journalists often draw on their rich professional reserves of reductively metonymic realism (‘setting the scene', the ‘character sketch') to cast social network users as
types whose ways of acting are symptomatic or productive of diverse social ills: alongside terrorists and sexual predators there are always students uploading their mobile pics of boorishly drunken parties, ‘stupid girls' sharing every detail of their vapid daily routines, and workers who boast about bludging but forget that they've friended their boss. As in folklore, each of these figures is sustained by a dense field of concrete examples both stellar (Hugh Grant and Bono for Facebook party uploads, MySpace's Paris Hilton or Twitter's Ashton Kutcher for cosmic triviality) and ‘it-could-be-you' mundane (Kyle Doyle's ‘SICKIE WOO' Facebook status update).
2 Simultaneously grounded in and abstracted from the real history of on-line culture, such figures ‘stick' in media memory, powerfully eliciting recognition (the party animal, the princess, the slack worker) while drawing attention away from a myriad other practices thriving on the sites. Stereotypes are
forms of apprehension rather than bad representations, and their force is to mobilize familiar knowledge to explain and absorb unfamiliar experience (Morris,
Identity 143-44).