rebeccapotters-blog

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Social Account History

Below is a list of brands I’ve worked with in one or more of the designated following roles: content creation, copywriting, editing, growth strategy, and content scheduling. 

- JEMMA Bags: @jemmagirlnyc

- Rawpothecary: @rawpothecary

- Robb Vices: @robbvices

- Fletcher’s Espace Culinaire: @fletchersmontreal

- Serotina Media: @serotinamedia

- Kaito Coffee: @kaitocoffee

- Poonicornicopia: @poonicornicopia

- Subversive Gardener: @subvgardener

- Cafuné: @cafune.co

- Dotdash: @dotdashco

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Parmesan and NPR

My dog is in mourning. My dog - Rooney - is processing the loss of our other dog - Sadie - and as he grieves I find he grieves like me. 

Rooney loses his appetite in times of stress, then stress eats parmesan cheese. Rooney hates being by himself, so we leave the radio playing. Rooney prefers the palliative voices of NPR, and when we forget to turn on the radio, Rooney shits on the floor out of nervousness. Rooney likes to play fetch in the yard, but after running one lap on the grass he returns to the back deck and waits at the door. Rooney likes exercise in theory, but would rather lie on the couch and change positions every 20 minutes. Every two hours, he moves to another couch. Rooney’s journal is black with no lines, and he only writes stream-of-consciousness style. Rooney is trying to navigate his future as a young standard poodle, aged 5 going on 6. Rooney is thinking long and hard about his career and financial obligations. Rooney is debating going to grad school, even though - despite his affinity for talk radio - he despises academia. Rooney is trying his best.

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Sisterly Love: ‘Mustang’ Gives a Nuanced Portrayal of What It Means to Grow Up under a Patriarchy - 2016

Original version can be found here, read on for the edited version.

The coming-of-age stories that frequently grace our screens are those of teen rebellion, unrequited love, and summer adventures. Deniz Ergüven’s Oscar nominated film Mustang exhibits all of those qualities, but lends a nuanced maturity and an overwhelmingly poignant storyline. At the heart of the film are five sisters living in a village on the Turkish seaside, whose efforts to live spontaneously are derailed by the antiquated social mores of their culture and upbringing.

Beginning with an end-of-the-school-year trip to the beach with male classmates, the sisters return home to their grandmother - their legal guardian - who greets them with a beating and heavy-handed accusations. What the girls, and the audience, see as innocent socialization is misinterpreted by chatty neighbors as sexual licentiousness, and the girls are then forced to submit to a virginity report conducted by their local healthcare center. They are then swiftly stripped of all possessions that can further corrupt them such as telephones, makeup, ripped jeans, and computers. Although showing the earnest beauty in Turkish traditionalism, Mustang emphasizes the patriarchal injustices present in the village and the family, where a majority of the managerial power lies with the man of the house - Uncle Erol. Any efforts to defy their house rules are answered with discipline, physical abuse, and stricter detainment in their already-encroaching space.

It is in the house that the girls are trained in domestic skills such as cooking, sewing, cleaning and general servitude. Gradually, the grandmother preps the girls for marriage by inviting over prospective suitors and families, and having each sister serve them refreshments as they survey her appearance and domestic manner. The girls manage their respective situation uniquely, some through protest, some through passiveness, some though outright refusal and a plan of escape. Each circumstance is different, and each has a consequence.

A key component to the cinematography is the emphasis placed on natural light and shadows. The house, serving as the main setting of the movie, is equipped with many windows and courtyards, all with intricate bars and gates that lend a dark sense of whimsy to the confinement of the sisters. Additionally, the house’s endless flow of doorways and rooms create a sense of disorientation, bringing that light-hearted aesthetic back down to the grim impact the house has on the girls’ health. 

With regards to the music, the director was very adamant that their be no electronic or synthetic sounds, to coincide with her preference of natural light over electrical. The utilization of natural elements and acoustic instruments supplements the will of the girls to live naturally and organically with their surroundings versus the demands of their uncle and his constant surveillance.

