Finding a partner in times of social distancing: impossible, right? But only at first glance. Because singles are inventive – and distance can also lead to closeness.
WORLD: According to a survey of 1,200 people from the US research institute Kinsey Institute, around a fifth of users are on Tinder to create an “addition” to their existing sex life, including by sexting or sending nude photos. There will be people in partnerships, right?
Johanna Degen: We know from previous studies that around 40 percent of users are in a relationship. One part only wants to look around, the other is flirting with others or to check the market value. Those who cheated before the pandemic, were unhappy in their partnership and outsourced the fulfillment of needs will find ways now.
WORLD: Some singles are now contacting ex-friends or ex-lovers out of sadness. What do you think of such strategies?
WORLD: Dating apps like Tinder and Bumble, but also partner exchanges like ElitePartner, have seen significantly increased activity since the beginning of the Corona crisis. There are 20 percent more chats worldwide on Tinder, which are also significantly longer. Bumble reports around 70 percent more video calls in March. Apps are the new way out – and virus-free as long as you stay good.
Johanna Degen: The corona crisis shows that a pandemic does not mean that you have to delete dating apps, on the contrary. If Tinder were just an app for sex, there wouldn’t be that many there now. This is now proving – contrary to many prejudices. Even before Covid-19, psychological research showed that Tinder users have complex, often deep motives, wishes and hopes. This is now confirmed, physical meetings are not possible, but online dating is booming, or rather “chat dating”. There are very different motives and causes: Environmental fear, loneliness, boredom and reflections: How do I want to live when the going gets tough, and with whom? When too high demands prevent love
WORLD: Tinder regularly sends WHO warnings to its users. In addition to advice such as “Stay home” and “Be safe”, emoticons such as the hand-washing emoji or sexting symbols such as eggplants and peaches are also sent. And since the pandemic started, users have sent almost four times as many “Dick Pics”. What role does the virus currently play on Tinder – and which is flirting?
With large segments of the world population in blocking mode and without any indication that the quarantine guidelines will end soon, there is a strong chance that people across the world will be stuck at home for the next few weeks. The situation is unprecedented and, for many people, it will be a solitary and isolating experience.
To help alleviate the impact of self-quarantines and encourage connections around the world, Tinder will make its Passport functionality available for free to all users next week. The Passport function, in effect, allows users to scroll to geographic locations outside of their own. So, for example, if a Tinder user in Los Angeles wants to check for any games in London, he will be able to do it for free. Keep in mind that the Passport feature is bundled with the Tinder Plus premium tier which typically costs $ 9.99 per month.
The Passport feature will become free starting next Monday and will remain free until April 30th.
Commenting on the matter, an update to the Tinder website reads in part:
A message for our community: In these difficult times, while we all know we have to stay home, this does not mean that we have to be alone with our thoughts. Having someone to talk to can make a difference. And that’s why we decided that starting next week we will make our Passport function, free for everyone, everywhere until April 30th. Our hope is that you will use the Passport feature to transport you virtually out of self-quarantine to any part of the world. You can check in on people in their hometown, college town or sister city, and find those around the world who are going through the same things.
If nothing else, you can learn to say “hey” in another language.
It’s a nice gesture for Tinder and it will surely help improve engagement on the app. If anything, with millions of people now staying home every day instead of going to work, it’s obvious that people are using Tinder – and other dating services – more frequently than ever.
When the function is active next week, users can adjust their position by pressing the Settings icon, then scrolling down to the “Detection” box, then touching the “Position” field. From there, users can select “Add a new location”, after which they can start scrolling away.
It all started fairly routine: Lucy paired a guy on Tinder, they chatted on the app, so they decided to meet in person.
There was dinner, a movie, other jokes: it was a fun date.
“He looked adorable, I liked him very much … He was a boy I saw dating.”
At the end of the date, he offered to take Lucy home. But once he was in his van, the plan quickly changed.
He went up into the bush, towards Dandenong Ranges, on the outskirts of Melbourne. It would be fun and they could sleep in the van, he said, despite Lucy’s protests.
“It was really scary and things have definitely progressed more than I wanted.”
Lucy told him she didn’t want to have sex, but her date didn’t listen.
“I was raped that night,” says Lucy.
Upon returning to her apartment the next morning, Lucy’s appointment seemed serene about what had happened the night before. He also gave her advice on how to enjoy sex more.
“Because I didn’t orgasm, he was saying to me, ‘You just have to relax, blah blah.’ He was giving me advice. I don’t think I said anything,” he said.
“I think we had a conversation and when we were talking about me without orgasm he was like, if you need help, I’m happy to help you, and I said I won’t send you messages.”
