Netflix's Run Away is the latest show to fail the Gen Z social media test

Let me preface this by saying I have binge watched Netflix thriller Run Away, the latest Harlan Coben offering, and loved it.

However, me and my partner (23 and 24) were tempted to cover our eyes a few times. No, we’re not squeamish – we're simply averse to a trodden path of unrealistic social media representation that makes for slightly uncomfortable viewing.

As a Gen Z viewer, Run Away isn’t the only show that delves into the world of social media and is irritatingly false.

Run Away throws us straight in at the deep end. Simon Green (James Nesbitt) tells his daughter to get off ‘Tiktak’ - a deliberate mistake but one that sets the tone. This is quickly followed by the instant virality of a fight between Simon and missing daughter Paige’s (Ellie de Lange) boyfriend, Aaron Corval (Thomas Flynn).

Ten minutes into episode 1 and the fight (after being filmed by a famous YouTuber) has 2 million views. Simon’s lawyer, Jessica (Tracy Ann Oberman) states, “You know how these things spread.” I am not sure we do – it’s a stretch.

The inclusion of social media can often feel jarring to a younger Gen Z viewer such as myself. Frequently, it consists of lazy plot devices and attempts to appear contemporary that miss the mark, like the producers have heard of social media but don’t really use it themselves.

Netflix is somewhat of a repeat offender. Emily in Paris sees Emily (Lily Collins) instantly hit the algorithm jackpot as soon as she changes her username and snaps a few aesthetic pictures of the Seine.

Yes, Emily is a social media marketer, and yes, she is very digitally savvy, but it still stands that her seamless acquisition of followers (through minimal effort) is not realistic.

Our social media landscape is so oversaturated that going ‘viral’ is hard work – and it is highly unlikely you will become an influencer overnight.

Ginny and Georgia, a fellow Netflix offering and a show often at the forefront of ridicule, commits the faux pas of strained slang and the use of ‘chronically online phrases’ – think “it’s the (insert word here) for me”.

All this serves to do is age the show. Social media advances at a rapid pace. Trends come and go weekly, so dialogue that seems current at release often ages like sour milk. This results in the opposite effect to the one intended – a show feeling clunky instead of current.

However, it’s not all uncomfortable viewing as a Gen Z. Some shows include social media in a way that isn’t so apparent – no distracting graphics (speech bubbles, false social media platforms) or slang to make you squirm.

Max (formerly HBO Max) comedy drama series Hacks centres around social media but manages to do it in a way that feels authentic.

Ava Daniels (Hannah Einbinder), a 25-year-old writer from LA, is struggling to find work after a brush with cancel culture sends her career spiralling. Similarly on the outs is long-time Las Vegas comedian Deborah Vance (Jean Smart), who is navigating another harsh reality - irrelevance.

There are several reasons why Hacks' use of social media works. Firstly, social media accounts themselves rarely get visual emphasis. It's jarring to see a social media conversation or page on TV that doesn't anything look like those in reality – Hacks avoids this by not showing us.

Also, it keeps social media’s influence as the driver of plot momentum not an out-of-place plot device. Ava and Deborah navigate it to their advantage and disadvantage, with the exploration of its impact on reputation helping the show's authenticity.

When something goes viral, it's implied – rather than a montage of vertical videos (cough, Run Away) which is closer to how virality would feel in real life.

The show trusts its audience to understand the digital environment it discusses and its impact on real-life worries such as careers. There’s no forced slang and virality magic wand, just real-life consequences that an audience can relate to.

Similarly, hit FX series The Bear gives a valid representation of what’s at stake for a restaurant through the consequences of social media – the pressure of online reviews and the subsequent effect on business success.

When Carmy Berzatto’s (Jeremy Allen White) restaurant does go viral, it’s because of a gradual increase in success, built through hard work. This increased attention turns into increased pressure with the show understanding the turbulent world of social media and its consequences.

Again, the show avoids slang, made-up platforms and an overt social media presence. The audience is trusted to understand why success on social media is so crucial to the characters in their quest for real-world success.

What really makes a show's use of social media work is when the focus is on the consequences of social media and it can explore what this means for the characters. As socials are so intrinsic to our lives, it's essential the use of it feels authentic to a lived experience – no montages of people discussing ‘viral’ videos, loud alerts or forced slang. It’s simply distracting.

If a show wants to be contemporary its social media representation should be as well. Sloppy use causes more harm than good, particularly to a digitally savvy audience.

Run Away is streaming now on Netflix – sign up from £5.99 a month. Netflix is also available on Sky Glass and Virgin Media.

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