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Thought Shrapnel

A stream of things going in and out of the brain of Doug Belshaw

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    TikTok's algorithm and its effect on migration

    Kukes, Albania is one of the poorest cities in Europe. Since the end of pandemic lockdowns, the city has seen a sharp rise in the number of Albanians, especially men, seeking asylum in the UK.

    This article is a real eye-opener as to what’s going on, and talks about everything from TikTok propaganda to criminal gangs and cannabis houses. Well worth a read, especially to show the other side of the “small boats” rhetoric.

    TikTok videos showing fast cars
    In 2022, the number of people leaving Albania for the U.K. ticked up dramatically, as well as the number of those seeking asylum, at around 16,000, more than triple the previous year. According to the Migration Observatory at the University of Oxford, one reason for the uptick in claims may be that Albanians who lack proper immigration status are more likely to be identified, leading them to claim asylum in order to delay being deported. But Albanians claiming asylum are also often victims of blood feuds — long-standing disputes between communities, often resulting in cycles of revenge — and viciously exploitative trafficking networks that threaten them and their families if they return to Albania.

    By 2022, Albanian criminal gangs in Britain were in control of the country’s illegal marijuana-growing trade, taking over from Vietnamese gangs who had previously dominated the market. The U.K.’s lockdown — with its quiet streets and newly empty businesses and buildings — likely created the perfect conditions for setting up new cannabis farms all over the country. During lockdown, these gangs expanded production and needed an ever-growing labor force to tend the plants — growing them under high-wattage lamps, watering them and treating them with chemicals and fertilizers. So they started recruiting.

    Everyone in Kukes remembers it: The price of passage from Albania to the U.K. on a truck or small boat suddenly dropped when Covid-19 restrictions began to ease. Before the pandemic, smugglers typically charged 18,000 pounds (around $22,800) to take Albanians across the channel. But last year, posts started popping up on TikTok advertising knock-down prices to Britain starting at around 4,000 pounds (around $5,000).

    People in Kukes told me that even if they weren’t interested in being smuggled abroad, TikTok’s algorithm would feed them smuggling content — so while they were watching other unrelated videos, suddenly an anonymous post advertising cheap passage to the U.K. would appear on their “For You” feed.

    Source: The Albanian town that TikTok emptied | Coda Story

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    Main-Character Energy

    Before starting therapy, my wife said that she was concerned that I might “lose my superpowers”. One of the ways of thinking about this is as the Main-Character Energy discussed in this New Yorker article. It’s a vitality you bring to each day because you see yourself in a starring role.

    Therapy did strip me of that, but in a good way. Instead of some Hollywood actor, I now see myself in a much more realistic light, rather in the way that social media can distort and mediate the view I have of myself. It means that I see myself a part of a whole, rather than set apart from it.

    The impulse to see oneself as the focal point of the action is all the more powerful as we emerge from the dull isolation of the pandemic, when activities were limited to the likes of re-growing scallions and feeding bulbous sourdough starters. Post-covid, we want to reclaim control of our stories, exert ourselves upon the world, take our places as protagonists once more—and then post about it. During quarantine, the Internet was one of the few tethers to public connection. But publishing evidence of any social engagements, even C.D.C.-compliant ones, came with the risk of being shamed as reckless or self-indulgent. Now, suddenly, much of that fear of critique is gone. The “return of fomo,” as a recent New York cover described it, means the return of jealousy-inducing Instagram stories and glamorous TikToks.
    Source: We All Have “Main-Character Energy” Now | The New Yorker