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Tag: Creator Economy

  • Creator Economy Spending Is Projected to Hit $37 Billion. 1 Industry Is Investing the Most by Far

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    Brands are more bullish on the creator economy than ever. In 2025, U.S. creator ad spend will reach $37 billion thanks to 26 percent year-over-year growth, a new report by trade group Interactive Advertising Bureau (IAB) estimates. 

    This means creator economy spending is increasing at four times the rate of the overall media industry, which IAB projects will grow by just 5.7 percent in 2025.

    “Leveraging the creator economy to connect with audiences is no longer experimental for marketers—it’s essential,” David Cohen, the CEO of IAB, said in a press release on the report. “The significant growth we’re seeing reflects a deepening commitment from brands to invest in creator-driven strategies.”

    While the report projects that every category will see double-digit ad spending growth this year, retail brands are spending the most by far. IAB estimates the industry will spend $12.3 billion on creator ads in 2025, an uptick of 38 percent since last year. At $5.5 billion in projected spending, consumer packaged goods brands come in a distant second place, followed by financial brands at $2.2 billion. Here’s what all the sectors from the report are projected to spend this year.

    • Retail – $12.3 billion (+38 percent YOY)
    • CPG – $5.5 billion (+24 percent YOY)
    • Financial – $2.2 billion (+31 percent YOY)
    • Apparel – $2.1 billion (+14 percent YOY)
    • Tech – $1.9 billion (+26 percent YOY)
    • Auto – $1.6 billion (+11 percent YOY)
    • Telecom – $1.5 billion (+19 percent YOY)
    • Travel – $1.3 billion (+31 percent YOY)
    • Home – $1.2 billion (+16 percent YOY)
    • Health and wellness – $1 billion (+40 percent YOY)
    • Media and entertainment – $0.4 billion (+39 percent YOY)

    Investing in creators comes with challenges, however. “The creator marketing ecosystem is still highly fragmented, with varying partnership models, siloed budgets, and limited standardization, making it tough for marketers to assess things like audience fit or creator credibility at scale,”  Zoe Soon, vice president of IAB’s forward-looking Experience Center, said in the press release.

    “The result,” she added, “is an environment where strategic matchmaking is often more art than science, and where brands are calling for better discovery tools to guide their investment decisions.”

    One third of the 453 industry leaders IAB surveyed as part of its report ranked finding the right creator to partner with as their biggest influencer marketing pain point. Retail and CPG brands, meanwhile, said “controlling for content quality” was their number one challenge, per the report.

    The final deadline for the 2026 Inc. Regionals Awards is Friday, December 12, at 11:59 p.m. PT. Apply now.

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    Annabel Burba

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  • How the Founders of YouTube Empire Smosh Bought Back Their Brand and Grew Revenue 4X

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    Eight years ago, Anthony Padilla and Ian Hecox went through an extremely public founder breakup. After selling their popular YouTube channel Smosh in 2011 and continuing to produce content for its new owner, Alloy Digital, tensions were running high—so much so that Padilla struck out on his own.

    Hecox stayed, and the founders stopped speaking with each other for several years. Padilla tells Inc. that because they created Smosh so young—he was 18 and Hecox was 17—their communication styles got “locked in” at those ages. “Our best way of dealing with issues was by never talking about them,” he says. “So, you know, everything builds up.” 

    But, in 2022, they reconnected over lunch. As they repaired their friendship, Hecox recalls noticing that Padilla “had a lot of really great notes” and “great ideas for content.” During their time apart, Padilla co-founded production company Pressalike with former talent manager Alessandra Catanese and spearheaded its viral “I spent a day with” YouTube series.

    Hecox, Padilla, and Catanese first sat down together to discuss the possibility of Padilla and Hecox starting a YouTube channel together—but, according to Catanese, that conversation quickly became about what she calls their “real dream”: buying back Smosh.

    Here’s how they pulled it off and grew the brand’s revenue significantly from there.

    YouTube’s first big acquisition

    Padilla and Hecox created the Smosh YouTube channel in November 2005. When one of its videos landed on the site’s homepage about two weeks later, a huge “influx of viewers and comments” followed, Padilla says. Inspired, they made more videos. “We were like, ‘Let’s keep going until the wave fizzles out,’” he says. “And it never did.”

    Smosh soon became one of the most popular channels on YouTube, with about 3 million subscribers in 2011, and Alloy Digital, which later rebranded to Defy Media, approached the founders with an offer to purchase the brand in exchange for salaries and stock. Since Padilla and Hecox were getting bogged down with busy work, Hecox says they were “very receptive to the idea of getting more support.”

    They also worried about overreliance on YouTube. As early adopters, they developed a knack for getting Smosh videos on the platform’s landing page, which helped the channel attract new subscribers. When YouTube started tweaking its algorithm, however, Padilla says they realized that the platform could “flip a switch at any moment,” leaving them without a reliable source of income.

    Padilla and Hecox signed the deal, making Smosh the first well-known YouTube channel to land an acquisition.

    Under Defy Media’s leadership, Smosh launched several new YouTube channels, added cast members, and expanded into new mediums including movies, comics, and magazines. Its subscriber base grew to 23 million—a nearly 34 percent yearly growth rate.

    Then, in 2018—one year after Padilla left the company—Defy shut down without warning, putting the future of Smosh at peril.

    The sale that saved the company

    Hecox spent the next few months trying to form a group of investors that would allow him to buy Smosh back—but didn’t have enough time to put a deal together before the deadline Defy’s creditors set for the sale of its assets. “That moment really scared me,” he says.

    During that period of uncertainty, Hecox got access to Smosh’s YouTube channel—though, he says, “I don’t think I was supposed to.” He alerted his audience about the change and “tried to keep the channel afloat” by releasing content at a much slower pace.

