Jeremiah thought he and Belly had broken up during an argument before the trip, whereas Belly believed they were still together. A dramatic series of events follows: Belly and Jeremiah fight at a frat party. She slaps him. He tries to win her back. Belly's brother, Steven, gets into a car accident and suffers a possible brain injury. After Steven wakes up safely from his coma, Jeremiah apologizes to Belly profusely at the hospital, and then proposes to her. She says yes. 'Young love is intense,' Tung says during another call days after the premiere. While fans and haters alike might classify this intensity as chaos, she walks me through how Belly is handling all of the ups and downs. First, the fight with Jeremiah: 'I think it's just pure shock for Belly,' Tung says of her character's headspace. 'This is someone who's been her rock for so many years and who she's known her entire life. It can be heartbreaking when you feel like you don't know everything [about someone].' It kind of leads Belly to wonder, What else don't I know about you? Tyler Joe She and Casalegno rehearsed the emotional scene prior to filming. 'It was important to have a level of trust in each other, especially with the slap,' Tung recalls. 'Poor Gavin, he was like, "Yeah, you can slap me." I was like, "Are you sure? Please, I don't want to hurt you!"' Ultimately, they filmed the slap in just a couple of takes. 'I was not about to slap him 50 times otherwise. For some of the angles, I would just kind of wave my hand…I'm used to the stage slap,' she says. Now, onto Jeremiah's alleged infidelity: 'No matter whether you think that he cheated or not, it's wrong,' Tung says diplomatically, pointing to how Jeremiah rebounded with another girl shortly after the presumed split, and then hid it from Belly. 'I personally don't think they were on a break or broken up, because that argument was so quick and everything happened so fast.' However, 'Belly is not completely blameless,' she continues. 'She didn't reach out either. There is a little bit more of a mess in her own head.' 'Young love is intense.' So, how does Belly go from feeling betrayed to getting engaged? She was likely swayed by Steven's near-death experience. 'She's almost lost someone else in her life that's really important to her, and they both experienced a huge loss [Susannah, Jeremiah, and Conrad's mom] years before that—it's still obviously affecting them and their relationship. The thought of losing more people in her life, whether it is Steven or Jeremiah, is just not an option.' She adds, 'Jeremiah is showing up and trying to be there whenever she will let him. I think, in that moment, she's completely overcome with all of these emotions and is in a very vulnerable space. They both are, and they really want to lean on each other, because they do love each other. Even though Jeremiah did mess up, I think when it's put into perspective, it feels so silly compared to literally a life-or-death situation.' Tyler Joe Belly also might also feel a 'little bit of guilt about not mentioning to Jeremiah what happened at Christmas. Even though nothing did happen.' Tung is referring to Belly's own secret: that she spent one Christmas alone at Cousins beach house while she and Jeremiah were dating; except she wasn't really alone. Conrad coincidentally showed up too and stayed over. Nothing romantic or physical happened between the exes, but you can feel there's still something between them. While filming those scenes, Tung and Briney wanted to convey a sense of 'ease' and that Belly and Conrad 'have a certain understanding with each other' as friends. 'It's nice that even after so long, they can sit together and watch a movie, and just exist in the same place without speaking, without having to do anything but just be ,' she says. 'I think those are the most beautiful sort of friendships and relationships.' While a big part of the fandom is still rooting for a Belly and Conrad endgame—I won't spoil how the books end—Tung believes that, at least during that engagement scene, Belly's mind is solely on Jeremiah. 'I don't think she's thinking of Conrad in that moment,' she says. But Belly is aware that she and Conrad will always have an 'unspoken connection.' 'We're human beings. A lot of times, we see what you say, especially if it's mean, and those things stick with us.' And to address the elephant in the room, Belly is also aware of her age. She's 20 when she says yes to Jeremiah, and based on snippets in the season 3 trailer, her mother and older brother are bound to question whether she's ready for such a commitment. 'She knows she's young, but she's also quite stubborn and is making decisions for herself,' Tung says. 