The Moment Society Started Looking at Social Media Like Smoking

28 May 2026

Paul Francis

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A Cultural Shift That Feels Long Overdue

For years, the conversation around social media and young people moved in uncertain circles. Parents worried, teachers complained, campaigners warned, and technology companies insisted that their platforms were tools for connection, creativity and expression. Somewhere between those positions, most of society learned to live with the unease.

That unease now feels as though it has reached a turning point.

Teenagers seated in a row, each using a smartphone, with a bright blurred background and a quiet, absorbed mood

According to the BBC report, the Academy of Medical Royal Colleges has told a government consultation that social media use now ranks alongside smoking as a threat to the health of young people, urging doctors to routinely ask younger patients about screen time and social media use. The comparison is striking, not because social media and tobacco are identical, but because it places online platforms in a category society usually reserves for products that became widespread before their harms were fully understood.

The language matters. When senior medical voices begin comparing social media to smoking, the question is no longer whether parents are being overprotective or whether children simply need more resilience. The question becomes whether the systems young people use every day have been allowed to grow faster than society’s ability to understand and regulate them.

The Internet Was Not Supposed to Become This

The early promise of social media was not entirely false. For many young people, online platforms have offered friendship, creativity, identity and access to communities they may not have found locally. That part of the story still matters, because any serious discussion has to acknowledge that digital life is not simply harmful by default.

But the internet young people now inhabit is not just a neutral space where connection happens. It is a commercial environment built around attention, retention and engagement. The platforms are not merely hosting content; they are shaping behaviour through design choices that encourage users to stay longer, scroll further and return more often.

That is why the government’s consultation is not only looking at age limits. It is also considering restrictions on features such as night-time access, autoplay and infinite scroll, which suggests a growing recognition that the structure of social media itself may be part of the problem.

This is the deeper issue. We created platforms designed to maximise engagement, then seemed surprised when children found them difficult to leave.

Why the Smoking Comparison Lands

The comparison with smoking is powerful because it is not really about the product itself. It is about a pattern.

Lit cigarette on a ledge, smoke curling in a close-up against a blurred gray background, with a gritty, quiet mood

Smoking became normal before society fully understood the long-term consequences. It was advertised, glamourised, embedded into everyday life and, for a long time, treated as a personal choice rather than a public health problem. Only later did regulation, age restrictions and cultural attitudes begin to shift.

Social media is now passing through a similar kind of scrutiny. It has already become part of childhood before the evidence, regulation and cultural norms around it have fully settled. Families have had to make decisions in real time, often without clear guidance, while platforms developed at a pace that public institutions struggled to match.

The comparison is not perfect, and it should not be treated as if it is. There is no broad scientific consensus that screen time overall is harmful to children, as the BBC report itself notes. But the concern being raised is more specific than screen time alone. It is about exposure to harmful content, compulsive design, online pressure and the emotional impact of platforms that are constantly competing for a child’s attention.

The Harm Is Not Always Visible

One of the difficulties with social media harm is that it often does not look dramatic from the outside. A child sitting quietly on a phone can appear safe, calm and occupied. The risk is hidden inside the content they are seeing, the conversations they are having and the algorithms deciding what appears next.

The BBC article highlights concerns about young people being exposed to extreme violence online, and consultant child psychiatrist Dr Emily Sehmer told BBC Breakfast that damaging content can reach children within seconds. That speed is central to the concern, because unlike older forms of media, social platforms do not wait for parental permission, broadcast schedules or obvious entry points. They are immediate, personalised and often difficult to supervise properly.

This is why some doctors now want social media use to become part of routine health conversations with young patients. If online life is occupying such a large part of childhood, then ignoring it in medical and mental health settings begins to look increasingly unrealistic.

Ban, Restrict or Redesign?

The most difficult question is what should happen next.

Some campaigners and bereaved families are pushing for stronger age restrictions, arguing that platforms which expose children to harm should not be accessible until they have been made demonstrably safer. The BBC report notes that Australia has already introduced a ban, and that the UK government is considering whether something similar, or some form of restriction, should be introduced for under-16s.

Others argue that a blanket ban may not work, or could even create new problems. Children may find ways around restrictions, particularly if age checks are weak or inconsistent. There is also the risk that young people who rely on online spaces for support, identity or community could be cut off without proper alternatives.

That is why the more serious debate may not be between “ban” and “do nothing”. It may be about whether platforms should be required to remove or redesign the features most likely to cause harm before they are allowed to market themselves to children. Campaigners have called for restrictions on unsafe apps and design features such as infinite scrolling, disappearing messages and push notifications, with access linked to stronger safety standards rather than a simple one-size-fits-all ban.

The Responsibility of Big Tech

At the centre of this debate sits a question that technology companies have often tried to avoid.

If platforms are designed to keep users engaged for as long as possible, and if those users include children, then how much responsibility do companies carry for the outcomes that follow?

It is not enough to say that parents should monitor everything, because the scale and complexity of modern platforms make that expectation increasingly unrealistic. Nor is it enough to say that children must simply learn to manage their own use, when the systems they are using have been engineered by adults with enormous financial and technical power.