    Fortunately, Rhett McLaughlin and Link Neal, the creators of YouTube series Good Mythical Morning and founders of entertainment company Mythical Entertainment, reached out to Hecox. “They’re like, ‘Hey, sorry you’re going through this—if there’s anything we can do, let us know,’” Hecox recalls. “I said, ‘Well, do you have this amount of money?’”

    Hecox presented McLaughlin and Neal with a business plan for Smosh and they agreed to purchase it with the contingency that he’d stay on as president. When the deal closed in early 2019, Mythical reportedly took ownership of Smosh, which at that point had more than 37 million subscribers across its three channels, for less than $10 million in cash. 

    “Defy was very big on creating shows that could be sold,” Hecox says, “and not necessarily creating shows that the audience was asking for.” Mythical, on the other hand, pushed Smosh to figure out who its audience was and why they stuck around. Eventually, he says, the brand hit its stride by finding video formats that let its cast members shine.

    Taking back control once and for all

    In co-founding Pressalike and serving as president of Smosh, both Padilla and Hecox learned to step up as leaders during their separation, Padilla says. “When we reconnected,” he adds, “it felt like we were both in that leadership mindset.” That’s why they started to think about buying Smosh back: They wanted the freedom to make their own decisions.

    McLaughlin and Neal were supportive of Hecox and Padilla buying Smosh back from the moment they broached the topic. The sale—for an undisclosed amount of money—became official in June 2023, making Hecox and Padilla the majority owners of Smosh for the first time since 2011. (McLaughlin and Neal are reportedly now minority shareholders and serve as advisors.) 

    Smosh fans, of course, celebrated the news. Hecox says he expected to see the brand’s view count balloon when they announced the buyback, then drop back to normal. Instead, views fell only slightly after the initial spike, then maintained, then started to rise again. “It’s been very validating” that so many fans who initially came back to learn more about Padilla’s return stuck around, he says. Smosh’s five channels now collectively have nearly 53 million YouTube subscribers.

    Padilla and Hecox’s first decision as owners was to appoint Catanese CEO so they could focus on the creative side of the business. Then, the three of them implemented the Entrepreneurial Operating System to establish clear lines of accountability, make meetings more productive, and realign Smosh’s values. Before doing this, Padilla says it was difficult to evaluate decisions. “Now we know our goal is to make people laugh … through comedy rooted in friendship,” he says.

    As CEO, Catanese has prioritized promoting from within, improving Smosh’s Burbank, California-based office space, and building an internal human resources team. Plus, she created a program which incentivizes all Smosh employees to pitch video ideas by giving them a bonus if it’s greenlit by the production team. “So much creativity and so much passion comes from people who feel safe and comfortable and taken care of,” she says. Smosh currently has 70 staff members—many of whom work from home when they’re not required on set.

    Thanks to these efforts, as well as the recent bump in viewership, Smosh has 4xed its revenue over the past two and a half years, according to Catanese. Google AdSense, branded content, live shows, and merchandise are the company’s biggest earners, she says.

    Through this journey, Padilla and Hecox say they’ve learned plenty of lessons. First off, Hecox says, don’t sell your brand for stock to any company that tells you, “Trust us, bro, we’re gonna go IPO.” 

    On a more serious note, he adds that any founder considering selling their company should ask themselves how important their intellectual property is and how much control they want to have. “Also, what do you do next?” he says. “Smosh is what I want to be doing—like, I really enjoy this, and I really want to see the story continue for as long as it can, maybe even beyond us. I don’t have a desire to sell this off and then become an executive at Paramount.”

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    Annabel Burba

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  • The New Map of Influence: How Small Businesses Can Compete Like Creators

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    We just mapped the entire creator economy, and what it reveals isn’t just about influencers. It’s a blueprint for how small businesses can grow, build trust, and stay relevant in a rapidly changing world.

    The Creator Ecosphere Map, a collaboration between What’s Trending, Evan Shapiro (ESHAP), and Filmhub, visualizes the platforms, studios, tools, and creators shaping global culture today. It also highlights a truth that every entrepreneur should pay attention to: Success now depends less on size and more on engagement quality.

    In this new era, creators and small businesses are playing the same game. Both are competing for attention, building audiences, and finding ways to monetize trust.

    The new map of influence doesn’t just show who moves culture online. It shows what kind of mindset will keep your business relevant.

    1. Trust beats scale

    The creators leading today’s platforms aren’t necessarily the ones with the most followers. They are the ones who know their audience and show up for them consistently.

    For small businesses, that’s a reminder that you don’t need millions of customers to build something meaningful. You need loyal ones who believe in your story, your product, and your purpose.

    It’s tempting to chase growth through paid ads or trending content, but long-term loyalty comes from being real and reliable. In a world where people are skeptical of big brands, smaller voices often feel more authentic.

    2. Find your niche and own it

    Creators thrive by going deep, not wide. They speak to specific communities, share niche interests, and cultivate culture around shared values.

    Small businesses can win the same way. Whether you sell products, run a service, or build a community, narrow your focus and serve a group that truly resonates with what you offer.

    The Creator Ecosphere Map shows this pattern again and again. The most engaged audiences aren’t gathered around celebrities. They are built around shared experiences, identity, and trust.

    3. Diversify your ecosystem

    Top creators don’t depend on one platform or revenue stream. They post on YouTube, connect on Instagram, monetize through Patreon, and sell directly through Shopify or Linktree. They’ve built ecosystems, not just audiences.

    Small businesses should think the same way. Don’t rely on a single channel like Instagram or Amazon. Build an email list, experiment with video, explore partnerships, and own your customer relationships. The more direct your connection, the more resilient your business.

    The tools that power the creator economy are now available to everyone. Platforms like Canva, CapCut, and Descript make professional storytelling accessible to anyone with a smartphone. Tools like Circle, Mighty Networks, and Collective Voice let you build communities and manage partnerships at scale.

    Technology has leveled the playing field. Creativity, not budget, is now the biggest advantage.

