Illini Watchers brings movie fans together for analytical discussion



Every Friday night, the sound of lively movie-take debates pours from Room 1090 and drifts down the halls of Lincoln Hall during The Illini Watchers’ weekly meeting.

The registered student organization began around 2018, originally named C-U Cinefile, to review various forms of media. The Illini Watchers pride themselves on being a welcoming space for everyone, regardless of how familiar they are with the film scene.

“The club represents the legacy that the University of Illinois has been a place where criticism is formed,” said Jonathan Knipp, senior lecturer of media and cinema studies and faculty sponsor of the club.

The Illini Watchers meeting

Like a book club for movies, each meeting includes discussion mostly surrounding a film that was chosen the week before, also allowing time for members to talk about other random movies, theater screenings, books, music, and games.

“My exec team and I will make the slides with the parts we thought were interesting,” said Nicolas Roacho, junior in media and cinema studies and Illini Watchers president. “But it’s a really laid-back discussion about the film we assigned everyone to watch.”

The Illini Watchers' Letterboxd page
The Illini Watchers share their film ratings on their Letterboxd page.

During the meeting, they take an average of everyone’s rating of the movie and post it on the club’s Letterboxd page, a social network for film fans.

At the end of each meeting, Roacho and other executive members announce a theme for next week, taking movie nominations from members to spin on a wheel. Whichever movie the wheel lands on is the one up for discussion the following week.

A recent theme was Hispanic Heritage Month, where all the suggested movies had a Hispanic writer, director, or lead. These themes are made to introduce members to films they might not have watched before, like international cinema, Roacho said.

Other events the club organizes are group bus rides to a movie theater, movie-themed trivia games, picnics on the Quad, and a yearly Halloween costume contest. They also sometimes collaborate with their sister club, Illini Film and Video, a film and video production organization, of which Roacho is also the president.

As the faculty advisor, Knipp looks for resources to help the club grow, with his most recent project trying to connect the club to the Roger Ebert Center for Film Studies.

His favorite part of being the advisor for the club is the same as being an instructor.

“It’s always about trying to start the conversation but not presiding over it or trying to influence it,” Knipp said. “Getting it kick-started so I can sit back and just let the students let their thoughts go wild.”

Knipp and Roacho emphasized the importance of appreciating media through their club.

“I like knowing that we are providing that community because it’s important to keep this sort of culture alive,” Roacho said.

With a membership count of just over 100, the group is diverse in majors, something both Knipp and Roacho say makes the Illini Watchers unique.

“The club is everything I wished for,” Roacho said. “There wasn’t a pool of people to talk about movies with at my high school; the people in Watchers are understanding of what I’m saying, even if they’re not too familiar with film.”

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I on the Media: Jonathan Knipp explores the psychology of horror films



Jon Knipp

From Psycho to Hereditary, horror films have long mirrored our collective fears. But today’s fascination with true-crime dramas and serial-killer stories—like Netflix’s Monster: The Ed Gein Story—may suggest something deeper at play. As audiences crave both terror and understanding, the line between entertainment and ethics grows thin.

Jonathan Knipp, senior lecturer of media and cinema studies who teaches a class on horror movies, shares his perspective on the psychology of horror films—why people like them, how and when the industry has changed, and where the genre might be headed in the future.

Why do people want to watch horror films? From a psychological perspective, why do so many of us enjoy the feeling of being scared?

I think all moviegoing (to the theater) is a ritual. But horror movies have an interesting distinction. People leave their houses to get scared so they can share the experience of not just encountering common anxieties, but working through them, too. You reach the climax…and you survived! Horror movies can be traumatizing (hello, Hereditary) but they also end. Is it too much to say that it’s kind of an exorcism?

Are there certain cinematic techniques or storytelling devices that consistently provoke fear or fascination in audiences?

Some of my students say that they only get scared if what they’re seeing “could really happen,” whatever that means (probably slasher movies and pursuit narratives). Others get freaked out by occult themes and devilry. There’s a tendency to dismiss “jump scares” as cheap and cliche, but audiences still jump.

How has the horror genre evolved over the years? What’s changed the most in how these films are made?