Deniz Ergüven is a Franco-Turkish director, who was tactful in her portrayal of men and women in Turkish culture. Mustang neither aims for moral simplicity nor does it condemn traditionalism. There are strong young girls, submissive older women, traditional boys, and progressive men. No one gender or age-group is demonized, but the film does accentuate the bleak injustices of sexism. The Film Society of Lincoln Center conducted a panel with the director and actresses who played the sisters. Ilayda Akdogan, who plays one of the elder sisters Sonay, stated that she and the other women working on the film felt a great responsibility to demonstrate the social injustices facing women in Turkey, specifically in regard to arranged marriage and the concept of purity.

Mustang tells a story of female empowerment and sisterhood, all from the perspective of the youngest sister, Lale. The potential for voyeurism and fetishization are completely erased by the close proximities of filming, and we are allowed to peek behind the curtain to see the intricacies of sisterhood, and we are also given an intimately tragic tale of growing up female in a male-dominated world.

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Hateful 8: Tarantino Adds Some Sauce to the Original Spaghetti Western - 2016

Original version can be found here, read on for the edited version. 

When you walk into a Quentin Tarantino film, you can expect three things: blood, an intricately layered storyline, and Samuel L. Jackson. If you’ve seen The Hateful 8, you’ll recognize that Tarantino meets these expectations, and quickly surpasses them. Granted, this movie is not stamped as one of his shining masterpieces. It is long, slow, and gory. However, if you have the patience and the stamina, it is well worth the watch.

Audience engagement is a major component of this specific movie-going experience. Assumptions are made and suspicions rise. Once you think you’ve figured it out, suspicions are disproven with the introduction of a brand new concept or character and it’s back to square one. This technique is how Tarantino keeps audiences at the edge of their seat for the entirety of the film.

This first hour or so of the movie takes place inside of a horse-drawn wagon, ushering bounty hunter John Ruth (Kurt Russell) and his prisoner Daisy Domergue (Jennifer Jason Leigh) off to the town of Red Rock so she can be hanged. On the way, they reluctantly pick up Major Marquis Warren (Samuel L. Jackson) and Sheriff Chris Mannix (Walton Goggins). This ensemble of three law-enforcers and a criminal makes for a violently slapstick wagon ride until they reach their checkpoint: Minnie’s Haberdashery. It is here that the story picks up, and we leave the beautifully shot, snow-covered Wyoming wasteland, and enter the cabin that houses the rest of the cast, and serves as the setting for the rest of the movie.

In Minnie’s Haberdashery, we are introduced to familiar actors such as Bruce Dern, Michael Madson, Tim Roth, Demián Bichir and Channing Tatum. For the remainder of the movie, you get the sense that you are watching a vengeful Spaghetti Western that has crossed over into Jean-Paul Sartre’s Huis Clos. Everyone is trapped in one room facing existential dilemmas and playing a game of “who dun it?”

If unable to see the film in its 70mm glory, the standard 35mm format is still very much worth the price of admission. The bleak, snow-covered setting in conjunction with the cinematography and panning shots of landscape serve as vehicles of isolation that allow audience members to join the cast in that horse-drawn wagon, and feel the familiar yet fraught dynamic between every character.

The score of the film was so subtly catchy that during the screening, you are almost unaware that there is even music in the background at all. However – at least in my personal experience - you will leave the theatre humming the theme that you realize was playing the entire time. The music aids in the suspense and the anxious air of the characters for the duration. From the beginning, even before any important events occur, the music gives an ominous yet gallant impression of the inevitable conflict that’s subsequently to come in the next two hours. This was the first Tarantino film to feature an entirely original score, which was composed, orchestrated, and conducted by Ennio Morricone. Inspiration for the soundtrack was taken from the screenplay itself, and was further influenced by the Italian Giallo genre; a slasher/thriller genre equipped with elements of mystery, crime or the supernatural.

Overall, The Hateful 8 combined elements of drama, comedy, western, action, romance, and thriller. As Tarantino does so well, the movie was exciting and unpredictable, gruesome yet tasteful, and generally amusing to watch. Even those with weak stomachs can look away and just enjoy the tongue and cheek dialogue, which makes up for the generous amount of violence. My best advice would be to know when to close your eyes, sit back, and let Mr. Tarantino take the reins on this horse-drawn buggy.

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Seduced & Reduced: A look into the Thinly Veiled Sexism of the James Bond Franchise - 2015

Original version can be found here, read on for the updated version.

There’s no mystery that the ‘James Bond’ character has a superseding alpha-male ego, backed by his presumptuous sexual advances and his license to kill. However, the largest amount of overt marginalization of female characters does not stem from Bond himself, but from the writers, directors, and costume designers of the James Bond franchise.