    5. Engagement is the real growth metric

    The Creator Ecosphere Map introduces a metric called Engagement Quality which measures how deeply audiences interact with content, not how many followers someone has.

    For small businesses, that principle applies directly. The number of people who see your posts or visit your site matters far less than the number who actually care, click, comment, or convert. Engagement is proof of relationship. Relationships drive revenue.

    The creator economy isn’t separate from small business. It is small business, reinvented for the digital age. Creators are entrepreneurs who build audiences, products, and teams around what they love. They experiment, adapt quickly, and grow through connection rather than scale.

    The lesson for every founder and small-business owner is clear. The future belongs to those who know their audience, stay consistent, and treat creativity as a business asset.

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    Shira Lazar

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  • YouTubers aren’t relying on ad revenue anymore — here’s how some are diversifying | TechCrunch

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    YouTube has become the biggest platform out there, offering tons of opportunities for creators to earn a living. Back in June, the company reported that its creative ecosystem added over $55 billion to the U.S. GDP and created more than 490,000 full-time jobs.

    However, many YouTubers have reduced their reliance on ad revenue and brand deals. There are several reasons for this shift. First, ad revenue can be unpredictable. With YouTube continually updating its policies, some creators find it challenging to secure ads for their videos, which can negatively impact their earnings. They’ve also realized that income from these streams can vanish unexpectedly.

    Recognizing the volatility of platform-dependent revenue, many YouTubers are no longer just creators. They’re vertically integrated media companies with parallel businesses, including product lines, brick-and-mortar ventures, and consumer brands that can outlast algorithm changes and policy shifts.

    In some cases, these side businesses are growing faster and more sustainably than their YouTube channels.

    MrBeast

    Image Credits:Beast Industries

    Jimmy Donaldson, known as MrBeast, who has 442 million subscribers, isn’t just one of YouTube’s biggest stars — he’s its most aggressive entrepreneur.

    What started with a merchandise store in 2018 — ShopMrBeast — has exploded into a business portfolio, including his now three-year-old snack brand, Feastables.

    Feastables’ initial product was the “MrBeast Bar,” a chocolate bar that generated over $10 million in sales within its first 72 hours, selling over 1 million bars at launch. As of today, Feastables is more profitable than his YouTube content and even his “Beast Games” competition series on Prime Video. In 2024, Feastables generated roughly $250 million in revenue and over $20 million in profit, while his media business lost approximately $80 million.

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    Other ventures include his packaged food brand Lunchly (co-founded with YouTubers Logan Paul and KSI), the toy line MrBeast Lab, MrBeast Burger, and the analytics platform Viewstats. He even attempted to buy the U.S. operations of TikTok by joining the American Investor Consortium, a group of investors led by Employer.com founder Jesse Tinsley.

    Now MrBeast is venturing into new areas. He plans to establish a mobile virtual network operator (MVNO), which could involve partnering with one of the major operators, such as AT&T, T-Mobile, or Verizon. Additionally, the YouTuber was spotted filing a trademark application for a mobile app that offers banking, financial advisory, and crypto exchange services.

    Emma Chamberlain

    Chamberlain Coffee Emma Chamberlain ready to drink
    Chamberlain Coffee.Image Credits:Chamberlain Coffee

    Emma Chamberlain, who rose to fame as a teen vlogger in 2016, now has over 12 million subscribers and has found success in the beverage industry.

    She launched her coffee brand, Chamberlain Coffee, in 2019, which offers a variety of products, including cold brew, coffee pods, ground and whole bean options, as well as tea and matcha. Notably, other YouTubers have followed suit, such as Jacksepticeye with his Top of the Mornin’ Coffee brand and Philip DeFranco with Wake & Make Coffee.

    In 2023, Chamberlain Coffee had a significant year, introducing ready-to-drink canned lattes and reaching approximately $20 million in revenue, according to Forbes. The brand recently experienced even more substantial growth, opening its first physical location in January. Previously, it had only an online and retail presence at places like Target, Sprouts, and Walmart. 

    Although Chamberlain Coffee faced some challenges last year due to supplier issues, it’s expected to rebound, with projected revenue growth of over 50% by 2025, reaching more than $33 million, according to Business Insider. The brand is also aiming for profitability by 2026.

    Logan Paul

    Floyd Mayweather punches Logan Paul during their contracted exhibition boxing match at Hard Rock Stadium
    Image Credits:Cliff Hawkins / Getty Images

    Logan Paul (23.6 million subscribers) is now known for his wrestling career but was earlier known for numerous controversies, like an infamous 2017 video and an allegedly scammy NFT project, CryptoZoo. 

    He also gained attention through his energy drink brand, Prime, which achieved rapid viral success in 2022. The brand, co-founded by YouTuber KSI, surpassed $1.2 billion in sales in 2023, a figure far exceeding what most content creators earn from views, ads, and brand deals. However, it has since faced declining sales, regulatory scrutiny for its high caffeine content, and lawsuits from business partners. Sales have particularly cooled in the U.K., where revenue dropped by about 70% from 2023 to 2024.

    Another venture of his, Maverick Apparel, made between $30 million and $40 million in 2020. 

    His brother, Jake Paul, is also involved in various ventures, including co-founding the Anti Fund, which has touted past investments in OpenAI, Anduril, Ramp, and Cognition, among others. The younger Paul also owns a grooming line, called W, and a mobile betting platform called Betr.

    Ryan’s World

    Ryan’s World, hosted by 13-year-old Ryan Kaji, is another prominent YouTuber with a staggering following. Ryan rose to fame through his toy reviews and unboxing videos, which have captivated nearly 40 million young viewers. 

    In addition to his YouTube success, Kaji has expanded his brand through a line of toys and apparel that are sold in major retail chains and that reportedly generated over $250 million in revenue in 2020. Kaji and his family have since diversified their ventures, including launching a TV show and an app that provides educational content tailored for children.