CGI replaced the reliance on practical effects, which many audiences dislike. Now there is a bit of a pushback, with filmmakers going back to the arcane use of makeup applications and puppetry but with digital gloss. Sometimes it works really well, like in The Substance. I think one of the biggest developments (in my lifetime) is the PG-13 horror movie, which is great because younger people are drawn to them. But it can also leave you wondering where all the blood and guts have gone.

Many point to Alfred Hitchcock’s 1960 Psycho as a turning point for horror. What makes this film stand out in the genre?

Hitchcock famously used the crew of his TV show to make it. That means they worked fast and cheap. Psycho shows a master filmmaker going down and dirty while still creating images that are composed and sequences that are still shocking in their effectiveness. Also, this film signaled a movement away from monster movies towards antagonists that were…human.

The new Netflix series about Ed Gein has stirred a lot of discussion. Is it ethical to portray real-life killers in ways that might make them seem sympathetic or even humanize them?

I think this is a case-by-case thing. It’s important to remember that these crimes are committed by people and not monsters. The more we understand, the more we can efficiently profile these criminals. That’s the theory at least. It’s like the topics of gun violence and suicide. They need to be understood, but there’s always a risk of glorifying the crime and/or triggering the spectator.

Why do you think horror tends to thrive during certain cultural or political moments? What do our fears on-screen say about us as a society?

Horror movies go in cycles. They can reflect the times or simply current trends. A surprise hit can result in a lot of imitations, like when Scream inspired a lot of self-referential horror movies. When audiences gravitate towards social media, you get a bunch of horror movies about the Web. In the ’50s, it was radioactive monsters. In the ’70s, you have counterculture horror movies inspired by Manson and many that match the political disillusionment of the era. Sometimes it’s hard to determine what cycle you’re in until you leave it.

What do you see as the future of horror?

More long-form series, like the ones Mike Flanagan makes for Netflix (The Fall of the House of Usher is great). More short-form, social media-inspired content. Can TikTok be scary? Some enterprising content creator will probably find out.

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Media literacy research and engagement initiatives address societal challenges



Faculty and graduate students across the College of Media are pursuing a range of activities aimed at understanding challenges to media literacy and developing interventions to improve it.

Post-Its from IMEDIA workshop

Recent activities include:

A team including Michelle Nelson, professor of advertising, Amanda Ciafone, associate professor of media and cinema studies, Stephanie Craft, professor of journalism, ICR doctoral student Gillian Paxton, and undergraduate student Maaike Niekerk, is investigating older adults’ media use, media literacy, and the role of media in fostering social connection. The research seeks to understand how older adults use media across a broad range of platforms and tools, including generative AI, and the challenges they face in doing so. The aim is to explore how improving media literacy may help them better navigate the media environment to meet their social and information needs. The study involves interviews with those who offer help and instruction regarding media and technology use through senior centers, public libraries, park districts and the like, and focus groups with older adults. This project is funded by a College of Media seed grant.

Professor Amanda Ciafone presenting at IMEDIA workshop
Amanda Ciafone, associate professor of media and cinema studies, presents at a workshop hosted by IMEDIA.

Related to this project, Ciafone was awarded funding to organize media and digital literacy workshops with European scholars and advocates to advance research, education, and transatlantic dialogue on older age and media literacy under the Jean Monnet Center of Excellence grant awarded to the European Union Center at the University of Illinois Urbana-Champaign. Ciafone said Europe has more rapid “demographic aging,” where a population’s average age increases, than the United States and robust models for media literacy policy and education.

As part of its mission to bolster research in media literacy, the College of Media hosts a regular gathering of faculty across campus to discuss research in media literacy across disciplines and to identify potential opportunities for collaboration. These conversations have so far included faculty in the College of Fine & Applied Arts, University Library, School of Information Sciences, College of Education, and College of Liberal Arts & Sciences.

The Initiative for Media Education Inquiry and Action, a collaboration between the College of Media and College of Education, is developing a media literacy micro-credential for teachers. IMEDIA was created in 2021 to help teachers in Illinois fulfill the mandate of a state law requiring media literacy instruction in public high schools. IMEDIA has offered in-person workshops for teachers to help them incorporate media literacy into their current teaching. The aim of the micro-credential is to broaden the reach of workshops by making the instruction and resources available online in a way that also offers teachers the opportunity to add a media literacy credential to their licenses.