The opening credits of every Bond film feature a dramatic ballad, Mr. Bond shooting a gun, and jaw-dropping women—all of whom are scantily clad, nude, or nothing more than a silhouette. This is the timeless preface to every film: James Bond is going to bring down the bad guy and get the girl.

In each picture, the scarcity of women is all too obvious. The major franchise’s most recent installment, Spectre, features a mere four women: A nameless young woman in Mexico City; Eve Moneypenny (Naomie Harris); Lucia Sciarra (Monica Bellucci); and Madeleine Swann (Lea Seydoux). The fleeting two-minute interaction with the nameless woman at the beginning is a perfect example of Bond’s reputation as a womanizer and the faceless roles that women play in the series. She has no further purpose in the film and is immediately written out. Later on, Moneypenny has already rebuffed Bond’s inevitable advances in previous films and he now treats her as a respected coworker. However, that did not stop the writers from placing a man in her bed and having Bond chastise her for it when calling her in the middle of the night, nor did it stop the costume designers from dressing her in lingerie when answering said call.

Lucia Sciarra—although refreshingly mature compared to the typical “Bond Girl”—was painted as weak and vulnerable, and made no more appearances in the film after being seduced and reduced by Bond. In regards to costume design, our final impression of Lucia is that of her lounging on her bed in a corset and thigh-high stockings, which is unrealistic for two reasons. The first being that—before becoming intimate with Bond—she was coming from her husband's’ funeral. It is highly unlikely that a woman in mourning would be wearing a full corset and garter set beneath her clothes. The second unrealistic detail lies with this question: Why would she re-dress herself in the intricate lingerie set after her encounter with Bond just to lounge around her home? She serves no purpose other than as an informant and a sexual object for both Bond and the audience.

In the case of Madeleine Swann: Although she is portrayed as tough, terse, and powerful at times, all is lost when she is captured and tied up for Bond’s rescuing. There is no context to her capture, and she just assumes the “damsel in distress” role to stick with the theme of Bond coming to the rescue and saving a woman in need. What took the sexualization of Madeleine even further was her outfit upon meeting the villain, Ernst Blofeld (Christoph Waltz). She’s given a pair of stilettos and a body-hugging dress with an intricate pattern of swirls and curves bringing attention to her bosom and genitals. This was the most underhanded move done by the costume department just to remind the audience once more that Madeleine is a woman.

The sexualization and marginalization of women throughout the franchise can also be highly noted in /Goldfinger/ (1964) and /Quantum of Solace/ (2008), where the deaths of two ‘Bond girls’ are accomplished by covering their naked bodies entirely in gold paint (Goldfinger) or in oil (Quantum of Solace). The stripping down of these women—literally and figuratively—do nothing more than rob the naked dead girls of their identity and dignity.

It’s no secret that the 53-year-old franchise has exploited women for their bodies and marginalized them for their gender ever since the release of Dr. No in 1962, but as time goes on and audiences become more socially conscious, perhaps we will see a greater change in the portrayal of women. Perhaps it is time for Jane Bond to take the screen.

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Stephen Colbert and Authorship - 2017

This piece was written in response to a prompt on authorship in mainstream media, specifically surrounding The Emmy Award - assigned in a fourth year English Seminar at McGill University.

Authorship in modern, on-screen media is perpetuated by proper casting, directing, and writing. It is recognized by viewers, and celebrated by audiences, critics, and actors alike. However, as is discussed by Roland Barthes and Jonathan Gray, true authorship is often an impossible feat, due to the cyclical nature of narrative. When we celebrate the Emmy's, we concede that we are not necessarily recognizing the auteurs, but more so the execution of stories that have already been told. These stories are not necessarily fictional, and often times are commentaries on what we see in our daily lives - whether it be in societal trends, immigration issues, an abhorrent president, and the politics surrounding gender, racial, and sexual equality.

