The German transmedia-series DRUCK [Pressure] (D 2018–, ZDF/Funk) tells of the everyday worries, experiences and challenges of a clique of young men and women in adolescence. The transmedia narrative world of DRUCK unfolds via YouTube, WhatsApp/Telegram as well as various postings on Instagram and Twitter. The pivotal point is the networked smartphone of the viewers. The mediatization of the life worlds of young people is thus not only a thematic object in the series but has also inscribed itself in the dramaturgy and distribution channels of the series itself. Based on the thesis that DRUCK, in its aesthetic reflections on digital change, offers an alternative reading to the preservationist concern about the digital natives’ lack of media and social competence, the article pursues two questions: (1) How does the series present social media in the everyday lives of its young protagonists (product analysis)? (2) How are the mediatized life worlds of the protagonists perceived by the series viewers (reception study)? It turns out that most of the interviewees definitely perceive the reflexive potential of the series and are only too happy to get involved in the game with the boundary between fiction and reality, since it is one of the central tasks in their mediatized everyday life itself.