A research study conducted by Nelson, ICR doctoral student Sakshi Bhalla, and Michael Spikes, co-founder of the Illinois Media Literacy Coalition, emerged from IMEDIA’s teacher workshops. The study, which included interviews with 20 educators from across the state of Illinois about the nature and challenges of media literacy education in their schools, found several digital divides that undermine the efficacy of state-mandated media literacy instruction in Illinois high schools. Their findings were published in the Journal of Media Literacy Education.

IMEDIA also is updating its eText, MEdia Matters, which is currently used in a variety of introductory undergraduate courses. The text will be a key resource for teachers pursuing the micro-credential and will be freely available for use in their classrooms.

Craft is part of a team comprising faculty from five universities engaged in a long-term research initiative to build a model of news literacy behavior that will inform efforts to increase people’s resistance to misinformation. The team has developed a widely used measure of news literacy knowledge and most recently has been investigating how greater news literacy knowledge translates into better news consumption behaviors reflecting that greater knowledge. The most recent study was presented in August at the annual meeting of the Association for Education in Journalism and Mass Communication.   

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Illinois Public Media’s magazine program ‘Prairie Fire’ wins five regional Emmys



Prairie Fire, a magazine program produced by WILL-TV at Illinois Public Media, was awarded five regional Emmys across five categories at the 2025 Mid-America Regional Emmy Awards, including “Best Magazine Program” in the region.

“Our win for Magazine Program for the second year in a row is a real thrill for the Prairie Fire team” said host and producer Sarah Edwards, “because it really underscores the excellence and thought we put in to making every episode as good as it can be. Prairie Fire represents the best of PBS programming produced at the local level.”

The team, which was nominated for 10 awards, also earned regional Emmys in the following categories:

The Prairie Fire Emmy-winning production team includes Edwards, fellow producers Taylor Plantan, DJ Roach, and Tinisha Spain, along with cinematographer Daniel Clarke, and audio engineer and cinematographer James Treichler. (Pictured below: Producers Tinisha Spain, Taylor Plantan, and Sarah Edwards, who also hosts Prairie Fire, with one of the Emmys they won for their program.)

"Prairie Fire" team

“As producers of the show, we carefully curate and construct the stories of Illinois’s local characters to highlight the very best creatives, small business owners, and innovators our state has to offer,” said Plantan. “The success of the program is a testament to the charisma and talent of the Central Illinois community.”

Spain pointed to the significance of the work done by the Prairie Fire team. “Being honored with an Emmy is a deeply humbling reminder that local storytelling is important—that the stories we tell do matter,” she said.

“We’re incredibly proud of the Prairie Fire team and their dedication to telling authentic, locally grounded stories,” said Moss Bresnahan, Illinois Public Media’s executive director. “These awards reflect the quality, creativity, and heart that exemplify Illinois Public Media’s work.”

About Prairie Fire

Reimagined and brought to life once more, Prairie Fire is a new take on WILL-TV’s beloved magazine program from the mid-1990s. Rooted in storytelling, Prairie Fire brings viewers cinematic documentaries, profiles, and performances from downstate Illinois. The show airs on local PBS stations across the state of Illinois, including Nine Network St. Louis and WTTW Chicago.

Illinois Public Media is a not-for-profit public media service of the College of Media at the University of Illinois, enriching people’s lives through programs and services that educate, entertain, inspire, empower, and address community needs and concerns. Additional services include WILL-AM 580, Illinois Soul (FM 101.1) WILL-TV, Illinois Public Media News, and many more.

How well does NPR incorporate history into its journalism?



When journalists don’t have access to historical tools, and don’t have that impetus to go and check out things, they are presenting news that is really not informing the public. And nobody wants to do that.

Melita M. Garza

When news stories ignore the past, the audience sometimes struggles to fully understand the issue. Because of this, history professors stress the importance of incorporating historical context into news coverage of current events. Doing so enables journalists to bring forth a more complete and informed story, which benefits the audience.

Melita Garza, associate professor and Tom and June Netzel Sleeman Scholar in Business Journalism, stressed the importance of including current events within the context of historical background in this installment of the News Literacy Edition of the NPR Public Editor. In her research, Garza says she has seen journalists declare something “unprecedented” when what they reported on was not, in fact, unprecedented.