The tobacco comparison becomes especially uncomfortable here. For years, industries facing criticism have tended to present harm as a matter of individual responsibility while resisting structural regulation. Social media companies now face a similar challenge. If their platforms are safe, they will need to show it not through slogans, but through design, transparency and accountability.

Technology Secretary Liz Kendall told the BBC that action will be taken by the end of the year, and that the government is considering a broad range of issues, including platforms beyond traditional social media such as Roblox and Discord. That matters because children’s online lives do not fit neatly inside old categories. Gaming, messaging, AI chatbots and social feeds increasingly overlap.

Childhood in an Endless Feed

Part of what makes this issue so culturally significant is that social media does not simply take up time. It changes the texture of childhood.

Previous generations had boredom, distance and delay built into daily life. You could not always reach your friends. You could not instantly compare yourself with thousands of strangers. You could not carry an endless stream of images, arguments, violence, beauty standards, rumours and approval metrics in your pocket.

Today, many children grow up in a constant feedback loop. Their friendships, entertainment, identity and social status can all become entangled with platforms designed to refresh endlessly. That does not mean every child is harmed in the same way, but it does mean childhood itself is taking place under conditions that did not exist before.

This is why the debate feels bigger than screen time. It is not just about how many hours are spent online, but about what those hours contain, how they are structured and what they are teaching young people to expect from the world and from themselves.

A Public Health Question, Not a Moral Panic

There is always a danger that conversations about young people and technology become moral panic. Every generation worries about the next one, and new media has often been blamed for social change long before the evidence catches up, but dismissing this as panic would now be too easy.

When doctors, bereaved families, online safety campaigners, police leaders and government ministers are all asking whether stronger action is needed, the issue has clearly moved beyond casual parental concern. The disagreement is no longer about whether there is a problem, but about what kind of problem it is, and how far the state should go in trying to fix it.

That is why the next phase matters. Regulation built in haste can fail, but regulation delayed too long can leave children exposed while adults argue over details. The challenge is to act without pretending the answer is simple.

The Moment the Tone Changed

The most important thing about this debate may be the shift in tone. Social media is no longer being discussed only as entertainment, communication or harmless distraction. It is increasingly being discussed as an environment with health consequences, commercial incentives and design risks. That is a profound change.

Whether Britain moves towards a ban, tighter age checks, app curfews or restrictions on specific features, the cultural direction is becoming clearer. The age of treating social media as a neutral part of childhood may be coming to an end.

The smoking comparison may not be exact, but it captures something society is beginning to recognise. Some products become normal before we fully understand what they do to us.

And when that happens, the question eventually changes. Not whether people should have known better. but why does it take so long to act?

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The Rise, Fall, and Resilience of Film Genres: Are Comic Book Movies Following the Path of the Western?

Paul Francis
Jan 22, 2025
5 min read

Cowboys walking off into the sunset. Image created with AI

In recent years, the once-unassailable dominance of comic book movies at the global box office seems to be faltering. Long hailed as the defining cinematic trend of the 21st century, superhero films now face mounting criticism for their predictable storytelling, overreliance on CGI, and relentless franchise building. While blockbusters like Spider-Man: No Way Home and character-driven successes like Deadpool and Logan have proven the genre’s staying power, underwhelming box office results for films like The Eternals and The Flash highlight growing audience fatigue. Many are asking if comic book movies have reached their saturation point and whether the genre is at risk of falling out of favour altogether.

This conversation draws a striking parallel to the fate of another cinematic titan—the Western. Westerns once ruled Hollywood, captivating audiences for decades before slowly fading from the forefront of popular culture. By delving into the history of Westerns and comic book films, we can explore how both genres reached towering heights of popularity, examine their respective declines, and consider what these trends reveal about the shifting tastes of moviegoers.

The Golden Era of Westerns: The Frontier Takes Center Stage

The Western genre dominated American cinema from the 1930s to the 1950s, presenting tales of lawmen, outlaws, and settlers grappling with the challenges of the untamed frontier. These films weren’t just entertainment—they were cultural phenomena, shaping and reflecting America’s collective identity.

What Made Westerns So Popular?

Westerns tapped into the mythology of the American West, portraying it as a place where good and evil clashed amidst breathtaking landscapes. Rugged cowboys, portrayed by stars like John Wayne and Gary Cooper, symbolized individualism, justice, and perseverance. Whether fending off marauding bandits, defending towns from corrupt landowners, or grappling with internal struggles, these heroes embodied the values that resonated with mid-century audiences.

The genre also found success in its ability to reflect the anxieties and aspirations of its time. During the Great Depression and World War II, Westerns offered escapism and a sense of hope. In the postwar period, as America wrestled with rapid modernization and urbanization, these films romanticized a simpler, more virtuous past.