    Rosanna Pansino

    Image Credits:rosannopansino.com

    Rosanna Pansino is a popular baker on YouTube known for her baking tutorials and themed treats. With 14.8 million subscribers, she gained fame for her recipes inspired by pop culture, gaming, and movies. 

    Beyond YouTube, Pansino has released several cookbooks that have been well-received, expanding her Nerdy Nummies brand. She also sells baking tools at several retailers, such as Amazon.

    Other YouTubers have ventured into cookware and food products as additional revenue streams. Notable examples include cook and author Andrew Rea, known by the pseudonym Babish, who launched his Babish Cookware brand in 2021, as well as comedy duo Rhett & Link, who sell MishMash Cereal.

    Michelle Phan

    Ipsy founders Jennifer Goldfarb (left), Marcelo Camberos, and Michelle Phan (right)

    Michelle Phan gained fame in 2007 with her makeup tutorials, becoming one of the first beauty influencers to effectively monetize her content. In addition to her successful YouTube career, she co-founded the beauty subscription service Ipsy, which has become highly popular. Phan also has her own makeup line, EM Cosmetics. 

    Huda Kattan

    Image Credits:Huda Beauty

    Huda Kattan founded the globally recognized beauty brand Huda Beauty in 2013. She sold a minority stake to private equity firm TSG Consumer Partners in 2017 but bought it back in June after investor pressure to bring in senior leadership clashed with her vision for the fast-moving brand, which reportedly brings in hundreds of millions of dollars in sales each year.

    Many influencers have created their own makeup brands. Other well-known makeup brands launched by YouTube influencers include Jeffree Star Cosmetics and Tati Beauty. 

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    Lauren Forristal

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  • Gumroad no longer allows most NSFW art, leaving its adult creators panicked | TechCrunch

    Gumroad no longer allows most NSFW art, leaving its adult creators panicked | TechCrunch

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    Gumroad, an e-commerce company for creators, updated its rules to more strictly limit NSFW content, citing restrictions from payment processors like Stripe and PayPal.

    For creators who sell adult art, like explicit comic books or lewd cosplay photos, these sudden policy changes can be detrimental, resulting in an unforeseen loss of income.

    “I’m concerned on a number of levels for my livelihood and the livelihoods of all types of creators in my sphere: artists, writers, sex workers and content creators of all kinds,” Sleepingirl, a kink educator and writer, told TechCrunch. “This is obviously far from the first site that is bending to the pressure of payment processors, and it will not be the last, but this is the first time my content (which is primarily academic and educational) seems to be threatened.”

    Adult creators are taught to anticipate this kind of deplatforming; it’s happened on Patreon, which used to be much more lax about NSFW content, and it almost happened on OnlyFans. But that doesn’t make the impact of these policy changes any less debilitating. When creators have to port over their followers to a new platform, or direct fans to a different web shop to buy their products, the friction can result in a loss of income.

    “We have been asked to be more rigorous in enforcing our ToS and must comply,” Gumroad founder Sahil Lavingia told TechCrunch. He declined to say which company asked Gumroad to enforce stricter rules. “Obviously, it sucks to do this. We don’t take it lightly that many creators rely on Gumroad for their livelihoods and have communicated that to our partners wherever and whenever we could,” he said. “We’ve been around since 2011, and this isn’t a new fight. It’s ongoing.”

    This decision won’t be good for Gumroad’s business, either: The platform keeps a 10% cut of every sale, and adult content is popular on the platform. Competitors, such as Just For Fans, are already jumping at the chance to onboard these displaced creators.

    It’s becoming increasingly difficult to monetize sexual works online. In 2021, OnlyFans announced it would no longer host adult content, which was baffling, since the site is almost synonymous with sex (OnlyFans has tried to push its safe-for-work offerings, with little success). The site saw so much pushback that it reversed course; now, OnlyFans is able to accept credit card payments from Visa/Mastercard since it complies with the payment processor’s recent, more rigorous adult content policies. People who appear in porn on OnlyFans must verify their identity through both legal documents and biometric scans, and they must sign a form confirming that all models consented to be recorded.

    These tightening restrictions have trickled down to artists, who aren’t actually performing in porn and aren’t representing real people in their work at all.

    “Gumroad including ‘sexual coaching services or explicit instructional content’ as prohibited content makes me worried not only for my income, but for the discussion of safe sex and kink practices as a whole,” Sleepingirl said.

    Patreon also updated its adult content guidelines this week to more precisely define what is allowed on the site. Adult creators don’t see this timing as coincidental.

    “I don’t know what to do next, personally, for my content,” Sleepingirl said. “I am trying to plan next steps, but Gumroad was an ideal, free storefront for e-books and instructional videos like I sell, and all other sorts of digital content. Almost all other services charge a hefty monthly fee and have terms of service that already disallow adult content.”

    As for Gumroad, Lavingia is at a loss for what the company should do next.

    “Should Gumroad hire a lobbyist?” he asked in an email to TechCrunch.

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    Amanda Silberling

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  • TikTok car confessionals are the new YouTube bedroom vlogs | TechCrunch

    TikTok car confessionals are the new YouTube bedroom vlogs | TechCrunch

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    YouTube’s first viral scandal took place in what we believed was a 16-year-old girl’s bedroom.

    In 2006, homeschooled teenager Bree Avery vlogged about her life under the username Lonelygirl15, chronicling her supposedly boring life. But as the videos got more and more outlandish — her parents turned out to be part of a blood-harvesting cult? — fans uncovered the truth that the whole vlog was fake; the Los Angeles-based creators of the channel were experimenting with a new form of storytelling, almost like a “Blair Witch Project” for the early aughts. Even after it was revealed that Bree was a paid actor named Jessica Lee Rose, fans still obsessed over her vlogs, which (in the beginning) are all told to us from the privacy of her bedroom.

    Though it was actually a carefully constructed set, the background of Bree’s videos — a pink quilted bedspread with a plush monkey, a small wooden bookcase topped with candlesticks, some moody posters pasted to the walls — are emblematic of this formative YouTube era.