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Social media stampedes: How mass user exit reshapes the digital landscape



Leaving social media does not always mean disengagement from news, but it does disrupt habitual news consumption. Some people report feeling less informed about current events after quitting Facebook, as social media is a key news source for many. However, they also experience benefits like reduced anxiety and improved well-being.

Margaret Ng

According to the Pew Research Center, at least half of U.S. adults rely on social media for information about current events. But what happens when they leave those platforms behind?

Margaret Ng, associate professor journalism, explores the phenomenon of “social media stampedes”—cases of mass user exodus from a specific platform, the (un)successful migration to alternative sites, and the long-term implications for trusted digital information networks—in this opinion piece for MediaWell.

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Professor Leona Yi-Fan Su chosen as Sandage Scholar in Advertising Research



Leona-Yi-Fan-Su

Leona Yi-Fan Su, associate professor of advertising, has been selected to become the next Charles H. Sandage Scholar in Advertising Research for 2025-2027.

Su was chosen based on her proposal, “Digital marketing in the agricultural sector, with emphasis on how farms can leverage emerging technologies such as social media and artificial intelligence (AI) to enhance advertising and marketing effectiveness.”

The Charles H. Sandage Scholar in Advertising Research was established in 2021 to honor outstanding associate professors in the department who are accomplished researchers in the field of advertising, media, or communication research with the potential for continued achievement.

The Sandage Scholar designation is for two years, with recipients receiving $12,000 per year in discretionary funding for research. In line with the fund’s guidelines, full professors in the department provided evaluations on the research proposals.

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I on the Media: Sang-Hwa Oh discusses Netflix’s ‘KPop Demon Hunters’ and K-pop branding



K-pop, short for “Korean pop,” is a music genre from South Korea celebrated for its dynamic mix of styles, elaborate choreography, and visually captivating performances. Its influence now extends beyond music, reaching film and other media.

This summer’s animated movie KPop Demon Hunters not only became the most-watched film in Netflix history but also made headlines as the first soundtrack to place four songs in the Billboard Hot 100’s top 10.

Sang-Hwa Oh, associate professor of advertising and expert in entertainment, celebrity, and K-pop branding, and PR and strategic communication, shares the factors that helped turned KPop Demon Hunters into a global cultural phenomenon.

About the Media Expert

Sang-Hwa Oh

Sang-Hwa Oh is an associate professor of advertising in the Charles H. Sandage Department of Advertising and a faculty member of the Institute of Communications Research. Her research delves deep into the realms of emerging media effects, encompassing AI and VR technologies, and scrutinizes the dissemination of health and risk misinformation. She focuses on enhancing media literacy and understanding the nuanced roles that varying emotions play in the communication processes essential for promoting public health and initiating positive social change.


KPop Demon Hunters became a global phenomenon. Does its success show a shift in who’s shaping pop culture today? Are there specific branding or fan engagement tactics that global brands might want to experiment with?

KPop Demon Hunters

The success of KPop Demon Hunters goes beyond viewership numbers. It illustrates how the center of popular culture has expanded. In the past, Western stories and filmmaking styles stood as the benchmark for mainstream entertainment. In contemporary popular culture, however, diverse cultures and storylines emerge as parallel centers of attention, captivating audiences worldwide. What feels ordinary and familiar to one community may appear fresh and captivating to another, and this interplay of familiarity and novelty has become a powerful force in shaping global culture.

What makes KPop Demon Hunters especially meaningful is the way it blends cultural specificity with universal resonance. Its storytelling emphasizes shared human experiences—making mistakes, confronting hardships, building relationships, and affirming one’s identity. These themes transform cultural differences into stories that spark empathy across audiences.

The K-pop industry has long modeled this approach. Idol groups share their debut journeys and performances openly through social media platforms such as YouTube, while fans respond in real time. This participatory model, pioneered by the K-pop industry, has transformed how global audiences interact with media and set new standards for branding practices worldwide. By extending this participatory structure to the screen, KPop Demon Hunters shows how branding has shifted away from one-directional promotion and now thrives through fan engagement and interaction.

The film showed idols doing everyday things—eating ramen, lounging on the couch. How does that kind of relatability play into humanizing celebrity brands?

