It was a compelling beginning to the season, and the fact that Terrence, Stubs, and Cleo turned on them came out of nowhere.
In their defense, $50,000 for turning in a teenager who may or may not be a murderer was a good move, but somehow, John B and Sarah always seem to evade capture.
The twist of fate here was in John B and Sarah being close to her family home, and of course, where the gold was being hidden.
It’s hard not to be mad at John B. He takes these big risks that have adverse consequences for everyone, and his decision to leave Sarah on the hotel roof to do some digging of his own was one of his worst decisions yet.
Then again, I’ve never been that close to getting millions of dollars worth of gold, so who am I to judge?
It was inevitable the trio from the boat would catch up to the teenagers, but it seemed like they had personality transplants since we first met them.
They do say that money changes people, and in this instance, that’s what it looks like, but Terrence, in particular, went from their savior to a villain.
He could have walked away with $140,000 worth of gold, but he wanted more. That type of money can change your life, but knowing there’s plenty more where it came from brings out the greed.
John B telling Terrence about the rest of the gold was clearly a way to save his bacon, but did he anticipate there would be any way he and Sarah would escape unscathed?
You could tell Sarah was livid with John B’s actions, but her love for him made it difficult to stay mad at him for long. He’s this teenager who takes risks, and that seems to be what attracted her to him in the first place.
The code to the vault being Sarah’s birthdate was predictable because it throws a moral dilemma into the mix for Sarah. Will she start to question whether her father is this big villain she’s painted him to be?
It’s possible Ward changed the code as a way to get through to his daughter should she break into the house, but we’ll probably delve deeper into that as Outer Banks Season 2 progresses.
Surely Sarah had to know her father would get an alert that someone gained entry into the house, which leads me to ponder whether she’s already tired of being on the run.
She knows her father murdered John B’s father, almost murdered him, and tried to frame him for murder, but will she be able to avenge all of these actions when she gets the chance?
It’s a tough one because she obviously realizes that life on the run is not all it has cracked up to be. With people pursuing them relentlessly, it can get tiring.
Something tells me we haven’t seen the last of Terrence, Cleo, and Stubs. They will probably come back to the house with even more people with the aim of pulling off the heist before the gold is gone.
The trio locking John B in the house was a great way to escape, but John B is a hot-head who won’t take too kindly to them trying to get him caught.
Now that John B has been caught, it raises many questions about the trajectory of the season. Ward thought he won the lottery when he heard John B died because he thought he was getting away with everything.
Charles Esten is killing it as Ward. This villainous role is perfect, and you can tell he’s loving every single minute of it.
Ward wants to get the money and disappear before it’s too late, but will it come at the expense of his son’s freedom?
Rafe being the killer has really elevated the stakes because it leaves many questions about how the case will pan out.
The cops are already closing in on Ward after John B’s outburst over the radio. The only good that’s come from all of this is that Ward feels the need to protect Rafe at all costs.
At the top of Outer Banks Season 1, he was finished with his son, but now that Rafe has killed to keep him safe, it’s shown him that he needs to be protected.
Rose telling Ward to entertain the possibility that Rafe will go away for his crime was crucial because it showed Ward that there’s a part of Rose that doesn’t care about his son taking the fall for everything.
This could hint at what to expect, and let’s just say there are some turbulent waters ahead for this relationship.
The show has largely failed to develop Rose, but having her embrace her villainous side works well … for now.
The episode-ending cliffhanger of whether John B will be shown on camera to Ward was probably one of the tensest scenes on the series to date.
There has to come a point in which these two come face-to-face again, and it’s far too early to show that John B is alive. The reveal has to come when Ward least expects it, allowing John B to knock the wind out of him and take control of the narrative.
Sarah was hiding in the distance, so perhaps she can create a distraction to stop the reveal from happening too soon.
The Pogues still being in Outer Banks and trying to clear John B’s name works well and all, but did John B have to send them a photo?
Why not just send them messages? He found a way to prove it was them pretty quickly, and it was in the messages he sent, but this highlights how immature he truly is.
Kie, JJ, and Pope’s quest for answers was intriguing because these three working together are a match made in TV heaven.
Kie has always been someone to speak her mind. There’s no sugarcoating it where she’s concerned, so of course, she was going to spray paint “Murderer” on the Cameron property.