This year, the award show was hosted by famous comedian and political commentator Stephen Colbert, and while I was unable to stream to full awards show, I was able to view his opening song and speech. His song - in a tongue and cheek manner - talks of the desensitization we feel when watching current events unfold from the comfort of our own homes as well as the idea of escapism. In his speech, Colbert highlights the disaster relief efforts with respect to the number of hurricanes that have been occurring, he roasts President Trump and highlights the influence he's had on all TV writing this year, highlights Ted Cruz's latest Twitter scandal, notes the amount of diversity in the current nominations versus past years, and brings out Sean Spicer, who rolls out on the podium Melissa McCarthy made popular in her SNL depictions of Spicer.  

What we can call into question is whether or not Stephen Colbert is the author. He may be responsible for writing the introduction, but all content has been pulled from the events circulating our daily lives, and all commentary he makes is a poignant summation of popular liberal opinion. However, at the same time, we as an audience have come to expect a specific set of behaviors and viewpoints in content that is created by Colbert, and one could argue that the intro was distinctively “Colbert-esque.” As is noted by Michel Foucault, the name of a well-recognized author is equivocal to a description of the work, so is it possible for us to detach the Colbertian framework from the content that is - in essence - by us and for us. By this, I mean that the general public has created the narrative through daily events and issues. We can then highlight that Colbert is acting perhaps both as Auteur and audience surrogate. He tells the story we all had a part in creating, he expresses popular opinion on a well-recognized platform, and he appeals to the crowd-pleasing, satirical humor we find relatable. The following tweets highlight the undoubtable relationship between politics and entertainment, and the incorporation of political standpoints on the institutional level of The Emmy’s.

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AUTHENTICITY IS KEY: WHY AN ORGANIC FOLLOWING IS THE ONLY WAY.

Hi All! Rebecca here - lead on growth and strategy - and I’m writing our blog post this week because it’s on a subject that’s super important to me, especially when it comes to maintaining an online presence. This week we’re talking about maintaining an authentic following! But what does this mean? It means no #fakefollows, no bots, no spam, and no #clickbaiting! Now this may not be everyone’s approach to social - totally fine - but for someone like myself who lives a #nofilter kind of life, it’s important to get back what I give out, which helps me create a like-minded community for myself, and allows me to know that the people engaging with my content are also engaging with my personality. #KEEPSOCIAL has been Serotina’s mantra since the very beginning, and while we’ve talked about its meaning and use in the social media world, it’s important to remind yourself that keeping social means keeping it real. Whether engaging with close school friends or foreign strangers, you want to slide into those DM’s as authentically as possible if you want to receive authenticity back.

Okay - say you’re not an individual account but rather a small business. Even better! Having an authentic following on social guarantees that your followers genuinely love what you’re doing and are itching to see what else you’ve got to share. New trendy café? Those followers will stop by when they’re in the neighborhood and get that matcha almond milk goodness. Clothing boutique? The Insta-fashion community is HUGE and your followers will be sure to drop by. Crafty ceramics maker? These folks want to see that stuff #IRL! We’ve received new clients that had a bot on their account along with a huge following yet, hardly any engagements on their pages. After a few months of authentically engaging with accounts, their engagements spiked to almost record breaking percentages. This just goes to show the value of being real. Sure, it might take more effort however the proof is in the pudding!  

Lastly, just remember that social media gives you a space to be whoever you want to be, so go for it baby! #NoJudgement

If you want to see what I mean, feel free to follow me on social @becca_lilly, and make sure to follow Serotina @serotinamedia. Questions? DM us or drop us a line at Info@serotinamedia.com … We’d love to hear from you.

#KEEPSOCIAL

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THE QUESTION OF GENDER: DO MEN AND WOMEN USE SOCIAL MEDIA DIFFERENTLY? 🤔

Hi all! Rebecca here, head of Growth and Strategy. Today we’re diving into the concept of gendered behaviours on social! Before we get started, this week’s post in NO WAY implies that all women use social the same way and that all men use it the same way. It also is not suggesting that there are only two genders - it’s 2018 people, let’s be real.

HOWEVER, for those of you who find you fall under the poles of the gender binary, decoding the opposite gender’s behaviours in the social space tends to be a lil’ confusing… and we’re here to help!

While the statement that “women are more emotional” can raise a lot of red flags and is essentially untrue, when it comes to the recorded behaviours on platforms such as Instagram and Facebook, statistics show that the language used by female users trends towards more emotive words - “love, excited, happy” - purely as a means of conveying enthusiasm, whereas male users often select more pragmatic, neutral words and less adjectives. Additionally, most of the word choice stemming from male users trends towards a more authoritative, more formal speech, and most typed reactions are worded in a negative framework. When it comes to punctuation, you can expect more exclamation points and ellipses from women, where men are more likely to end on a period.

