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The Peculiar World of British Family Vloggers

In our digital age, the internet frequently adorns with heartwarming pictures of adorable babies that never fail to bring smiles to countless faces. However, a growing trend has emerged, particularly among family vloggers in the United Kingdom.

These English family vloggers have chosen to share their daily lives and family routines with the world, often featuring their children. Even the popular social media platform TikTok has witnessed the rise of child influencers managed by their parents.

The central concern in this domain revolves around the concept of consent, especially when it pertains to children being prominently featured in these vlogs. One of the key questions that surface is whether family vloggers genuinely seek their children’s consent before recording them. 

Additionally, there is a concerning aspect when videos feature infants and toddlers who are too young to communicate and, consequently, are incapable of expressing any dissent. 

This issue becomes apparent in the content produced by The LaBrant family, who have included their one-year-old child, Posie, in their vlogs. Moreover, many children in the realm of family vlogging have grown up with cameras as constant companions, which might leave them unaware that they can decline to be filmed, as they have never experienced anything to the contrary.

Safety Concerns in the Digital Sphere

One of the notable English family vloggers, The Saccone Jolys, has a considerable following on their YouTube channel, documenting their family life, including the significant transition of their child Eduardo, now known as Edie. Jonathan, the father, chose to document this significant life event. 

However, Jonathan’s decision to document this process, particularly considering the age of the child and the gravity of Edie’s decision, has drawn widespread criticism. Understandably, some have accused Jonathan of exploiting his own child for the sake of views.

Another family vlogger, Jacquelyn, oversees her 3-year-old daughter Wren Eleanor’s TikTok account, describing it as a digital scrapbook of her daughter’s life. However, an unsettling trend has emerged as viewers have noticed an alarming number of individuals saving these videos. 

A particular video, in particular, garnered over 386,000 saves, causing significant concerns. This is particularly disturbing considering the content of some of these videos, which have raised questions about their appropriateness. This situation begs the question: what are people doing with these saved videos of Wren?

Furthermore, TikTok users began to report troubling comments left by individuals, mostly men, underneath the videos, with some commenting on the young girl’s physical appearance. In one instance, a man even used the duet feature to comment on how beautiful she was. Speculations also suggest that certain videos of Wren have been reposted on explicit websites.. It’s worth noting that Jacquelyn has denied these allegations when addressing the situation on TikTok.

Despite the concerns related to saves, comments, and speculations, Jacquelyn continues to regularly post videos of her daughter. The question that arises is whether one would choose to persist in such circumstances.

Exploitation or Genuine Documentation?

In light of these considerations, it is crucial to acknowledge that the purpose of this discussion is not to criticize these British family vloggers for sharing their children and family lives online. This is their choice. Nonetheless, it is essential to shed light on the less glamorous aspects of exposing one’s child to a large online audience.

So, with all this in mind, would you still opt to share your child’s life so openly for public consumption, knowing the complexities and potential risks involved in the world of British family vloggers?

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Uneeb Khan
Uneeb Khan
Uneeb Khan CEO at blogili.com. Have 4 years of experience in the websites field. Uneeb Khan is the premier and most trustworthy informer for technology, telecom, business, auto news, games review in World.

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