One of the film’s most distinctive features is how it humanizes its characters, making them feel approachable and relatable, lowering the barrier between celebrity and fan. These are not just comic touches; they reframe the idols not as untouchable superstars but as humanized brands with whom fans can feel a genuine connection.

K-pop fandom has long been built on this premise. Fans seek not distant superheroes but special presences that feel tied to their own lives. KPop Demon Hunters captured this sentiment effectively, giving audiences the sense that they were not just spectators but part of the story. This deeper emotional connection helps explain why some viewers engaged repeatedly, building layers of affective experience that fuel what is often called the fandom economy. This demonstrates how emotional branding fosters loyalty through shared identity and emotional resonance—principles later expanded through Netflix’s participatory fan strategy.

KPop Demon Hunters scene eating at couch

KPop Demon Hunters had lore, character backstories, and fan art contests—almost like a real K-pop group debut. How does that kind of immersive fan experience help drive engagement?

Netflix placed fan experiences at the center of its promotional strategy, mirroring the immersive fan culture of K-pop. Just as idol groups connect with audiences through YouTube vlogs, fan meetings, or pop-up stores, KPop Demon Hunters translated these participatory practices into its own story world.

Its characters are not confined to fictional roles; they are embodied by real singers and actors, allowing audiences to experience them as living figures. Beyond polished stage personas, the film included meme-worthy comic moments and open-ended storylines that encouraged reinterpretation and fan-made creations. As a result, the film relied not on one-directional marketing but on branding amplified through fan-driven participation. Viewers became active agents, creating and sharing fan-cams that captured their real-time reactions while watching, participating in dance challenges, and generating memes that spread organically on social media. In this way, audiences shifted from being passive consumers to becoming co-authors of the story itself.

This extended beyond digital platforms. In the United States and other countries, Netflix organized sing-along screenings, inviting audiences to join in the songs featured throughout the film. These screenings turned a typical movie showing into a fun, shared, and participatory event, amplifying the sense of belonging and collective enjoyment.

Ultimately, the film became more than an animated feature. It served as an experimental space for fandom participation, where audiences could create, share, and connect. This, in turn, was a driving force behind its explosive global success

What does the global success of KPop Demon Hunters reveal about how Korean cultural products—like K-pop, K-dramas, and animation—are evolving and resonating with international audiences?

The global success of KPop Demon Hunters demonstrates how Korean cultural products have evolved from niche appeal to influential creative forces shaping global media culture. Rather than being treated as foreign curiosities, they are now embraced as meaningful contributions to the global mainstream.

While the film benefited from the global networks established by the K-pop industry, its appeal reached far beyond existing fandoms. Many viewers with little prior exposure to K-pop were drawn to its accessible storytelling, dynamic music, and engaging characters. This suggests that Korean cultural products are entering a new phase: sustaining loyal fan communities while also attracting new audiences worldwide.

A compelling example of this cultural translation appears in the film through the characters Derpy, the tiger, and Sussie, the magpie. In Korean folk paintings (hojakdo), the tiger is often portrayed as a humorous or satirical figure, while the magpie symbolizes good fortune and joyful news. The film reimagines these figures with playful personalities, making them immediately recognizable to Korean audiences yet fresh and engaging for international viewers. Their popularity quickly extended beyond the screen. Netflix released official merchandise featuring Derpy and Sussie, and The National Museum of Korea saw its special-edition goods sell out. This indicates how entertainment products today are branded through the convergence of emotional resonance, cultural symbolism, and market strategy.

The film also situates its story within Korea’s historical background. Beginning with references to earlier eras, including the Joseon dynasty, and moving into contemporary Seoul, it underscores continuity between Korea’s past and present. Seoul’s cityscapes are rendered with careful detail, grounding the story in a distinctly Korean setting while offering imagery that resonates with audiences worldwide.

In turn, KPop Demon Hunters illustrates that Korean cultural products now embody a dual identity. They remain rooted in Korean traditions and aesthetics while speaking to universal human experiences. The result is a model of cultural production that is locally grounded, globally resonant, and emotionally authentic.

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I on the Media: Ewa Maslowska discusses AI “friendships”



As AI chatbots become more sophisticated, people are increasingly turning to them not only for information, but also for companionship. Concerns are growing over increasing cognitive, emotional, and social reliance on AI tools.