    Almost twenty years later, we watch microvlogs on TikTok, which are recorded on smartphones that we keep attached to our bodies like we’re cyborgs. But in this era, creators’ childhood bedrooms have been replaced with generic car interiors. It doesn’t really matter the make or model of the car, so long as it is a car.

    “I just thought it was weird — so weird! — to see so many TikToks in cars: make-up reviews, little jokey skits, singing, eating Indian food, whatever,” Nathan Ma, a cultural critic and lecturer, told TechCrunch. Ma noted the transition from bedroom vlogs to parked car TikToks in a post on X after watching a food vlogger eat Indian food in his car.

    When comedian James Corden hosted “The Late Late Show,” he amplified this video style with his carpool karaoke series, which featured artists like Paul McCartney and Adele. Almost a decade later, Vocal coach Cheryl Porter, who has 18.6 million TikTok followers, makes videos doing singing exercises with her clients while in the car.

    Keith Lee, a TikTok creator with 15.4 million followers, can make or break a restaurant with his food reviews, many of which are filmed in his car. This brand of video – the in-car, parking lot food review – originated on YouTube, since it’s a way for reviewers to try food while it’s fresh, even if eating a spread of Ethiopian food and injera without a table seems less than ideal.

    Our familiarity with seeing people make content from their cars has greased the wheel for us to accept parked car microvlogging without question.

    “I think there’s a lot of social commentary TikTok videos where the social capital for the TikToker is, ‘I just know this, I’m just that smart, I just thought about this while I was getting out of my car,’” said temi lasade-anderson, a PhD candidate at King’s College London researching Black women’s digital intimacy and confessional vlogging. In contrast with YouTube bedroom vlogs, she told TechCrunch, car TikToks are “a lot more quick and dirty. It’s on the fly and on the cuff.”

    Though cars are more transient settings than bedrooms, both afford the creator privacy. For TikTokers with spouses, roommates or children, it’s possible that their car is the easiest place to record a TikTok without being interrupted. Plus, the lighting in cars is generally good. But these settings communicate different things to the viewer – a bedroom confessional vlog inherently imparts a sense of intimacy or secrecy. A car TikTok can give off the same vibe, depending on the subject matter the creator is talking about, but more often, it implies casualness. It’s much easier to record a TikTok than film and edit a whole YouTube video, but TikToks often aren’t as spontaneous as they seem.

    It’s the aesthetic ideal of the format to appear as though you’re creating something so casually that you’re just filming it while running errands. But even these nonchalant TikToks can be rehearsed, scripted or filmed in several takes. It’s the visual equivalent of ending an email with “no worries if not.” And if a car TikTok sparks backlash, the creator can easily walk back their commentary by pointing out that it was just something they thought of while going about their day-to-day life. But if the TikTok is successful, then the creator reaps the “social capital,” as lasade-anderson put it, of appearing so smart that they can come up with something brilliant without really trying.

    The transition from YouTube vlog to car TikTok also shows a movement from private to public space.

    “Back then, being a vlogger or doing vlogs was weird,” lasade-anderson told TechCrunch. “It wasn’t a thing that was socially and culturally accepted as a form of content creation, or a thing you’d do, so the bedroom was a private haven.”

    Bedroom vlogs often took the form of confessionals, wherein a YouTuber will speak directly to the camera about personal experiences and struggles. The genre is almost like an online version of the religious confession, or even a reality TV confessional, lasade-anderson points out. And like the religious confession, some of these vlogs can take the form of apologies – think about the unforgettable Colleen Ballinger apology via ukulele.

    “The confessional vlog as a format was almost like therapy in a sense, where people are talking about what’s going on and how they’re feeling about it,” lasade-anderson said.

    For early lifestyle influencers, it was a strategy to build a following by seeming “authentic,” though now, the idea of “authenticity” is so overplayed that it’s the Merriam-Webster word of the year. At the time, it was refreshing that social media allowed anyone to voice their seemingly unfiltered thoughts, and we all got to be voyeurs to random people’s lives.

    But as we learned as early as lonelygirl15, nothing on social media is exactly as real as it seems – whether it’s a bedroom confessional or a short TikTok filmed in an Arby’s parking lot.

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    Amanda Silberling

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  • The animated VTuber Ironmouse won Content Creator of the Year at the Game Awards | TechCrunch

    The animated VTuber Ironmouse won Content Creator of the Year at the Game Awards | TechCrunch

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    This year at the Game Awards, the coveted Content Creator of the Year award went to Ironmouse, a fan-favorite VTuber. It marks the first time that an animated character has won the award, showing how expansive the streaming world can be.

    A movement originating in Japan, “VTuber” means “virtual YouTuber,” though the genre has spread to other streaming sites like Twitch, where Ironmouse has 1.8 million followers and is the most-subscribed female streamer. VTubers often resemble anime characters, and the creators build their virtual personas by using motion-capture or AR face-tracking technology to embody their avatar. Though VTubers have been around for about a decade, they gained a boost in popularity at the onset of the pandemic, when the VTuber agency HoloLive launched its English-language division, catering to an expanded audience in the West. As the technology to make a VTuber becomes more accessible, the streaming genre only continues to grow.

    Though the VTuber phenomenon is already widespread and beloved, the “fun loving demon” Ironmouse’s win at the Game Awards lends the genre even more legitimacy.

    “Ironmouse couldn’t be here tonight, because Ironmouse is animated, and sadly, we’re not in the Matrix yet,” the host of the show said upon announcing Ironmouse’s victory.

    Ironmouse’s intrigue doesn’t end with her innovative persona. Though we don’t know the identity of the creator behind Ironmouse, she has revealed that she is from Puerto Rico, and she is chronically ill with common variable immune deficiency (CVID) and a lung condition. At times, her chronic illness has left her bedridden, she told the Washington Post, but being a VTuber allows her to access a rich online world where she can be anyone who she wants to be — even a pastel pink-clad gamer escaped from hell. Last year, she streamed for 31 days straight as part of an annual “subathon” event, where viewers could pledge money to keep her online; she took on the streaming equivalent of an ultramarathon again this year, raising money for the Immune Deficiency Foundation.

