TikTokification (also written TikTok-ification) is a term used to describe the widespread adoption of TikTok's short-form, vertical video format and its algorithmic content-delivery model across the broader social media landscape. The phenomenon encompasses the strategic and cultural changes made by competing platforms such as Instagram, YouTube, Facebook, Snapchat, and LinkedIn in response to TikTok's global dominance. Beyond platform design, the term is also used more broadly to describe shifts in media consumption habits, advertising strategies, and, more critically, the potential cognitive and psychological effects associated with constant short-form video consumption. == Background == === Origins of short-form video === The short-form video format predates TikTok. Vine, launched in 2013, popularised six-second looping videos before shutting down in 2017. TikTok itself, known as Douyin in the Chinese market, was created by the Chinese technology company ByteDance in September 2016. Following its international expansion and its 2018 merger with Musical.ly, TikTok grew rapidly. By 2020, the application had surpassed two billion total downloads worldwide, with over 800 million monthly active users. A key driver of TikTok's success was its recommendation algorithm. The platform's "For You Page" (FYP) serves content to users based on behaviour rather than follower count, making it possible for unknown creators to achieve widespread reach organically. Analysts noted that TikTok serves "fast, visually engaging, and authentic videos that feel more like entertainment than advertising," fundamentally reshaping consumer expectations of digital content. TikTok has been described as "the center of the internet for young people," where users go for entertainment, news, trends, and shopping. As of the mid-2020s, TikTok had approximately 1.12 billion monthly active users. == Platform responses == TikTok's success compelled nearly every major social media platform to restructure its product around short-form video. In 2020, Instagram launched Reels and YouTube launched Shorts, both directly in response to TikTok's growth. Platforms like Meta's Instagram Reels and Google's YouTube Shorts subsequently expanded aggressively, launching new features, creator tools, and even considering separate standalone applications to compete. LinkedIn, traditionally a professional networking site, began experimenting with TikTok-style short-form vertical video feeds. Facebook launched a singular unified video feed combining Reels, long videos, and live videos, similar in structure to TikTok's feed. Snapchat redesigned its application to combine Stories and Spotlight into a unified entertainment feed. YouTube extended its Shorts format to allow videos up to three minutes in length, up from the previous limit of sixty seconds, as of October 2024. Despite these adaptations, experts noted that none of TikTok's rivals had matched its algorithmic precision as of mid-2025. == Societal and cultural impact == === Media and journalism === News organisations have also been affected by TikTokification. Short-form video grew rapidly as a format for news content, driven in large part by TikTok's popularity. According to Pew Research Center, 17% of adults in the United States reported regularly getting news from TikTok in 2024, with 63% of teenagers saying they used the platform as a news source. In response, major publishers began creating bespoke short-form content for TikTok's audience, with organisations such as the BBC building dedicated internal TikTok teams. === Advertising and commerce === TikTokification has had significant effects on the advertising industry. US social video advertising spending was projected to surpass linear television advertising spending for the first time in 2025. Global social commerce sales were projected to reach approximately $900 billion in 2025, with platforms like Douyin and TikTok driving a large share of that growth. TikTok itself generated an estimated $23.6 billion in advertising revenue in 2024. Short-form video has been described as bridging the gap between brand awareness and direct conversion. Surveys have found that consumers trust user-generated content 8.7 times more than influencer content and 6.6 times more than branded content, prompting brands to favour creator-led video formats. === Attention spans and cognitive effects === A growing body of research has examined the cognitive consequences of heavy short-form video consumption, a set of effects sometimes referred to as "TikTok Brain." A large systematic review and meta-analysis published in Psychological Bulletin, analysing data from 98,299 participants across 71 studies, found that the more short-form video content a person watches, the poorer their cognitive performance in attention and inhibitory control. The review also found that greater engagement with short-form video was associated with higher levels of anxiety, depression, and stress, as well as sleep disturbances. The platform's inherent demand for engaging content has resulted in the proliferation of sludge content, a genre of split screen video with the main video on the top and an unrelated attention-grabbing video on the bottom, typically repetitive gameplay (notably of the endless runner mobile game Subway Surfers) or oddly satisfying videos, designed to maximize viewer retention in cases where the main video may appear uninteresting and would normally cause the viewer to skip it. Sludge content is often described as overstimulating, reflecting and contributing to declining attention spans, though the scholarly evidence supporting such claims is not conclusive. Dr. Yann Poncin, associate professor at the Child Study Center at Yale University, noted that "infinite scrolling and short-form video are designed to capture your attention in short bursts," contrasting this with earlier entertainment formats that guided audiences through longer narratives. Research suggests that children and teenagers may be particularly vulnerable, with early exposure to rapid frame changes potentially conditioning the brain's neural pathways to require constant stimulation, making it more challenging to engage with slower-paced activities. A separate study published in Nature Communications by researchers at the Technical University of Denmark documented a notable decrease in collective attention span over time, attributing it in part to the increasing volume and pace of content production and consumption online. Researchers caution, however, that the majority of relevant studies are cross-sectional, meaning they capture data at a single point in time and cannot establish causality. It remains possible that individuals with pre-existing conditions such as anxiety or attention deficits may be more likely to engage heavily with these platforms as a coping mechanism. === Academic and sociological analysis === Scholars have framed TikTokification within the context of the attention economy. A 2024 academic analysis described TikTok as representing "a new paradigm of social media communication" shaped by youth culture, mobile technology, and the economics of attention, in which spectators become active contributors to a shared content pipeline. The same analysis noted that TikTok "reflects a new mode of communication influenced by avant-garde cinema, the use of mobile technology, and the social habits of particular social groups." US social media users were projected to spend 61.1% of their time on social networks watching videos in 2025, up from 33.3% in 2019, before TikTok became widely popular, underscoring the scale of the behavioural shift. == Monetisation challenges == Despite high engagement levels, monetising short-form video has remained difficult for platforms and creators alike. Unlike long-form YouTube content, short clips offer limited space for advertisers to insert advertisements. YouTube Shorts pays approximately four cents per 1,000 views, considerably less than its long-form counterpart. From 2025 onward, platforms began introducing creator funds, advertisements, and AI-driven content recommendations as part of broader efforts to make short-form video economically sustainable for creators.