“The Gold” was a successful way to pick up the series after such a long time. It had the action we’ve come to expect from the show, the drama, and, of course, treasure hunting goodness.
What did you think of the drama in the Bahamas?
Do you like the idea of the Pogues trying to clear John B’s name?
Hit the comments below.
Return to TV Fanatic for episodic reviews of Outer Banks Season 2!
Joan Allen’s entrancing performance as Amanda Deboucher explores the surreal world of Boo’ya Moon. Her voyage is more than a physical journey, it’s one so cerebral that it may not even be real. Watch Lisey’s Story on Apple TV+ https://apple.co/_LiseysStory
Based on the novel by Stephen King, this terrifying thriller follows widow Lisey Landon (Julianne Moore) as a series of disturbing events revives memories of her marriage to author Scott Landon (Clive Owen) and the darkness that plagued him.
SEE is set in a brutal and primitive future, hundreds of years after humankind has lost the ability to see. Season 2 premieres August 27 on Apple TV+ https://apple.co/_See
In season 2, Baba Voss (Jason Momoa) struggles to reunite his family. His estranged brother Edo (Dave Bautista) has captured Baba’s daughter Haniwa, vowing to exact his revenge against his brother. Meanwhile, the threat of war looms between the Kingdom of Paya and the Trivantian Republic, drawing Baba and his family directly into the center of the conflict.
The second season of SEE stars Jason Momoa, Dave Bautista and Alfre Woodard and is executive produced by Steven Knight, Francis Lawrence, Peter Chernin, Jenno Topping, Jim Rowe and Jonathan Tropper, who also serves as showrunner. The series is produced by Chernin Entertainment and Endeavor Content.
SEE is set in a brutal and primitive future, hundreds of years after humankind has lost the ability to see. Season 2 premieres August 27 on Apple TV+ https://apple.co/_See
Returning to the world of SEE, Baba Voss (Jason Momoa) struggles to reunite his family. His estranged brother Edo (Dave Bautista) has captured Baba’s daughter Haniwa, vowing to exact his revenge against his brother. Meanwhile, the threat of war looms between the Kingdom of Paya and the Trivantian Republic, drawing Baba and his family directly into the center of the conflict.
Starring Jason Momoa, Dave Bautista and Alfre Woodard, SEE Season 2 is executive produced by Steven Knight, Francis Lawrence, Peter Chernin, Jenno Topping, Jim Rowe and Jonathan Tropper, who also serves as showrunner. The series is produced by Chernin Entertainment and Endeavor Content.
Have that special feeling? There’s only one way to find out. Cross that bridge and watch Schmigadoon! now on Apple TV+ https://apple.co/_Schmigadoon
A parody of iconic musicals, Schmigadoon! is a new musical comedy series executive produced by Lorne Michaels and starring Emmy Award nominee Cecily Strong and Emmy Award winner Keegan-Michael Key as a couple on a backpacking trip designed to reinvigorate their relationship when they discover a magical town in which everyone is living in a studio musical from the 1940s. They then discover that they can’t leave until they find “true love.” The cast also includes Broadway and TV veterans including Alan Cumming, Kristin Chenoweth, Aaron Tveit, Dove Cameron, Ariana DeBose, Fred Armisen, Jaime Camil, Jane Krakowski, and Ann Harada.
Hailing from Broadway Video and Universal Television, a division of Universal Studio Group, Schmigadoon! is co-created by Cinco Paul and Ken Daurio. Paul serves as showrunner, and wrote all of the original songs for the series. Barry Sonnenfeld directs and executive produces. In addition to starring, Strong serves as producer, and Daurio serves as consulting producer and writer. Andrew Singer executive produces with Lorne Michaels on behalf of Broadway Video.
What isn’t there to love about comedy actor legend Seth Rogen? From the cinema to ceramics, this guy does it all and we absolutely stan! Catch Seth on Invincibles now, only on Prime Video
About Prime Video:
Want to watch it now? We’ve got it. This week’s newest movies, last night’s TV shows, classic favorites, and more are available to stream instantly, plus all your videos are stored in Your Video Library. Over 150,000 movies and TV episodes, including thousands for Amazon Prime members at no additional cost.
About The Boys:
The Boys is an irreverent take on what happens when superheroes, who are as popular as celebrities, as influential as politicians and as revered as Gods, abuse their superpowers rather than use them for good. It’s the powerless against the super powerful as The Boys embark on a heroic quest to expose the truth about “The Seven”, and their formidable Vought backing.