'She's like, "I need to do what I need to do for myself to protect myself, and to feel safe, and to feel like I am in control of my story and my life."' While the cast and crew keep further season 3 details close to the vest, Tung cautiously teases that we can look forward to more group dynamics when the Fishers and Conklins reunite in future episodes. 'That will always be complicated, when all of them are together,' she says. Much like Han's To All the Boys I Loved Before trilogy, The Summer I Turned Pretty is fiercely beloved—sometimes to an extreme degree. As viewers debate between Team Conrad and Team Jeremiah with such enthusiasm and fervor, some comments cross the line and directly target the cast or fellow fans themselves. Days before the season 3 premiere, the official TSITP social accounts announced a zero-tolerance policy for bullying, hate speech, harassment, and doxxing. Users who break these rules will be banned. Tung supports the guidelines, saying the criticism 'can be really, really hard, especially with new cast members. It happened last year with Elsie [Fisher, the nonbinary actor who played Jeremiah and Conrad's cousin Skye]. We were all really, really upset about it, and they're so wonderful and was such an incredible addition to our cast and our dynamic. … We're human beings. A lot of times, we see what you say, especially if it's mean, and those things stick with us.' 'A lot of it is so unnecessary, especially when it's not about the characters and it's about the actors,' she continues. 'Ultimately, you don't really know these people.' Tung hopes viewers are 'respectful' to the new season 3 cast members, 'kind' with their discourse, and that they 'appreciate the characters,' even with all their flaws. 'Everyone is working really hard to make sure that the story is the best that it can be for the fans. And we love the fans, because they have given us the opportunity to make three seasons.' Tung, for her personal well-being, tries to stay off social media. 'You just can't really engage [with the comments], because then it feeds the fire a little bit. It sucks. Because people can be mean when they're behind their screens, which, I'm not saying anything new,' she says, ever so politely. On rare occasions, interactions can get uncomfortable in real life, too. Tung remembers a moment when a fan approached her in public and asked to take a picture when she wasn't feeling up for it. 'I was like, "I'm so sorry." I hate saying that, because then you feel guilty. And then he was like, "Well, I already have the camera out." I remember feeling a little like, "Oh, man," like a boundary was broken.' Tung fully understands the passion is coming from a place of 'enthusiasm and a love for the show.' She says, 'I always appreciate when people are super respectful, and just understand human-being boundaries. It can be such a lovely thing, and [I've had] such lovely conversations, and some people really stick with you, and it makes you so happy.' Tyler Joe Thankfully, she's able to find support in her co-stars when it comes to handling the 'really weird, niche things' that come with adjusting to fame and public scrutiny. 'I think we all lean on each other,' Tung says. Han, who is a showrunner and executive producer on the series, has also been a lifeline. 'I've learned so much from Jenny. When I was working on the first season, and figuring out how to navigate the really busy schedule we had, she had a conversation with me—not in an overstepping way, because we're very close—but she was just like, "Hey, maybe start going to therapy." That was one of the most helpful pieces of advice she's ever given me.' Tung adds, 'I was a really emotional kid and teenager, and I still am a really emotional person. I was sometimes afraid of letting people see that emotion and being vulnerable in front of people. That's what this profession is all about, and that's what this show is all about. I'm forever grateful that we get to see that, especially through Belly, and then even through Jeremiah and Conrad…[showing] Conrad in therapy is huge. I think it's such an important thing for young men and boys to see.' 'I was a really emotional kid and teenager, and I still am a really emotional person.' When it comes to showing emotion in the spotlight, Tung actually felt seen by Ariana Grande during the Wicked press tour last fall. 'A lot of people were being very critical of Ariana crying in a bunch of interviews, and I was like, "What are you talking about? This was her dream! It makes me so happy to see her so overcome with emotion."' She adds, 'To see her get so emotional was nice just to see, as an actor and as someone who's in the public eye, because it made me think, Yeah, why not? Why not show that you care about something? ' Tyler Joe The Summer I Turned Pretty was an education for Tung. 