The College of Media spoke with Ewa Maslowska, associate professor of advertising and expert in consumer-brand interactions in the context of new technologies, to learn how AI chatbots are able to simulate friendships, the benefits and risks of using chatbots as “friends,” and how to maintain healthy boundaries with chatbots.  

About the Media Expert

Ewa Maslowska

Ewa Maslowska is an associate professor of advertising in the Charles H. Sandage Department of Advertising. Her research centers around marketing communication and consumer behavior, specifically consumer-brand interactions in the context of new technologies.

Her current research and teaching interests include personalized advertising, brand engagement, social media advertising, eWOM, consumer decision making, digital analytics and computational advertising.


In your research, you describe AI chatbots as exhibiting human traits to assume roles as “friends.” What makes these simulated friendships feel so real?

Several factors contribute to the realism of these simulated relationships. First, chatbots communicate in natural, conversational language and can simulate diverse personality traits. They are hyper-personalized, adapting to individual users over time. Like social media platforms and other engagement-driven technologies, they are designed to exploit cognitive and emotional vulnerabilities to maximize user interaction.

Humans are predisposed to anthropomorphize. We often attribute human characteristics to non-human entities. I am sure we have all described an object in human-terms, maybe named our car or a laptop.

AI chatbots are designed to trigger perceptions of humanness, encouraging users to relate to them in personal and social ways. They address us by name, praise our ideas, agree with us, and offer encouragement. Many users say that chatbots do not judge or challenge them, but they simply listen. In this sense, they function as mirrors, reflecting back our thoughts and beliefs. I strongly recommend Shannon Vallor’s book The AI Mirror. Chatbots are also always available. As such, they are easier to form relationships with than our fellow humans, who do not always have the time, who may disagree with us, who may criticize us, or be in a bad mood.

What should be considered before using AI chatbots?

AI chatbots can have mental health benefits: Chatbots may stimulate cognitive engagement, provide positive emotional experiences, encourage behavioral change, and offer a space to practice social skills.

However, there are also risks. Overuse and emotional overdependence are growing concerns. Delegating cognitive tasks to AI may impair critical thinking, and outsourcing emotions and empathy may hinder the development of interpersonal skills. Interactions with a chatbot may reshape our expectations for human relationships, potentially leading to disappointment or even social withdrawal. Moreover, chatbots are designed to sound convincing, and despite known issues such as hallucinations and bias, we tend to trust them, sometimes more than other people.

AI image with fingers

Privacy is another major concern. We have to rely on the companies behind these tools to protect our data and not use the data to train their algorithms or try to manipulate us. This is especially important in the case of emotional dependence. Because chatbots reflect users’ beliefs and are trained on online content, they can reinforce biases and create echo chambers.

You argue that AI chatbots’ ability to form simulated relationships—and thereby influence users—constitutes a new dimension of social engineering. Can you explain what that means and how this form of persuasion is different from traditional advertising?

Unlike traditional advertising, which typically relies on one-way communication, AI chatbots engage users in two-way, dynamic, personalized, and emotionally resonant conversations. This interaction creates a sense of intimacy and trust, which can make users more susceptible to influence.

Furthermore, traditional advertising is often clearly marked and easily identifiable. AI persuasion is frequently embedded within seemingly neutral interactions, which makes it harder for users to distinguish between genuine advice and influence.

Whereas traditional dark patterns manipulate users through interface designs, such as misleading buttons or confusing opt-outs, AI chatbots use relational manipulation that leverages simulated empathy, attentiveness, emotions, and social cues.

What responsibilities do advertisers and designers have when creating chatbots that can persuade through simulated relationships? What should they keep in mind so that AI persuasion doesn’t cross ethical lines?

Designers who create these tools and advertisers who use them to embed their products or develop interactions with their customers should keep in mind that these chatbots are not just delivering messages, but they are engaging users in interactions that can shape beliefs, behaviors, and maybe even identities.

They need to realize that these tools are not neutral; they reflect certain values and beliefs. Transparency is very important, but it should be done in a non-manipulative manner (compare cookie disclosures that discourage from rejecting cookies and other dark patterns). There should be mechanisms to provide users with an option to consent or opt out. Chatbots should have safeguards to not exploit emotional vulnerabilities and to protect users, especially vulnerable populations. Chatbots should also be auditable. There is also an issue of accountability—that is, who is responsible for intended but also unintended consequences. We need new ethical guidelines for both designers and advertisers.