Curious about Twitter? In a study which analyzed 14,000 Twitter users, researchers found that female writers use a range of personal pronouns (e.g. “you”, “us”, “me”), use expressive, unconventional spellings (e.g. “amaaazzzing”), and are also prone to using more hesitant language (e.g. “hmm”, “uhh”, “umm”). On the contrasting side, more offensive language, and words that may be considered taboo are widely used among the male audience.  

Moving away from the idea of language, let’s focus on the platform itself! Ever wonder why people refer to Pinterest as a “women’s platform”? That’s because the proof is in the numbers. Highly visual platforms such as Pinterest, Instagram and Facebook have a higher number of female users, while more text-based platforms such as Reddit or Digg have a higher population of male users.

What about #KEEPSOCIAL? How are people making connections? Studies have shown that the users who identify as women are more apt to use social as a means of connecting with new individuals or communities, as well as a way of staying up to date on current trends in news, fashion, culture, etc. On the other side of that, men tend to use social as a way of maintaining connections, with little interest in forming any new ones, so before you slide into his DMs, try and sus out if you think he’ll be receptive. No answer? Don’t take it personally.

These are just some of the stats surrounding gendered uses of social media, but they are in no way a framework for how YOU conduct yourself in the social space, and remember that you are not just a statistic!

Which piece of information did you find most intriguing? We’d love to hear from you! DM us @serotinamedia, or drop us a line at info@serotinamedia.com.

#KEEPSOCIAL

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INTRO TO NETWORKING: BITC EDITION✨

Hi lovelies! Rebecca here. Last Sunday a few members of the team and I had the amazing opportunity to head to an event called Brunch in the City (BITC)! This is a networking pop-up event in Montreal that’s been going on for about six years, equipped with food, cocktails, guest speakers, and some amazing vendors.

At Serotina, we’re all at different stages in our career, and while some of my coworkers have been networking for years and years, this was my first ~real~ networking event where I was able to work the room and work my confidence, and boy did it pay off! Here’s how and why:

Positive vibes

This whole event was teeming with beautiful, boss-ass women who dressed to the nines and were there to build each other up. Everytime I approached a booth, I was greeted by a friendly, outgoing, and chatty woman who was incredibly passionate about the product she was selling, and by reading her enthusiasm I was able to fall in love with the product - whatever it may be - and send that enthusiasm right back!

Keep an open mind

From champagne cupcakes to studded leather jackets, and jade face rollers to vibrators, no brand was off-limits, and that kept the event diverse and engaging! If BITC only served as a platform for one kind of industry, the sense of competition would have felt a lot more prominent, and it would have been a day of trying to distinguish one brand from another based on how a shoe was constructed. Because of the diverse environment, I had the sense we were dealing with a well of amazing business all around.

Know your brand

As important as it is to be excited about the potential client, it’s equally as important to be excited about your own company. Like I said earlier, positive vibes warrant positive vibes in return, and by knowing Serotina’s effectiveness and genuinely feeling empowered and confident in the work we do, we were able to establish some fantastic contacts.

#KEEPSOCIAL

The most important part of networking is staying human and social. No one wants to talk to a robot, and no one wants to work with a company that’s not interested in creating an organic dialogue. By strong introductions, holding eye contact, asking questions, and establishing relationships, Brunch in the City felt like a success!

Shout out to @bubbly.sweets, @toysforher, @shopviixen, and @female_department; just some of the dope females we met, keeping feminist vibes strong and paving the way for more ladies to break into the business world.

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DAY IN THE LIFE OF A SEROTINA LADY 💃💻

Hi beauties! This week’s topic is remote work routines. Working remotely is great in theory, but only becomes fruitful when you find YOUR productivity zone. Below are statements from a few members of our team where they outline the ways in which they stay productive without the traditional workspace structure! We’ve got Chrissie and Sofia from our #InstagramHustle team (aka our Organic Community Growth Service), Ellie who is one of our Graphic Designers and Social Media Managers, and Rebecca who focuses on Strategy. They highlight the ways in which they stay sane throughout it all. As you know, staying on top of productivity involves a heavy dose of #SelfCare.