'I've learned so much from Belly, and from her boldness, and from watching her take risks,' she says. But she also gleaned a lot from working on a set for the first time, and by observing other actors, directors, and crew members. She also learned how to take care of herself—and recognize when it's time to rest. Those are lessons she'll take with her as she transitions into life post- Summer . Tung has already been dropping hints of what that'll look like. Last year, she made her Broadway debut as Eurydice in Hadestown , a dream role that nourished her inner theater kid. (Legend has it she fell in love with acting after playing the Tin Man in The Wizard of Oz back in middle school.) And this past April, she wrapped filming Forbidden Fruits , a women-centric horror film due in 2026 co-starring star Lili Reinhart, Victoria Pedretti, Alexandra Shipp, and Emma Chamberlain. That genre might be a major departure from the sunny beaches of Cousins, but Tung was eager to give it a try. She's recently been watching scary movies like Longlegs , Sinners , The Substance , and Jennifer's Body . 'It was transformative,' Tung says of the latter. (Diablo Cody is also a producer on Forbidden Fruits .) 'I've learned so much from Belly, and from her boldness, and from watching her take risks.' 'I loved getting to sit down with the director [Meredith Alloway] and talk for three hours about the dynamics of female friendships, and what that looks like in a horror setting. ... I love having conversations with all of these incredible women, and seeing them soar,' Tung says. She hopes to do more of that in the future—just like her fellow cool-girl creatives who are collaborating with one another. 'There are so many really cool women right now who are making cool art with their friends, like Ayo Edebiri, Rachel Sennott, and Molly Gordon,' she muses. Tung is excited for what's to come but admits that every new project can be daunting, whether it's adapting a beloved book series for TV or stepping into an entirely new genre. 'That's the wonderful thing about art—it's always a risk, and it's always a little bit scary, but it's so, so worth it.' Hair by Dana Boyer at The Wall Group; makeup by Misha Shahzada at A-Frame Agency; special thanks to Ludlow House. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE . Where The Summer I Turned Pretty Was Filmed Did You See This To All the Boys Reference? Erica Gonzales Deputy Editor, Culture Erica Gonzales is the Deputy Editor, Culture at where she oversees coverage on TV, movies, music, books, and more. She was previously an editor at There is a 75 percent chance she's listening to Lorde right now.
Yahoo
34 minutes ago
- Yahoo
Keeley Hawes proves she is television's Queen of Tense in The Assassin
'Implausible' is the word that springs to mind with The Assassin. This is frustrating, because so much of the production is absolutely plausible – to the extent that, while watching it, I actually felt like I was on set and part of the action, of which there is plenty. Like anything made by brothers Harry and Jack Williams (The Missing, The Tourist), this Prime Video thriller has care and high production values built into it. There are the exquisite Riviera villas, the shabby Paris apartments, the dusty hills of Albania and the easy-going Greek tavernas, all of which lend a wonderful texture to proceedings. Everything moves at a brisk pace, and the body count is high. Much of this taut quality is down to the presence of the now ubiquitous Keely Hawes, the entertainment industry's undeclared Queen of Tense. She is ideally cast, then, as Julie Green, a semi-retired professional assassin (well, amateurs don't last long in that game presumably), trying to keep herself to herself on an idyllic Greek island – but permanently on edge for fear of retribution. She can't be blamed for wanting a quiet life after knocking off so many gangsters, politicians and oligarchs in her time. She's made enough money to pack it in, which is just as well because hired killers don't usually bother with an Aviva pension plan. 