     

     

    “I have no words to describe how I am feeling right now,” Ironmouse wrote on X after her victory was announced. “I am in utter shock. Thank you all so much for changing my life.”

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    Amanda Silberling

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  • Boost Your Content Creation Skills with These Must-Have Tech Products for Fall 2023 | Entrepreneur

    Boost Your Content Creation Skills with These Must-Have Tech Products for Fall 2023 | Entrepreneur

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    As the leaves start to turn and the air gets crisper, there’s no better time to snuggle up and create some content — whether it’s that podcast you’ve been thinking about doing forever, or a video you’ve been meaning to edit, or something entirely new that will take your social media engagement to the next level. Here, we’ve put together a list of the tech products that will make you look like a pro, even when you’re wearing sweatpants in your living room.

    Image Credit: Courtesy of Sandmarc

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    Mario Armstrong

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  • Twitch’s CMO says competition from rival platforms is good for creators | TechCrunch

    Twitch’s CMO says competition from rival platforms is good for creators | TechCrunch

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    Though attendees grumbled about Las Vegas as a city, the community sentiment at this year’s TwitchCon was notably more optimistic than it was at last year’s convention.

    TwitchCon 2023 closed out a tense year for the platform, which was punctuated by rounds of layoffs, unpopular policy decisions and the sting of competitors poaching major streamers with glitzy non-exclusive deals and more favorable revenue splits. Twitch managed to mend its fraught relationship with its community by walking back several controversial policy decisions in the months leading up to TwitchCon. 

    During the event’s opening ceremony, the company offered an olive branch to its streamers by announcing that it would allow simulcasting to any other livestreaming service. 

    Simulcasting, or streaming on Twitch and any of its rival platforms at the same time, was banned for much of the platform’s history. Partners were forbidden from streaming to any rival platform, like YouTube or Facebook, until Twitch lifted its exclusivity clause last year. The platform also lifted restrictions on simulcasting for mobile short-form video platforms, like Instagram and TikTok, last year. 

    Allowing simulcasting is the latest in Twitch’s apparent pivot away from exclusivity — a move that streamers have been pushing for as the creator industry evolves to demand a diversified online presence. In an interview with TechCrunch, Twitch’s Chief Marketing Officer Rachel Delphin discussed how creator feedback shapes the platform’s policy decisions, and why investing in the Twitch community is so vital as livestreaming competitors gain popularity. 

    This interview has been edited and condensed for clarity. 

    Image Credits: Courtesy of Twitch

    TechCrunch: There’s been a lot of chatter about other streaming platforms like YouTube or Kick, but Twitch still dominates livestreaming. Why do you think that is? 

    Delphin: Part of it, I think, is our history and expertise. We’ve been doing this for a long time, 16 years. Who’s been in the game for 16 years? I think the other thing is focus. It isn’t something that’s part of our business and company, it is our business and company. This is what we do. We’ve been able to build something that transcends technology, which is the community. And that is the thing that’s really hard to build. 

    I also mean the behavior of being in a community. So if you’re a streamer, you’ve got an engaged chat, because of the norms and culture that’s been set. You’ve got people who are going to subscribe to you channel, share with bits, donations or whatever means of support that they can give, who want to moderate your channel, who show up to your meetups. I think that culture that was established really early and obviously it’s grown in 15 years, is a huge part of why we’ve been able to lead for so long. 

    You’ve always stressed that the core of Twitch will always be livestreaming, but in the last year, Twitch has really put out a lot of features that other platforms have, like Stories and discoverability feeds. 

    They’re still about, ultimately, how to serve a live content creator. How do you support their needs? Discovery and growth are interconnected, and the reality is, a lot of Twitch is a really meaningful experience. You’re not flipping it open so you can have a quick 10-second, two-minute sort of session. You’re really engaged, right? You’re sitting down there for a while. 

    However, that’s how some people do that. If you’re standing in line at Starbucks, and you want to do a quick dive into the content, right? And so giving people a way where they can either discover new creators, they can do that relatively quickly and much simpler than trying to navigate your way through Twitch. But also, providing content creators a way to nurture, build and update their community even when they’re not live, is really important. At the end of the day, we’re trying to support our live content creators — for stories, it’s a great way to connect with community when you’re not live, and feed, for when folks are looking for a sort of quick check in. It’s much easier to discover new content creators. 

    It seems like a lot of that is designed to keep viewers on Twitch as a platform instead of having to check other platforms. But with that in mind, I’d love to know what went into the decision to allow simulcasting now? 

    My perspective on it is, at the end of the day, we’re here to support content creators. A lot of folks have been utilizing the policy around mobile livestreaming services, so they’re able to do simulcasting there as of last August. Now, in talking with streamers, they’re like, “Look, I want a way to try to bring other people in, and simulcasting is a really great tool that either I feel very strongly or I’ve experienced myself using these mobile services, where I’m seeing more people actually come to my channel because I’m able to reach them through these other services.” 

    And so the decision is just that they should have the freedom to explore. Yeah, it’s pretty simple. 

    So I just talked to Mike about monetization and the sense of discontent that a lot of people have had over Twitch in the last year or so. Aside from the money aspect of it, how has Twitch responded to feedback from its creators in terms of features for the community? 

    I hope TwitchCon makes clear, certainly to the folks who are here, that their feedback is really important. We seek it out. So a lot of the content here [at TwitchCon] is designed to share and solicit feedback. Product Q&As, safety Q&As, sessions about specific products or monetization — all so that we are able to have that nuanced back-and-forth with the community. 

    Community feedback, whether it’s broadcast to us, or whether it’s in UserVoice, whether it’s in research forums or casual forums, is something we’re collecting all the time. 

