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“If a show doesn’t reference something they saw on YouTube last night, I lose them in the first three minutes,” says Marcus Teller, a former teacher turned full-time school assembly performer. Teller now incorporates Green Screen challenges, trivia based on Marvel post-credits scenes, and soundalike impressions of popular podcasters. “I used to teach character development through Aesop’s fables. Now I teach it by breaking down a conflict from The Last of Us or a viral ‘storytime’ video.”
Schools are responding to a new reality: students spend an average of consuming popular media outside of school, according to a 2023 Common Sense Media report. To compete for attention, school events must mirror the pace, humor, and referential density of platforms like TikTok, Instagram Reels, and Twitch. The Double-Edged Sword of Relevance The benefits of this integration are real. When popular media is used effectively, it can be a powerful pedagogical tool.
At Lincoln High School in Portland, Oregon, the annual “Media Mashup” talent show requires contestants to reinterpret a current meme or song lyric into an original performance. Last year’s winner—a quiet sophomore—created a spoken-word piece layered over a deconstructed version of an Ice Spice beat, critiquing algorithmic echo chambers. The audience, initially primed for laughs, fell silent.
But the doorway swings both ways. Not every experiment with popular media ends in a teachable moment. Www Xxx School
Some schools are already piloting these ideas.
The challenge for educators is not to resist popular media, nor to surrender to it uncritically. The challenge is to remember what entertainment in schools has always been for: not just to distract, but to connect. To build shared vocabulary. To make a student feel seen.
Student-led “entertainment boards” now decide on spirit week themes based on trending audio, create morning news segments that parody popular streaming series, and produce end-of-year videos that mimic the editing style of YouTube essayists. In some districts, students are paid (in community service hours or small stipends) to serve as “media ambassadors,” vetting which trends are appropriate for school-wide consumption. “If a show doesn’t reference something they saw
Half the students groan. Half laugh. And a handful immediately start editing the video on their phones.
“That’s the magic,” says drama teacher Elena Voss. “When you start from their world—the music they listen to, the shows they binge—you earn the right to push them somewhere deeper. Popular media is just the doorway.”
The question isn’t whether schools should embrace this shift. It’s how—and at what cost. For decades, school entertainment followed a predictable formula: an outside vendor (a juggler, a dinosaur puppet show, a “drug-free rap” artist) would be booked six months in advance. The content was generic, safe, and often met with polite indifference. Now I teach it by breaking down a
What follows is a 45-minute medley of
By J. Sampson | Feature Writer
“Schools underestimate how fast popular media changes and how context-blind it can be,” says Dr. Lina Hayes, a researcher in educational media at Stanford. “A dance challenge that’s innocent on Tuesday can be co-opted by a hateful trend by Friday. When you invite popular culture into a school, you aren’t curating it. You’re surfing it.”
There are also concerns about attention fragmentation. Critics argue that leaning too heavily on pop media trains students to expect entertainment to come pre-packaged in 15-second loops. “We are mortgaging sustained focus for cheap relevance,” says one anonymous superintendent in a viral op-ed. “Not every school moment needs to be a ‘slay.’” Perhaps the most significant shift is who controls the content. Increasingly, schools are handing the remote to students.