CHRISSIE

I usually always start my morning off with a tall glass of lemon water and/or a bulletproof coffee. I get ready for my day, search for a new cute café/spot to work at and pack up all my essentials to do so. I always pack my computer + charger (never forgot the charger), a notebook & pen, my water bottle and my favorite pair of headphones. I put on some lipgloss and I am out the door. I LOVE to explore new places in the city, and because I work remotely I am able to do so, and the city never fails in finding a cute little spot for me and my laptop. What I love the most about working remotely is that I am always surrounded by new environments, and for me that keeps my workflow fresh and creative every time. The only thing I can say is by not having to sit at the same desk every day is one of the reasons why I love Serotina.

SOFIA

I have always been an incredibly routine oriented person, so having the ability to control and form my own work routine is very important to me. I’m currently finishing up my degree, meaning that my typical day includes a balance between my work at Serotina and school. Every week I write out a detailed schedule, confirming which accounts to work on and what needs to be done for each day. This allows me to start my morning off, organized and stress-free, just how I like it!

The more productive my day is the better I feel, so I try my best to fit in as much as possible. I typically start the day with a work out, usually hot yoga, waking me up and giving me the energy that I need for the busy day ahead. Next... coffee! I’m not fully functional before my first sip of coffee, so it is an absolute must. Working remote is the best excuse to fulfill my love for a café crawl. I try my best to plan for a variety of different cafes or work spaces throughout the week to keep my environment exciting and fresh. Whether it is a café near my house, near school or a hike away, I am always looking for new cozy places to settle in and be productive. Once I reach my destination I am ready to work! Usually I meet up with one of the Serotina girls so we are able to work and get creative together!  

Although every day is different I always plan to finish up my tasks by 6pm so I can have the evening to relax or enjoy whatever is going on in the vibrant and bustling city of Montreal. As I am finishing school and moving back to Toronto very soon, this typical day in the life of Sofia is about to undergo a lot of change. However, I am excited to discover new spaces for my remote office and establish new routines.  

ELLIE

I’m not the kind of person who slows down, so when it comes to my remote routine, I’m going to break it down very simply:

Coffee is king

Kicking off the day with exercise is always good

I love meeting my team members at cafe (I reiterate...coffee is king)

Finding ways to collaborate and shake up the day is important to avoid staring at screen for too many hours

I’m a morning person, and waking up early means you are less distracted because other people aren’t awake yet

I like to start the day with a list of what I hope to accomplish, and then check that list off BABY

REBECCA

Coffee, coffee, coffee. After that’s out of the way, I normally get ready for my day by setting up shop at my desk for a few hours. Here, I do some light skincare, catch up on emails and tasks, and write out my daily schedule. Once that’s done, I normally mozy down to a cafe and set up shop. About once a week, a few Serotina ladies and I try to meet up and work together; through this we are able to share the space with people who know what we’re working on, and we can enjoy each other’s company in the comfort of various Montreal coffee shops. After work, I’ll try and get to a yoga class, grab some groceries, or just go for a nice walk. Now that summer is hitting the city, it’s easy to wander around.

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INSTAGRAM, DATA, AND THE GDPR: MAKING SENSE OF ANOTHER TERMS AND DATA POLICY UPDATE

*checks email*

“Hi,

You may have seen a notification or an email a few weeks ago telling you about upcoming changes to our Terms and Data Policy.”

*sigh*

“Your Instagram experience isn’t changing, and you still own your photos and videos. We are giving you better ways to access your data and understand how it’s used.

We wanted to let you know that by continuing to use Instagram on or after July 14th, 2018, you’re agreeing to these updates...”

You may be thinking “Here we go again. Another update that appears to be out of my control, and from Instagram no less!” If you’re reading this week’s blog, there’s a strong chance you got that email too, so we’ll help break it down for you. We promise it’s not as bad as it may seem.

Taking into account that Facebook owns Instagram, it will come as no surprise that Instagram collects our data. Also, they’re an internet app - of course they’re collecting our data, because that’s what they’re made to do.

The message they sent to us comes in light of Facebook’s data scandal, and is a nod to The GDPR: The General Data Protection Regulation. The GDPR was adopted by the European Union in April of 2016, and translated over to North America in May of 2018 under the title of the Data Protection Act.