    Definitely. I also want to talk about how Twitch views the supposed loss of streamers who are prioritizing different platforms in their discontent. If someone with like, 15 million followers decides to stay on Twitch, but mostly prioritizes streaming on another platform, how does Twitch view that? What processes does Twitch have to make sure they stay? 

    Look, we think we’re the best home. We’re building the right products, having events, engaging regularly. And the community obviously tells a huge story, right? We are the best at this. We’ve been doing it a long time, are highly invested in it, and we plan on doing it a super long time. We’ve got that stability, and opportunity that exists here. 

    But ultimately, some folks have been getting really great opportunities, and our perspective has been that it’s great for them. And it’s good for livestreaming. And our experience has also been, I think, when there are more livestreams, there’s more people who are exposed to livestreaming, and that kind of content, that community’s interest in content — that’s good for us. And it’s good for streamers. It tends to expand the universe of livestreaming. 

    I think Twitch as a platform is very uniquely responsive to community feedback, at least from what I’ve seen in other platforms I’ve covered. 

    Yeah, and like I said, sometimes it’s a problem identification. We are really ingrained into the community. There’s a lot of people at Twitch who are from the community, [they] are streamers themselves, affiliates, partners. So it’s a pretty fluid boundary between Twitch staff and people who are Twitch community. 

    Most of the people who work here are missionaries, not mercenaries, and they love Twitch. It’s how they spend their time even when they’re not at work. So we get exposed to that perspective in every single one. 

    Thinking about that response to the community — for the longest time, Twitch was the only real livestreaming platform. Livestreaming content doesn’t really compare to the static content on Instagram or TikTok. But there have been a few competitors popping up very recently. How is Twitch staying on top of that? 

    I don’t mean to be dismissive or anything, but there’s always been times in the history of Twitch when there are competitors. And the way that we lead through that is the same thing, which is, if we are the best place to be a live content creator, then folks will continue to choose us. Communities will continue to show up for them. And that’s the best way for us to maintain our position. 

    It also seems like other platforms are really pushing the fact that you can get higher revenue splits from them, but it seems like Twitch leans on the pull of investing in its community. 

    We’re really intentional about it. I mean, TwitchCon is a huge investment in the community. And we do it twice a year. But we also support community meetups. We support them financially, provide software, we got to those meetups. 

    We have guild groups that started this year, where we built groups for Black women and Latin streamers. They’re run and overseen by streamers who applied and were hired into these positions. They’re paid roles to help cultivate community, provide support and safe spaces. 

    Access to Twitch community is a key part of my job for marketing. It’s a huge pillar of our work. Let’s make sure we are where streamers are, whether that’s online, IRL, let’s try to facilitate collaborations for them. And give them as many opportunities to connect with one another and their fans as humanly possible. Just like community happens on Twitch, it’s also a huge part of our marketing strategy. 

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    Morgan Sung

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  • How Creators Can Thrive as Advertisers Are Cutting Back | Entrepreneur

    How Creators Can Thrive as Advertisers Are Cutting Back | Entrepreneur

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    Opinions expressed by Entrepreneur contributors are their own.

    If you’re a creator, you’ve probably heard about the importance of diversifying your revenue streams. Chances are, you may have already done this successfully and if not, you might be curious about where to start.

    Like any industry, the creator economy isn’t immune to the pressures of inflation. As declining brand sponsorship offers and ad revenue payouts squeeze revenues, creators increasingly seek additional ways to extract value from their businesses. But for many, the question then becomes how and when?

    Not only do I believe diversification is one of the major trends that will define the creator economy in 2023, but a recent survey we conducted also revealed that 70% of respondents were considering additional income streams because of this economy. And with good reason: Diversifying can help complement and cross-sell existing offerings, leading to greater engagement, retention and customer lifetime value.

    But while it can be tempting to dive right in, creators need to approach diversification strategically to ensure it yields increased revenue and career stability by complementing and strengthening existing content rather than becoming a distraction.

    I don’t just work with creators; I am one, which has given me a front-row view of diversification’s overlooked pitfalls and powerful potential. There are no easy answers to getting this right, but here are some rules of thumb for any creator hoping to diversify their offerings to remain competitive, meet evolving audience needs and survive in this economy.

    Related: Why Creators Can Weather a Recession Better Than Big Business

    Don’t diversify without a purpose

    Let’s get this out of the way. Yes, diversification can be a powerful strategy for business growth, but you don’t have to diversify just because everyone is talking about it. And you certainly don’t need to be on every platform, trying to tap into every possible revenue stream. Generally speaking, there are two main scenarios in which diversification might be a good option for your business: When things are working and when they’re not.

    Diversification can be an effective strategy for creators who are already successful and want to take their business to the next level. If you have a large audience, generate significant revenue, and have the bandwidth to take on more work, it’s a good time to consider expanding and reaching a wider customer base.

    By diversifying, you can tap into new revenue drivers and lead sources and engage with your audience innovatively. Twenty-five percent of full-time creators earn between $50,000 to $150,000 per year, according to a recent survey from ConvertKit. Most do this by combining several revenue sources, from online courses to paid newsletters, appearances, coaching, merchandise or other streams. Our research shows that full-time creators rely on an average of 2.7 income streams, and the number of creators relying on multiple streams has risen nearly 50% over the past five years.

    On the other hand, if your current strategy is losing steam and you’re finding it difficult to generate audience engagement and revenue, it may be time to look for content and revenue streams that click. Used this way, diversification is more of a slow pivot than a true expansion, but exploring new kinds of content, products and services may help you energize your community or find new audiences that are more receptive to your content, bringing long-term stability to your business. Simply put, if your content is not resonating with your audience or you find it difficult to generate revenue, it may be time to consider a new approach.