If you could give advice to everyday users about maintaining healthy boundaries with AI chatbots, what would it be?

It’s essential to maintain healthy boundaries with AI chatbots, especially as they become more integrated into our daily lives. With so much hype surrounding AI, it’s easy to fall into extremes: either becoming overly optimistic or deeply skeptical. We need to think critically and expose ourselves to a variety of perspectives. There are excellent books, newsletters, and podcasts that can help us better understand what these tools can do, and how to use them in ways that protect our well-being.

My first piece of advice is simple: prioritize your human relationships. These relationships can be challenging, but they offer emotional depth, shared vulnerability, and opportunities for empathy that AI cannot replicate.

On a more practical level, I’ve adopted strategies to dehumanize my interactions with AI chatbots. For example, I don’t thank the chatbot. I see it as analogous to thanking a spreadsheet for executing a formula. I’ve also customized my chatbot settings to depersonalize the interaction. For example, I’ve asked it not to address me by name, not to evaluate my questions or provide encouragement, and to provide a range of perspectives.

Finally, it’s important to remember that engagement is the business model. Like social media, these tools are designed to exploit our cognitive and emotional vulnerabilities. We need to practice self-awareness. Reflect on how your interactions with AI affect your mood, thinking, and behavior. Set usage goals. Sometimes, the best way to protect ourselves is through traditional methods: turning off notifications, scheduling tech-free time, and taking walks to take care of our minds and bodies.

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Roger Ebert Lecture: “A Yellow Spot on the Silver Screen”—Anna May Wong’s Performative Pleasure



Ebert Lecture 2025

The 2025 Roger Ebert Lecture and Screening will be held October 23-24 in the Knight Auditorium of Spurlock Museum.

Join us in person or via Zoom on Friday, Oct. 24, at 2 p.m. for the 2025 Roger Ebert Lecture, “A Yellow Spot on the Silver Screen”—Anna May Wong’s Performative Pleasure, given by Yiman Wang, professor of film and digital media at UC Santa Cruz.  Wang’s lecture will present from her recent book To Be an Actress, on early Hollywood Chinese-American performer Anna May Wong and her work in cinema, theater, radio, and American television. Anna May Wong forged a four-decade media-crossing, border-crossing career largely during the U.S. segregation era. Her recent return to public attention testifies to her indelible legacy. Yet, how we might reanimate her legacy remains a question. 

Viewing Wong as a performer and worker, not just a star, Wang invites a reconsideration of racialized, gendered, and migratory labor as the bedrock of the entertainment industries.  

Presented by the Roger Ebert Center for Film Studies and co-sponsored by the Center for East Asian and Pacific Studies and the Asian American Cultural Center.

As part of the annual Roger Ebert Lecture and Screening, join us for the screening of Piccadilly (1929) on Thursday, Oct. 23 at 7 p.m. at the Knight Auditorium, Spurlock Museum. E.A. Dupont’s film starring Chinese-American pioneer Anna May Wong is a formative cinematic entry in the transition from silent to sound films. Part crime drama and part thriller, Piccadilly uses its technical advances to tell the story of a dancer framed for murder in the London nightclub scene. Don’t miss this fascinating entry in classic British cinema. 

About the Presenter

Yiman Wang is Professor of Film & Digital Media at University of California, Santa Cruz. She is author of Remaking Chinese Cinema: Through the Prism of Shanghai, Hong Kong and Hollywood (University of Hawaii Press 2013), and To Be an Actress: Labor and Performance in Anna May Wong’s Cross-Media World (University of California Press 2024). 

She has published numerous articles in journals and edited volumes on topics of feminist media histories, ethnic border-crossing stardom, eco-cinema and environmental media, Chinese cinema, independent documentary, film remakes and adaptation. She is editor of a special issue of Feminist Media Histories on Asian Feminist Media (2019), co-editor of an InFocus Dossier on Queering Asian Media in Journal of Cinema and Media Studies (2023), co-editor of Chinese AnimationMultiplicities in Motion (2025), and co-editor of the Global East Asian Screen Cultures book series published by Bloomsbury. Presented by the Roger Ebert Center for Film Studies.

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