Key Films and Directors of the Era

The golden age of Westerns produced some of cinema’s most enduring classics. Stagecoach (1939), directed by John Ford, introduced audiences to the complex dynamics of frontier life while solidifying John Wayne’s star status. High Noon (1952) subverted genre conventions, using its tight pacing and moral dilemmas to comment on contemporary fears of McCarthyism. Meanwhile, Shane (1953) and The Searchers (1956) delved into themes of revenge, redemption, and the cost of violence, elevating the genre to new artistic heights.

Directors like John Ford, Howard Hawks, and Anthony Mann became synonymous with Westerns, creating epic tales that balanced spectacle with introspection. Their films set the standard for generations to come, inspiring countless imitations and innovations.

The Decline of Westerns

By the late 1950s and early 1960s, the Western began to wane in popularity. A combination of overexposure, changing societal values, and the rise of new genres like science fiction and spy thrillers pushed Westerns to the sidelines. Younger audiences found the archetypal cowboy-and-Indian tales outdated and simplistic, while the civil rights movement and countercultural revolution demanded more nuanced storytelling.

The Revisionist Western

Rather than fading away entirely, the Western adapted to its new reality by embracing revisionist narratives. Films like The Wild Bunch (1969), Unforgiven (1992), and Dead Man (1995) deconstructed the genre’s traditional tropes, presenting morally ambiguous characters and questioning the myths of heroism and manifest destiny. Though these films earned critical acclaim, they marked the genre’s transition from mainstream entertainment to niche appeal.

The Age of Comic Book Movies: From Panel to Screen

Comic book adaptations have experienced an equally remarkable rise, evolving from campy serials to cultural phenomena that dominate the modern cinematic landscape.

The Humble Beginnings (1940s–1960s)

In the early days, superhero stories were confined to low-budget serials like The Adventures of Captain Marvel (1941) and Batman (1943). These productions, aimed primarily at children, lacked the scale or polish to appeal to a wider audience. The campy Batman TV series (1966) brought some mainstream attention to the genre, but its lighthearted tone kept it from being taken seriously.

The First Modern Era (1970s–1990s)

The release of Superman: The Movie (1978) marked the beginning of a more ambitious approach to comic book films. With a charismatic lead in Christopher Reeve and groundbreaking special effects, the film demonstrated that superhero stories could resonate with audiences of all ages. Tim Burton’s Batman (1989) took the genre further, combining a darker tone with stylized visuals that captivated audiences.

Despite these successes, the genre remained inconsistent throughout the 1990s. Films like Batman & Robin (1997) and Spawn (1997) struggled to balance camp with gravitas, leaving the genre in a precarious position.

Lego Batman and Superman having an Icecream

The Golden Age (2000s–2010s)

The 2000s ushered in the golden age of comic book movies, beginning with X-Men (2000) and Spider-Man (2002). These films treated their source material with respect, combining character-driven storytelling with blockbuster spectacle. The formation of the Marvel Cinematic Universe (MCU) in 2008 transformed the industry, introducing a shared continuity that culminated in the unprecedented success of The Avengers (2012).

For over a decade, the genre reached new heights, with films like Black Panther (2018), Wonder Woman (2017), and Avengers: Endgame (2019) breaking box office records and earning critical acclaim.

The Current Era: A Turning Point

Today, the genre faces challenges similar to those that plagued Westerns in their twilight years. The sheer volume of superhero films has led to audience fatigue, while studios’ reliance on interconnected universes has resulted in diminishing returns. Projects like Thor: Love and Thunder and Ant-Man and the Wasp: Quantumania failed to capture the magic of earlier instalments, signalling a potential decline.

Comparing the Two Genres: A Study in Cinematic Trends

Cultural Reflection and Universal Appeal

Both Westerns and comic book movies thrived because they resonated with their audiences. Westerns reflected the American ideals of self-reliance and exploration, while comic book films embody modern themes of identity, diversity, and global unity.

Cycles of Popularity and Oversaturation

Western films eventually succumbed to overproduction, with audiences tiring of formulaic plots and recycled tropes. Similarly, comic book movies risk alienating viewers with their overreliance on CGI battles and predictable story arcs.

Adapting to Change

Both genres have shown a remarkable ability to adapt. Westerns evolved into darker, more introspective revisionist films, while comic book adaptations like Logan and Joker have embraced character-driven narratives that push the boundaries of the genre.

Different Timeframes, Similar Patterns

The decline of Westerns occurred over decades, while the comic book genre has risen and faced challenges in just two decades. This accelerated cycle reflects modern entertainment’s faster pace and the global nature of today’s movie markets.

Is History Repeating Itself?

The parallels between Westerns and comic book movies are undeniable. Both genres rose to dominate their respective eras, only to face challenges of overexposure and audience fatigue. Yet both have proven their resilience, evolving in ways that ensure their cultural relevance.

While comic book movies may face an uncertain future, their innovation ability suggests that the genre is far from finished. Just as Westerns found new life in revisionist storytelling, superhero films may discover fresh ways to captivate audiences. For now, the fate of the genre hangs in the balance, offering a fascinating lens through which to examine the ever-evolving world of cinema.