I’m old enough to remember the very early iterations of vlogs which were exclusively on YouTube or natively uploaded to blog sites. These vlogs (videoblogs) were usually either shot strictly on a tripod (or atop a makeshift stand) in someone’s bedroom or a chaotic bunch of selfie-style clips shot in various locations, at random times, culminating in a video montage. The immediacy, editing perfection and commercial imperative of modern vlogs, entirely absent from their narrative. When they first became popular in the 2010s, I only went to YouTube to watch TedTalks, interviews, music videos, stand-up comedy and covers of my favourite songs. The allure of watching other ordinary, unknown people’s lives, escaped me. Now, that’s the entire foundation and popularity behind them.

Blogs at the time were places for online connection through documentation, commentary and engagement that went beyond what was possible in limited social media posts. Personal publishing online was still in its infancy and therefore novel to those of us dipping our toes into this ocean of possibility (now simply, content, yuck).

Five main blogging motivations were identified in Nardi et al. [2004]: documenting one’s life; providing commentary and opinions; working out emotional issues; thinking by writing; and promoting conversation and community. Blogs have become an increasingly important way of learning about news and opinions not found in mainstream media, and blogging has become a popular social activity for establishing and maintaining online communities.

In Gao, Wen & Tian, Yonghong & Huang, Tiejun & Yang, Qiang. (2010). Vlogging: A survey of videoblogging technology on the web.. ACM Comput. Surv… 42.

So naturally, one would assume that vlogs would be the visual extension or interpretation of the above motivations and uses. While there weren’t set formulas on how to vlog technically and structurally, vlogs in the 2010s were efforts at brief glimpses into personal events, how-to do ABC or short clips from concerts, performances, in class etc. They were shaky and oft grainy testaments to the mundanity of being a high school or university student, or candid travelogues shot in another country on a handycam or small digital camera. To my memory, unlike video essays, vlogs were (and are) used for personal documentation more than outright analysis or commentary.

In the present, vlogs flood our timelines day in and out, and have been reduced to overly produced ‘get ready with me’ or ‘come with me to the grocery store’ slop that has no soul or capacity to engage with human life as it is. What I mean by this, is not that these aren’t activities that people are genuinely engaged on a daily basis, but the performance of them by creators whose lifestyles are monetised can reduce our very existence to one of imbibing the consumerist loop of buy, use, buy, use as natural, desirable and aspirational. The slow voiceovers, perfectly timed After Effects text and product placements – a sales pitch which makes products of people’s very lives. I suppose, like almost everything else, its a result of living in a capitalistic hellscape. Perfectly curated, nothing placates and numbs audiences in search of constant entertainment, no matter its substance.

Obviously, the above examples are limited and do not speak to the entire scope of diversification within the genre; for instance, there are professionals like chefs, athletes, teachers and more whose insights into their daily routines are eye-opening and illuminating. Their vlogs often are about ‘thinking out loud’ and opening up conversation with their audiences, more than they are a representation of living within the confines of certain aesthetics. Further, vlogs do not account for the countless video essays, explainers and straight-up rants that some people post as their online counter-mainstream outlet.

I often think about how for many, a first time viewing of The Truman Show (1998) would not in fact present as the psychological thriller it is, but as an unappreciated opportunity on his part (limitless camera angles, lighting and cooperative supporting cast members for the ‘main character’, come on, Truman). People’s ‘real’ lives are content, their misfortune and joy alike consumable and open for monetisation. But unlike Truman, they are both the creator and star of their own shows, willingly.