Ten years ago, no one had heard of the term “swipe right”; it is now used as a theme for weddings, while online stores sell baby rompers that say, “Tinder’s date went well.”
Finding love and connections on dating apps is no longer a niche: it is now the number one way Australians meet their partners.
Knowing how dating apps in Australia have become ubiquitous, we were curious to find out more about what happens when the dates organized on the apps go wrong.
In a survey from last year, we asked our audience one question, among others, about their lives: what is the worst experience you have had on a dating app?
Most of the men’s responses were more frustration than concern: “I met someone who was clearly much older than their profile,” said one man. Another told us about an appointment he just wanted to watch reality TV at home.
For women like Lucy, however, what constituted a “bad” experience was much worse.
One woman described having been taken to a park and having an appointment to masturbate in front of her. Another told us that they had been raped orally. Many others have told us other stories of sexual harassment, assault, stalking and, in a particularly shocking case, held hostage overnight.
There is surprisingly little information on how harassment and sexual assault manifest in the dating world now that it is dominated by apps and websites.
What we do know is that the problem is big enough to warrant a serious investigation: 13 percent of respondents in Triple J’s What’s Up In Your World survey, like Lucy, said they had an experience with a dating app which made them insecure.
We want to know how dating companies handle complaints, whether repeat offenders can use dating apps to find their victims, how the police investigate these crimes and how often complaints and sexual harassment are underestimated.
It is in the public interest to find answers to these questions and we want your help to get them. If you feel comfortable, we want you to share your experience in our crowdsourcing surveys.
Your identity will be treated as strictly confidential by ABC, unless otherwise agreed with you, and the information you provide us will not be published without your explicit authorization.
For more details on how the information we collect during crowdsourcing investigations is handled, see ABC’s Crowdsourcing Collection Statement.
If you have further questions, send an email to email@example.com.
MSometimes you have to regret if something does not derail and breaks through the wooden house of the familiar with full force. We obviously can’t get enough of the flair of the decade of bad taste, the trend of remakes of eighties films continues unabated.
A striking number of these remakes, think of “Ghostbusters” and “It”, but also of the planned new editions of “Masters of the Universe”, “Dune”, “Highlander”, “Flash Gordon”, “Flight of the Navigator” or “Firestarter” are mystery or sci-fi formats, although they tend to come up to the extraterrestrial in the droll “ET” version (but Steven Spielberg’s friendly shrunken alien has so far only returned as a short commercial). Apparently there is a longing to return the childish innocence to the mysterious.
Perhaps the most excited was the return of a series by the “E.T.” director, which set the standard for magical, fairytale-like storytelling on television from 1985 to 1987. The 47 self-contained episodes of the “Amazing Stories” acted in a lovingly tongue-in-cheek and comfortably scary way from the intrusion of the supernatural into everyday life and, with their clever, profound arrangement of coincidences, reminded more of the calendar stories of Johann Peter Hebels or the novels of Heinrich von Kleist than to the slapstick narrations of successful series such as “Das A-Team” or “Knight Rider”.
One of the strongest “Incredible Stories” was Spielberg’s first episode, “The Ghost Train”, which presented us with an astonishing kink in the space-time continuum, but was actually about life with a supposed guilt and death. An old man who, as a boy, caused a train to be derailed, which would be fatal to all passengers, awaits it again 75 years later, a roaring ghost train that finally breaks through the wall of his descendants’ house and – he still has his ticket – on it Takes you on a journey to the distant, but less threatening hereafter.
With this spectacular, moving requiem, the pilot had to record (more could not be seen by critics beforehand) the new season of “Amazing Stories” produced by Spielberg for Apple’s streaming service TV +. The episode written by Jessica Sharzer and directed by Chris Long looks promising. After the successfully modernized opening credits while maintaining the signature tune by John Williams, it also begins with a drive to a very American, very special house, but this time, a pretty remake idea, it has run down badly and by the brothers Sam (Dylan O’Brien ) and Jake (Micah Stock) to be renovated: “Just needs some love.”
Of course, the Tinder addicted Sam knows little about love. When they find the age-old engagement photo of a pretty woman in the house, Jake jokes that wiping, the typical Tinder movement, hardly works here. The basement, apparently never rebuilt, looks like a “time capsule” to the brothers, but is of course even more, namely the entry into a time tunnel. Sam slips through 1919 because the meteorological conditions are just right. He meets the lady in the photo who is looking forward to her lucrative but unsatisfactory engagement (Victoria Pedretti). And of course it is – with Tinder spoken – a “match”. Now a love story unfolds over time, which is at least clever in terms of the idea.