    Related: A Recession Creates Opportunity for Creatives

    When to wait

    Despite the great potential diversification offers, sometimes it’s better to wait and focus all your energies on what you’ve got. If you’re new to the creator economy, still seeing growth and achieving your milestones, it may be best to focus on your existing content and channels rather than adding extra distractions. Diversifying can easily become overwhelming, especially if you’re still on a learning curve.

    Even experienced creators should recognize that diversification will require additional focus and effort. I’ve seen plenty of cases where creators with Shiny Object Syndrome neglect successful and profitable business channels and lose at both. If your current approach works well, staying focused on growing existing channels and hiring a team to increase your capacity in those successful ventures may be better than splitting your attention.

    I’d always suggest you do a quick ROI check on if your efforts on this new opportunity are likely to create greater returns than just leaning into your existing business and doubling down on what’s working.

    It’s not a one-size-fits-all approach

    If diversification is your move, the next logical question for many creators will be: How? And the truth is, there is no golden ticket. The right moves for diversification depend heavily on your unique audience and business.

    One way to diversify is by expanding your topics using your existing channels. For example, if you have an online school for yoga instruction, your student community might also be interested in meditation and healthy eating. By expanding into related niches, you can diversify the topics within that niche to keep your audience engaged and attract new followers. This approach allows you to grow your brand while maintaining focus on the platforms that serve you best.

    Another approach is diversifying your revenue sources to complement and cross-sell successful content. A physical product can drive revenue, while a course and community can be an engagement engine that keeps people returning. The synergies create a virtuous cycle – hot topics of conversation in a community can be the basis for a new minicourse or ebook; courses can be gateways to paywalled communities where everyone has a common baseline of interests and skills.

    Creators can build robust and sustainable businesses by combining channels in unique ways. Take John Lee Dumas, host of the podcast Entrepreneur on Fire, who has combined his daily podcast, short courses, and even regular reports about his own entrepreneurial journey as part of his diversified offerings.

    Related: For Savvy Entrepreneurs, an Economic Downturn Creates Opportunity

    A well-executed diversification strategy can turn your community into an engagement engine that builds customer loyalty while yielding rich customer insights. The key is always to be strategic. When considering diversification, map out a workflow for your content production, syndicating it across channels and reassess the impact on your bandwidth before making additional changes.

    Diversification can be a gamechanger for creators looking to build thriving, sustainable businesses, but there’s no single way to go about it or one right answer that will meet every creator’s needs.

    Random expansion, or feeling the need to be everywhere all the time, is not a successful strategy — it’s a recipe for burnout. But by strategically identifying and tackling new content and revenue streams, creators can stay on top of the game.

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    Greg Smith

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  • Tinyview Launches Fundraising Campaign  to Support Independent Artists & Creators

    Tinyview Launches Fundraising Campaign to Support Independent Artists & Creators

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    The acclaimed independent, creator-driven website featuring bite-sized comics has launched a fundraising campaign to raise $25,000 in monthly subscription fees that will allow the site to reach sustainability and offer more comics.

    Press Release


    Feb 1, 2023

    Tinyview, the acclaimed independent, creator-driven website featuring bite-sized comics, has launched a fundraising campaign to raise $25,000 in monthly subscription fees that will allow the site to reach sustainability and offer more comics.

    Tinyview brings the “funny pages” directly to your device, offering a diverse array of strips with differing characters and styles. The site offers a freemium model, where users can read comic strips for free or, for the price of a cup of coffee each month, subscribe to directly support its roster of artists and gain access to bonus panels. The site is committed to paying independent comics artists for their work while helping them build their audiences. As the creator economy evolves, Tinyview Founder and CEO Raj Lalwani is intent on making Tinyview a leader in creator compensation.

    “Artists and creators are often forced to post work for free on the main social media platforms to gain a following. Tinyview enables artists to be paid for the work they post, while bringing lovers of classic funny-page comics together,” said Raj Lalwani, CEO of Tinyview. “Our current fundraising campaign will allow Tinyview to generate revenue from readers which will support artists they love and help usher in a stronger creator economy.”

    Tinyview is a unique platform for discovering new comics and artwork, working with an impressive roster of decorated comics creators. Its offerings are varied and surprising; whether you’re a kid or a grown-up, a science fanatic or a political junkie, Tinyview is a refreshing and stimulating, reading experience.

    Cartoonist Brian Gordon publishes “Fowl Language: Comics for Imperfect Parents” on Tinyview. Brian Gordon recently created a comic summarizing the experience of creators posting on major social sites in his comic, “Deal with the Devils,” which can be seen in full here.

    Gordon said, “Having been burned by other social media sites’ exploitative practices, I was initially skeptical to join the Tinyview roster of artists. But I quickly saw how important their mission is, and I’ve since become one of their strongest advocates. Our founder, Raj, not only compensates artists fairly for their work, he gives us a voice in all levels of decision-making. As an artist who relies on the internet for my livelihood, it’s been a game-changing experience to finally have a say in how my work is presented and shared.”

    Matt Bors, founder of The Nib, a two-time Pulitzer Prize finalist, and an advisor to Tinyview, said: “Social media is driven largely by video and daily print media has collapsed. That has left comic strip creators with very few options. Tinyview is a place designed for comics, funded by readers, and if we reach this campaign goal, it’s only the beginning of what it could do for creators.”

    Cartoonist Rob Rogers, a finalist for a Pulitzer Prize in both 1999 and 2019 who now posts his work on Tinyview, said: “As a veteran editorial cartoonist who spent decades at a major daily, it breaks my heart to see the decline of the U.S. newspaper and, along with it, the comics pages. Thankfully, all is not lost. Tinyview has managed to recapture the fun and anticipation of opening the Sunday funnies right on your phone or digital device. Most importantly, Tinyview makes it a priority to pay artists for their work. I am proud to be a part of this new comics venture.”

    Users can upgrade their subscription and help Tinyview keep paying artists by visiting https://tinyview.com. Tinyview’s fundraising campaign will run until Feb. 14, 2023. 

    Source: Tinyview

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