'Ex-headhunter' is her amusing self-description if anyone asks; a 'premenopausal James Bond' as someone calls her. But is she left to retire in peace? God no. Green recoils when someone she thinks she knows calls her and asks her – with menace – to do 'one last job' (a bit of a cliche, but a forgivable one). After an attempt on her life, with considerable collateral damage, she embarks on a blood-spattered tour by motorbike, Fiat 500 and luxury yacht across the Mediterranean coast. The circus also comprises her estranged journalist son Edward (played by Freddie Highmore, and no hack could be that dim), who is searching for his father; an improbably wealthy woman named Kayla (Shalom Brune-Franklin); her ketamine-addicted brother Ezra (Devon Terrell); their paranoid billionaire dad (Alan Dale); a predatory cougar (Gina Gershon, who commands attention in a highly disturbing sex scene); a jolly Greek butcher (Richard Dormer); and a bonkers Dutch ID bod, Jasper (David Dencik). A lot of supporting artistes, then, who consequently tend towards sketchily drawn two-dimensional 'types'. Green is running for her life, her lad is looking for his dad, and the others are all greedy for the money they sense is just around the next plot twist. There is a MacGuffin at the centre of all of this chaos – no one knows who or what 'Chantaines' is, except that it matters. A lot of it doesn't make sense – to the characters or the viewer – and the show occasionally descends into plain daft, with Green having abilities more worthy of a superhero than an unassuming gun for hire. She routinely takes down muscle-bound henchmen without breaking a sweat, and fluently speaks about half a dozen languages. The Assassin is also spoiled by being overly derivative, to the point of being distracting. The soundtrack is too reminiscent of a Bond movie, and the old billionaire bloke sounds and behaves uncannily like a knowing parody of Succession's Logan Roy, surrounded by what he calls his 'not serious' potential heirs. A little in-joke, I presume. Meanwhile, Edward's hunt for his dad – because Mum would rather shoot and stab her way across Europe rather than tell him the name – has a few too many Darth 'I am your father' Vader moments. None of that is criminal, and doesn't stop The Assassin from being intriguing and very, very nearly working – but it renders it frustrating. After all, as Hawes's hitwoman would know, the difference between success and failure for a sniper is a question of mere millimetres.
Yahoo
4 hours ago
- Yahoo
Caught on the jumbotron: How literature helps us understand modern-day public shaming
The scene at Gillette Stadium in Massachusetts on July 16 was steeped in irony. During Coldplay's 'jumbotron song' — the concert segment where cameras pan over the crowd — the big screen landed on Andy Byron, then-CEO of data firm Astronomer, intimately embracing Kristin Cabot, the company's chief people officer. Both are married to other people. The moment, captured on video and widely circulated on social media, shows the pair abruptly recoiling as Coldplay's lead singer Chris Martin says: 'Either they're having an affair or they're just very shy.' Martin's comment — seemingly light-hearted at the time — quickly took on a different tone as online sleuths identified the pair and uncovered their corporate roles and marital statuses. Within days, Byron resigned from his position as CEO while Cabot is on leave. This spectacle raises a deeper question: why does infidelity, especially among the powerful, provoke such public outcry. Literary tradition offers some insight: intimate betrayal is never truly private. It shatters an implicit social contract, demanding communal scrutiny to restore trust. When trust crumbles publicly French philosopher Paul Ricoeur's notion of 'narrative identity' suggests we make sense of our lives as unfolding stories. The promises we make (and break) become chapters of identity and the basis of others' trust. Betrayal ruptures the framework that stitches private vows to public roles; without that stitch, trust frays. Byron's stadium exposure turned a marital vow into a proxy for professional integrity. Public betrayal magnifies public outcry because leaders symbolize stability; their personal failings inevitably reflect on their institutions. When Astronomer's board stated the expected standard 'was not met,' they were lamenting the collapse of Byron's narrative integrity — and, by extension, their company's. This idea — that private morality underpins public order — is hardly new. In Laws, ancient Greek philosopher Plato described adultery as a disorder undermining family and state. Roman philosopher Seneca called it a betrayal of nature, while statesman Cicero warned that breaking fides (trust) corrodes civic bonds. The social cost of infidelity in literature Literature rarely confines infidelity to the bedroom; its shockwaves fracture communities. French sociologist Émile Durkheim's idea of the 'conscience collective' holds that shared moral norms create 'social solidarity.' As literature demonstrates, violations of these norms inevitably undermines communal trust. Leo Tolstoy's Anna Karenina (1875-77) dramatizes the social fracture of betrayal. Anna's affair with Count