The episode lacks almost all of the magic that was peculiar to the series. The break-in of the unexpected seems unmotivated, the characters are loveless decals and the pace has completely failed. The jumps between the times are so quick and indiscriminate that one cannot get closer to the characters and their fates at any level. The use of deliberately bad special effects, apparently intended as a homage, does not appear iconic, but rather cheap, parodistic, because there is no identification. And the book makes almost nothing of the intriguing clash of our time with the progressive era in North America after 1900.
That hardly goes beyond one of the historical “Doctor Who” episodes, just without Doctor Who and thus without a narrative center. Perhaps in the further episodes the narrative side will gain the upper hand over an empty cliché drama with a nostalgic touch. The sluggish entry looks like a poor e-scooter compared to a steam locomotive breaking down the walls of the imagination.
Amazing stories is available on Apple TV +, a new episode appears every Friday.
Emmanuel Macron’s long-distance marathon at the Agricultural Show consisted essentially, between the usual falsely relaxed photo poses in the midst of muddy animals, to reassure a sector on edge between ecological conversion, agribashing and waves of suicides. The revelations of Mediapart on the remuneration of senior executives of the FNSEA, with the monthly sum of 13,400 euros gross for the director general Clément Faurax, have probably made faces in the many farms which are struggling today to make ends meet. Rodolphe Marconi’s documentary is far from the showcase of the Show, far from the maneuvers of the various unions and lobbies who are busy further promoting agriculture and intensive livestock farming to the detriment of everything else and without too much concern for the impact in particularly on water resources. For four months, this filmmaker, former resident of Villa Medicis, author of fictions (This is my body in 2001 with Louis Garrel) and other docuses (Lagerfeld confidential) installed his camera on a family farm in Auvergne, a dairy farm taken over by one of the three sons, Cyrille, who has been trying to run the store for five years. We can understand by his example the horrible fate that lashes out at the most idealists when they want to do well and that no one helps or thanks them for this effort. This is a new picture of the degradation of the very idea of work even when we have been fed our heads with it through debates, editorials and political TV platforms since it is the least evaluated value, the least held in respect, even if the obsessive mantra which guides the steps of liberalism is that it is necessary to work more and longer.
It’s always good to go down from principles to examples, and this one is rare. Cyrille, 30 years old therefore, works every day, including Sundays and holidays, from 6 am to midnight and sometimes beyond, without managing to pay himself a salary. He lives with his father, he had to build a building to standards for his operation and went into debt to the tune of 200,000 euros. He had thirty cows, but eight died from illness. With global warming helping, the region suffered two drought summers and the meadows gave less grass, therefore less hay, therefore less food for its good animals, therefore less milk. To compensate, you have to buy food and try to produce more because at too low a level of liters of milk, the cooperative no longer moves. Cyrille can no longer sell his milk, he can transform it into artisanal butter which he sells for 3 euros a plate on the village market. The more he works, the more he ruins himself. The debt spiral always takes it lower in the appreciation of an existence that counts for nothing: “I’m alone working like an idiot.” In France, statistically, a farm is only viable with an average of 60 cows per farmer.
We gradually understand that the film is also the chronicle of mourning and unexpressed depression. The loss of his mother leaves Cyril distraught, without advice, without support, facing the silent father and who only speaks to him in reproach. It turns out that Cyrille is gay elsewhere and in a remote corner where Tinder does not have the shadow of a guy to offer him tens of kilometers from his home. We see concretely the impasse in which he finds himself and which pushes him to inexorably join the battalion of rural people who must reconvert into other professional sectors, accentuating the desherence of certain regions and a degraded relationship to a landscape including this distant cousin cowboy boys intended to maintain the poetic heritage, crossed at the best days by the light of Corot’s canvases.
Cyrille, farmer, 30 years old, 20 cows, milk, butter, debts of Rodolphe Marconi (1 h 25).
S“Swiping” has been cultivated in the dating world for eight years: the dating app Tinder was launched in 2012, since then around 57 million people worldwide have registered, 20 billion “matches” took place. Today there are successful figures like 20 percent of all marriages that are said to have come about thanks to Tinder. Register, swipe candidates to the right, chat, date, fall in love – in reality, what sounds simple is a long way off.
Because although we all want to be loved for our uniqueness, there is a huge discrepancy on Tinder: Most people present themselves less individually, so that they are more likely to please and “match” with many. The Flensburg psychologist Johanna Degen found out by interviewing Tinder users from Germany with her doctoral mother Andrea Kleeberg-Niepage. Degen explains in an interview why the dating app is a double-edged sword.
WORLD: Sex or love, what do you think Tinder users are really looking for?