SAN FRANCISCO (AP) — All major social media platforms do poorly at protecting LGBTQ+ users from hate speech and harassment — especially those who are transgender, non-binary or gender non-conforming, the advocacy group GLAAD said Thursday. But Twitter is the worst.
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Twitter worst among major social media platforms when it comes to LGBTQ safety, GLAAD says
Twitter ‘s communications staff was eradicated after Musk took over the company and for months inquiries to the press office have been answered only an automated reply of a poop emoji, as was the case when The Associated Press reached out to the company for comment.
LGBTQ+ advocates have long warned that online hate and harassment can lead to violence offline. But even when it does not, online abuse can take a toll on a person’s mental health.
On Twitter, attacks on LGBTQ+ users have increased substantially since Elon Musk took over the company last fall, according to multiple advocacy groups.
A big part of the reason is the drastic staffing cuts Musk has enacted since his takeover — there are simply not enough content moderators to handle the flood of problematic tweets that range from hate speech to graphic material and harassment. Musk has also described himself as a “free-speech absolutist” who believes Twitter’s previous policies were too restricting.
Twitter, as part of the same retooling of its site policies, also changed how it responds to tweets that violate its rules. While in the past, offending tweets were removed, the company now says it will sometimes restrict a tweet instead of removing it from the platform altogether.
“Twitter is is largely a cesspool now. You can’t post without getting attacked. There’s no room for conversation. It is just about hand-to-hand combat,” Ellis said. “And that’s what it is. It’s like backyard dogfights.”
Meta, which owns Facebook and Instagram, saw a 15 percentage point score increase for both its platforms, to 61% and 63%, respectively. GLAAD’s index measures 12 LGBTQ-specific indicators, such as explicit protections from hate and harassment for LGBTQ users, offering gender pronoun options on profiles, and prohibiting advertising that could be harmful or discriminatory to LGBTQ people.
While Meta has improved and has strong policies in place, GLAAD says the company does not consistently enforce them. For instance, the group says for many abusive posts that it reports, Meta will send an automated response stating that due to the high volume of reports it receives, it is not able to review the post.
TikTok, which saw its score increase from 14 points to 57%, said it is “proud to have strong policies aimed at protecting LGBTQ+ individuals from harassment and hate speech, including misgendering and deadnaming, and we’re always looking to strengthen our approach, informed both by our community and the advice of experts, such as GLAAD.”
Google’s YouTube, meanwhile, scored 54%, up nine points from 2022.
“Our policies prohibit content that promotes violence or hatred against members of the LGBTQ+ community. Over the last few years, we’ve made significant progress in our ability to quickly remove this content from our platform and prominently surface authoritative sources in search results and recommendations,” said spokesperson Jack Malon.
But GLAAD and other organizations advocating for marginalized groups note that unfettered freedom for one group can infringe on the free speech of others.
“Freedom of speech does not mean I get to, you know, bully and harass people relentlessly,” said Jenni Olson, GLAAD’s director of social media safety. “And that is why companies have hate speech policies, because … if someone is bullying and harassing me that actually means that I don’t have freedom of speech because I’m afraid to say anything.”
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Sometimes, you just have to return to the classics.
That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.
We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?
“Rear Window” (1954)
“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.
James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.
— Bob Thomas
“Halloween” (1978)
At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”
Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.
The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.
— Bob Thomas
“The Silence of the Lambs” (1991)
“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”
Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.
Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.
— Bob Thomas
“Scream” (1996)
In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.
If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.
By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.
— Ned Kilkelly
“The Blair Witch Project” (1999)
Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”
“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.
The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.
But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.
— Christy Lemire
“Saw” (2004)
The fright flick “Saw” is consistent, if nothing else.
This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.
You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.
But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.
— David Germain
Germain gave “Saw” one star out of four.
“Paranormal Activity” (2009)
The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.
The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.
The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.
— Glenn Whipp
Whipp gave “Paranormal Activity” three stars out of four.
“The Conjuring” (2013)
As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.
“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.
But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.
— Jake Coyle
Coyle gave “The Conjuring” two and half stars out of four.
“Get Out” (2017)
Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”
In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”
It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.
— Jake Coyle
Coyle gave “Get Out” three stars out of four.
“Hereditary” (2018)
In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”
A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.
Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.
The hype is mostly justified.
— Jake Coyle
Coyle gave “Hereditary” three stars out of four.
Read the full review here. ___
Researcher Rhonda Shafner contributed from New York.
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