Social Media’s Never-Ending Replacement of Substance with Spectacle
A bare-chested man with dreadlocks skateboards through Adams Morgan (Washington, DC), an iguana perched on his shoulder, and a selfie stick extending from his hand. A young woman rides the New York City subway with a large snake draped around her neck, and numerous riders crowd around taking videos with their smartphones.
What are We Actually Watching?
These images don’t appear to be spontaneous expressions or political protests—they seem more like carefully choreographed performances designed to go viral. Unlike traditional forms of protest, artistic expression, or ideological movements like the Situationists, these performances are calculated rather than accidental.
The content creators aren’t trying to shift culture, make a point, or inspire debate.
Importantly, the images (and videos) are neither made nor consumed by one demographic. People of all genders, races, ages, and levels of celebrity status produce and view this content.
Meanwhile, there’s no shortage of things, people, and organizations (e.g., smartphones, social media platforms, content producers, and viewers) contributing to this phenomenon.
If we look long enough, the algorithms, because of their power, dominate what we see online.
What’s Going on with This Content?
The underlying message seems clear: producers of this content want their videos to gain attention, and the way to achieve this is by creating attention-seeking content.
To be clear, this commentary isn’t a rant about “kids these days.” It’s a reflection on the shallowness of the spectacle itself. If the goal is to be noticed, mission accomplished.
But then what? Is viral visibility an end in itself? Is sharing a personal confession, pulling a wild stunt, a meaningful self-expression, or just a louder, more absurd version of screaming into the void?
Debord Was Right
Although Baudrillard’s Simulacra and Simulation (1981) and Boorstin’s The Image: A Guide to Pseudo-events in America (1961) also explore the dominance of mediated reality, Guy Debord’s The Society of the Spectacle (1967) offers a particularly prescient critique. Debord argued that in capitalist societies, everyday life becomes increasingly dominated by representations—images, appearances, and commodified experiences. Rather than engaging with the world directly, individuals relate to it through these mediated images, resulting in passivity, alienation, and social fragmentation. While Debord could not have foreseen the rise of social media, his insights anticipate many of its most troubling effects.
The Real Cost
The more critical issue is how many otherwise creative people spend considerable resources creating this content. Meanwhile, as consumers of this work, we waste our time going down rabbit holes, permitting the absurd to drown out the urgent.
In a world dealing with urgent problems—inequality, climate change, crimes of the powerful—devoting our energy to producing and consuming this kind of content feels like a wasted opportunity.
I’m reminded of Seth Godin, who has famously said that you may win the internet for the day, but then what? In a world full of real issues and real needs, there are more constructive, impactful ways to stand out. If you want attention, maybe it’s time to consider earning it by doing something recognizably helpful and prosocial.
Photo Credit:
Creator: Ibrahim D.
Title: Social Media Icons of the 2020s