Vronsky not only defies moral convention but destabilizes the aristocratic norms that once upheld her status. As the scandal leads to her ostracization, Anna mourns the social world she has lost, realizing too late that 'the position she enjoyed in society… was precious to her… [and] she could not be stronger than she was.' In Gustave Flaubert's Madame Bovary (1857), Emma Bovary's extramarital affairs unravel the networks of her provincial town, turning private yearning for luxury and romance into public contagion. Nathaniel Hawthorne's The Scarlet Letter (1850) makes this explicit: Hester Prynne's scarlet 'A' turns her sin into civic theatre. Public shaming on the scaffold, the novel suggests, delineates moral boundaries and seeks to restore social order — a process that prefigures today's 'digital pillories,' where viral moments subject individuals to mass online judgment and public condemnation. Domestic crumbs and digital scaffolds Contemporary narratives shift the setting but uphold the same principle: betrayal devastates the mundane rituals that build trust. Nora Ephron's autobiographical novel Heartburn (1983), based on her own marriage's collapse to investigative journalist Carl Bernstein, weaponizes domesticity. Heartburn's protagonist Rachel Samstat delivers her emotions through recipes — 'Vinaigrette' as a marker of intimacy and betrayal, 'Lillian Hellman's Pot Roast' as a bid for domestic stability and 'Key Lime Pie,' hurled at her cheating husband — become symbols of a life undone by public infidelity. Ephron's satire, later adapted into a film, anticipates our digital age of exposure, where private pain fuels public consumption and judgment. Jenny Offill's Dept. of Speculation (2014), which draws from her own life, shows another perspective: betrayal as quiet erosion. Offill never depicts the affair directly; instead, the husband's absences, silences and an off-hand reference to 'someone else' create a suffocating dread. This indirection shows betrayal's power lies in its latent potential, slowly dismantling a life built on trust before any overt act. Both works underscore betrayal's impact on the collective conscience: a lie fractures a family as fundamentally as a CEO's indiscretion erodes institutional trust. Power magnifies the fallout by turning private failings into public symbols of fragility. Even hidden betrayal poisons the shared rituals binding any group, making the notion of 'private' unsustainable long before any public revelation. The limits of power Literature acknowledges power's protective veneer from consequence — and its limits. Theodore Dreiser's Trilogy of Desire (1912–47), modelled on the Gilded Age robber baron Charles Yerkes, follows the rise of financier Frank Cowperwood, whose power shields him — until it doesn't. Even his vast empire proves vulnerable once his adultery becomes public. The very networks that protected him grow wary. Though many critics of the elite are themselves morally compromised in the trilogy, Cowperwood's transgression becomes a weapon to discredit him. His brief exile shows that power may defer, but cannot erase, the costs of betrayal. Once trust fractures, even the powerful become liabilities. They do not fall less often — only more conspicuously. Gender also plays a role in shaping these narratives. Male protagonists like Cowperwood rebound as tragic anti-heroes, their moral failings recast as flaws of character. By contrast, women — think Flaubert's Emma Bovary or Hawthorne's Hester Prynne — are branded cautionary figures, their transgressions stigmatized rather than mythologized. This imbalance in assigning consequences reveals a deeper societal judgment: while broken trust demands repair, the path to restoration often depends on the transgressor's gender. The unblinking eye From Tolstoy's salons to TikTok's scroll, literature offers no refuge from betrayal's ripple effects. When private trust visibly fractures, communal reflexes kick in. Scarlet letters, exile or a CEO's resignation all aim to heal the collective trust. The jumbotron, like Hester's scaffold, is the latest instrument in this age-old theatre of exposure. Jumbotrons. Scaffolds. Same operating system. Same shame. This article is republished from The Conversation, a nonprofit, independent news organisation bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Jason Wang, Toronto Metropolitan University Read more: 'Eat the rich' — Why horror films are taking aim at the ultra-wealthy TikTok may be bad for privacy, but is it also harming our cognitive abilities? Citizens' social media, like Mastodon, can provide an antidote to propaganda and disinformation Jason Wang does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
