Conspiracy Theories and Prejudices in Social Media

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The rise in the use of social media has created ample opportunities for sharing information, which has led both to positive and rather questionable outcomes. While it has defined the increase in the extent of knowledge sharing and cultural exchange, it has also amplified the voices of those that have been spreading misinformation, either due to ignorance or out of malice. In his essay “The Kind of World We All Want: Maybe, Just Maybe, We Can Stop the Greatest Propaganda Machine in History,” Sasha Baron Cohen speaks of his fears about the impact that social media may have on the promotion of conspiracy theories and prejudices.

Fearing that these ostensible changes will foster racist and homophobic attitudes among the general audience, Cohen encourages his audience to be cautious and critical of the claims made on social media. Specifically, Cohen raises the concerns regarding the lack of control over the spread of conspiracy theories and discrimination within social media. Although Cohen’s fears could be seen as farfetched, the overall tone of the essay allows keeping the focus on an important social issue, namely, that one of the misuse of social media as the tool for fueling the social divide.

What makes the essay stand out is the careful balance between its ethos, pathos, and logos. Cohen’s rejection of his authority at the beginning of the essay might seem as counterintuitive. Namely, Cohen diminishes his role as a public speaker: “I’ve spent most of the past two decades in character” (Cohen, 2019, para. 2). However, the pathos in his speech as the appeal to the audience’s moral values juxtaposes the perceived lack of ethos as he continues to appeal to the audience’s need for social justice. For example, he mentions the threat to democracy in the modern community: “Democracy, which depends on shared truths, is in retreat” (Cohen, 2019, para. 5).

Thus, Cohen’s essay conveys the significance and urgency of the need to address a global ethical issue. Finally, the logical part of Cohen’s essay remains moderately strong. Providing evidence and inferring possible outcomes for the global community, Cohen proves his point concerning the dangers of social media.

Additionally, the essay features several essential major literary devices. For example, Cohen uses irony extensively in his speech: “some of my comedy, OK probably half my comedy” (Cohen, 2019, par. 5). Mostly geared toward himself, the specified device plays a vital role in the essay. In this case, irony prevents the speech from becoming overly preachy: “I’m not referring to the names of Stephen Miller’s Labradoodles” (Cohen, 2019, par. 1). At the same time, Cohen directs his irony mostly at himself, citing his comedic performances. This allows him to maintain the seriousness of the rest of the message: “What woz it like to walk on de sun?” (Cohen, 2019, para. 8). Thus, the problem raised in the speech is perceived as a significant one. As a result, the essay becomes even more meaningful and effective.

Despite the fact that Cohen’s essay contains several ideas that could be interpreted as overly exaggerated, its tone and the use of pathos, ethos, and logos along with literary devices such as irony and symbolism, serve to convey the main idea exceptionally well. Specifically, the essay appeals to the audience’s values and common sense. The use of self-irony in the essay helps to keep the lighthearted attitude, thus, balancing out the seriousness of the issue. Similarly, metaphor helps make Cohen’s concerns understandable and relatable to all audiences. As a result, the essay produces the expected effect, namely, that one of a caution against the threat that social media contains. With its tone matching its main idea and the key expression tools being chosen to amplify the significance of the key statement, Cohen’s essay produces a vast effect.

Reference

Cohen, S. B. (2019). The kind of world we all want: Maybe, just maybe, we can stop the greatest propaganda machine in history. Vital Speeches International, vol. 12, no. 1. pp. 2–5. Web.

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