Webmail
Webmail (or web-based email) is an email service that can be accessed using a standard web browser. It contrasts with email service accessible through a specialised email client software. Additionally, many internet service providers (ISP) provide webmail as part of their internet service package. Similarly, some web hosting providers also provide webmail as a part of their hosting package. As with any web application, webmail's main advantage over the use of a desktop email client is the ability to send and receive email anywhere from a web browser. == History == === Early implementations === The first Web Mail implementation was developed at CERN in 1993 by Phillip Hallam-Baker as a test of the HTTP protocol stack, but was not developed further. In the next two years, however, several people produced working webmail applications. In Europe, there were three implementations, Søren Vejrum's "WWW Mail", Luca Manunza's "WebMail", and Remy Wetzels' "WebMail". Søren Vejrum's "WWW Mail" was written when he was studying and working at the Copenhagen Business School in Denmark, and was released on February 28, 1995. Luca Manunza's "WebMail" was written while he was working at CRS4 in Sardinia, from an idea of Gianluigi Zanetti, with the first source release on March 30, 1995. Remy Wetzels' "WebMail" was written while he was studying at the Eindhoven University of Technology in the Netherlands for the DSE and was released early January 1995. In the United States, Matt Mankins wrote "Webex", and Bill Fitler, while at Lotus cc:Mail, began working on an implementation which he demonstrated publicly at Lotusphere on January 24, 1995. Customers who saw the cc:Mail demonstration were very enthusiastic, one recalling that they were "like an angry mob. People were yelling, 'We want this now!'". Matt Mankins, under the supervision of Dr. Burt Rosenberg at the University of Miami, released his "Webex" application source code in a post to comp.mail.misc on August 8, 1995, although it had been in use as the primary email application at the School of Architecture where Mankins worked for some months prior. Bill Fitler's webmail implementation was further developed as a commercial product, which Lotus announced and released in the fall of 1995 as cc:Mail for the World Wide Web 1.0; thereby providing an alternative means of accessing a cc:Mail message store (the usual means being a cc:Mail desktop application that operated either via dialup or within the confines of a local area network). Early commercialization of webmail was also achieved when "Webex" began to be sold by Mankins' company, DotShop, Inc., at the end of 1995. Within DotShop, "Webex" changed its name to "EMUmail"; which would be sold to companies like UPS and Rackspace until its sale to Accurev in 2001. EMUmail was one of the first applications to feature a free version that included embedded advertising, as well as a licensed version that did not. Hotmail and Four11's RocketMail both launched in 1996 as free services and immediately became very popular. === Widespread deployment === As the 1990s progressed, and into the 2000s, it became more common for the general public to have access to webmail because: many Internet service providers (such as EarthLink) and web hosting providers (such as Verio) began bundling webmail into their service offerings (often in parallel with POP/SMTP services); many other enterprises (such as universities and large corporations) also started offering webmail as a way for their user communities to access their email (either locally managed or outsourced); webmail service providers (such as Hotmail and RocketMail) emerged in 1996 as a free service to the general public, and rapidly gained in popularity. In some cases, webmail application software is developed in-house by the organizations running and managing the application, and in some cases it is obtained from software companies that develop and sell such applications, usually as part of an integrated mail server package (an early example being Netscape Messaging Server). The market for webmail application software has continued into the 2010s. == Rendering and compatibility == Email users may find the use of both a webmail client and a desktop client using the POP3 protocol presents some difficulties. For example, email messages that are downloaded by the desktop client and are removed from the server will no longer be available on the webmail client. The user is limited to previewing messages using the web client before they are downloaded by the desktop email client. However, one may choose to leave the emails on the server, in which case this problem does not occur. The use of both a webmail client and a desktop client using the IMAP4 protocol allows the contents of the mailbox to be consistently displayed in both the webmail and desktop clients and any action the user performs on messages in one interface will be reflected when the email is accessed via the other interface. There are significant differences in rendering capabilities for many popular webmail services such as Gmail, Outlook.com and Yahoo! Mail. Due to the varying treatment of HTML tags, such as