What does this mean? It means transparency, and while it may not seem like it, that’s what Instagram is offering up to its users.  

So what kind of data are they actually collecting?

The information we provide:

Sign ups/logins on all their platforms

When new content is made

When content is shared

Who/when you communicate with others

Photo locations and dates

A tracked record of camera movement/usage when used in-App

Our social networks:

The people we’re connected to and how we interact with them across all platforms

The pages we follow

The hashtags we use

The groups we’re a part of

Our contacts’ information when linked to any kind of device with a call log and SMS log history

How and when we use their platforms:

The types of content we see and interact with

The features we use

The actions we perform

The accounts we interact with

Time, frequency, and duration of our activities

How we use their features

Transaction history on their platforms:

When we make purchases, buy a game, or make a donation

Payment information

Account authentication information

Billing information

Shipping information

Contact details

What our friends are doing and what information they provide about us:

When people share/comment on photos of us or by us

When we receive messages

When we appear in other users’ synced contacts

It is through this collected information that the algorithm comes into play. This all stems from an algorithm update which prioritizes, suggests, filters, etc. based on all of this data (which - let’s be frank - is a hell of a lot of information). This is not very out of the ordinary, but now they’re required to really tell us what’s changing. While it seems like a lot, it does not manifest very obviously. This may simply be why your Instagram likes are decreasing, or why your story views are changing, or why that event showed up on Sarah’s timeline but not on Ashley’s.

Does this mean that it’s time to cut out social media altogether? The choice is respectively yours and has to do with whatever you’re comfortable with, and it’s understandably jarring, However, the silver lining is transparency; Social media is changing for the better, because we’re more literate on how these platforms work. We know exactly the information they’re receiving, and we’re given a justification why. Worried about how much data is available? You can dictate your social behaviors when necessary. Remember, everything about using social is a choice, and you can choose what information to give out to your comfort level, but don’t let these big releases scare you away. They come from a place of user-appreciation, where we are given a breakdown on what being part of social media is really all about, down to the knitty gritty.

Still feeling unsure? Remember that knowledge is the biggest form of power, and the more we know about these updates means the more we can control about what kind of data they collect.

I know this is a lot to take in, so how are you feeling? The world of social media is beautifully unavoidable when it comes to commerce and socialization, and as a social media marketing house, Serotina is on the side of the people - and we understand your anxieties, and want you to feel comfortable and stay informed.

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IGTV: INSTAGRAM'S NEW VIDEO FEATURE

You’ve read about it, you saw the notification, and you’ve probably seen the videos. IGTV has officially hit. But what is it? Why does it matter?

IGTV - or Instagram Television - is a new feature of Instagram that allows for long-format videos, circumventing the 1-minute restrictions to videos in the feed, and remedying the discontinuity for those story sequences that are interrupted every 10 seconds. With over one billion - yes, billion - monthly users now on Instagram, the platform is on the up and up, and the creators are being proactive on keeping that growth steadily on the rise.

IGTV videos can be up to 10 minutes long (with some exceptions), are full screen, vertical, and must be pre-recorded. To explore all this new content, search features include “For You,” “Following,” “Popular” and “Continue Watching,” similar to the explore page. There is also the ability to like, comment and send videos to friends via DM. Additionally, you can follow people, known as Creators, to access their channels - similarly to YouTube. Anyone can be a creator, and those with exceptionally large followings have the capacity to upload hour-long videos. For information on posting to IGTV, our friends over at #Later have the perfect 4-step guide on becoming a Creator, which can be read >here<.

While tempting to draw parallels to YouTube, IGTV is more of a TV-like platform, in that flipping through channels is as easy as swiping with your thumb; much like changing the channel on a remote control. And what does IGTV have that YouTube tends to lack? Higher production value, which is something you can expect to see through the new feature, as well as less pixelated, low-quality clips.  

Something to look out for is how this may change the methods of influencer marketing. We all know about the vloggers on YouTube and influencers in our feed working as brand ambassadors to slip sponsored products into their footage or posts. However with the format of Instagram shifting, flipping the script away from the rapid advertising we're used to and toward a more leisurely media platform, could this change the face of influencer marketing too? Will it become obsolete, or more effective than ever?

What about filmmakers? With the new space to create and share short films and personal work, will they considered IGTV a serious platform for film production and cinematic work? Stay tuned...