About Prime Video:
Want to watch it now? We’ve got it. This week’s newest movies, last night’s TV shows, classic favorites, and more are available to stream instantly, plus all your videos are stored in Your Video Library. Over 150,000 movies and TV episodes, including thousands for Amazon Prime members at no additional cost.
Welcome to YouTube Millionaires, where we profile channels that have recently crossed the one million subscriber mark. There are channels crossing this threshold every week, and each creator has a story to tell about YouTube success. Read previous installments here.
This week’s installment of YouTube Millionaires is brought to you by Bright – a learning platform focused on real conversations that level up your life.
For AMP, it’s all about making the best videos they can–by Any Means Possible.
The sports-and-gaming-focused YouTube group comprises six members: JustFanum (who has 633K subscribers on his solo channel), ImDavisss (1.19 million), Duke Dennis (1.63 million), Agent 00 (1.7 million), Kai Cenat (925K), Chrisnxtdoor (62.4K).
Together, AMP puts out one video every Monday–and in each of those videos, they put themselves to the test. Most of their clips involve cutthroat (er, cutthroat in a friendly way) competitions that see them go head-to-head at everything from cooking to gaming to slamball to bounty hunting and dodgeball and bootcamp and much, much more. But not all of their content is competitive; some of it, like this video where they open a restaurant, this one where they open a barbershop, and this one where they time-crunch create a mixtape, shows off the kind of collaborative magic that brought them together in the first place.
Over the last couple of months, AMP has had a lot to celebrate: first, the one-year anniversary of launching its YouTube channel; second, it moved into a house where all six members will live and create; and third, it passed one million subscribers.
That last one, of course, is why AMP is today’s YouTube Millionaire.
Check out our chat with Fanum below.
Tubefilter: How does it feel to hit one million subscribers? What do you have to say to your fans?
AMP: Amazing! It feels good to be recognized. Especially after all the hard work and dedication and perseverence we’ve all put in to make this possible. We love our fans and thank them for being there for us every step of the way.
Tubefilter: Tell us a little about each of you! How did you meet? What did you do in the days before YouTube?
AMP: My name is Roberto, but I go by the name of Fanum. I’m from The Bronx, New York City! I’m bilingual. English and Spanish. My family is from Dominican Republic and I am a first generation American. I met half the AMP members online a couple years ago while gaming. The other half I met doing IRL content. Eventually we teamed up and formed what is now AMP. Before YouTube, I used to work in a deli making sandwiches and feeding the masses while providing good eats here in New York City.
Tubefilter: When and why did you decide to start a YouTube channel and content house?
AMP: We’ve always dreamed of having a content house. Maximizing the content we can output to the world! We felt we could be a staple within the YouTube community, and we felt something was missing when it comes to YouTube groups. We would be something that was never before seen.
Tubefilter: What can viewers always expect from an AMP video? What’s your overall content strategy?
AMP: Uniqueness. We aim to please with every video. There is no formal strategy that we are using, we honestly just want to make good conten. We can have fun or push ourselves to try new challenges, and that can be enjoyed by our amazing fans.
Tubefilter: How does the collaborative process work with videos? Do each of you do specific parts–scripting, filming, editing, etcetera–or do you split tasks evenly? How long does the average video take to come together?
AMP: We all come together to think about ideas we want to shoot. AMP Chris edits the videos, scripting is handled on a vid-by-vid basis, so it changes from time to time on who is in charge of what video. An average video takes six days to come together from start to finish, starting from the idea all the way down to the editing.
Tubefilter: Is YouTube your full-time job? How often do you film? What does the average day look like for you?
AMP: I would say YouTube is my full-time job…I guess. I don’t really look at it like a job. We film every two to three weeks. An average day would consist of planning, filming, scheduling, and talking with our editors or our management team at Long Haul Management on any upcoming sponsorships or opportunities. Looking at analytics and thinking about what we can push to the next level, both on our individual channels and AMP.
Tubefilter: Do you have any strategies for growing your audience? Have you noticed any particular kind of content getting more traction than others? Do you adjust what you film depending on how your viewers react?
AMP: Our main focus is to make good content. Our physical videos tend to do better than others videos we’ve posted. We do adjust if the viewers want a specific video because we do actually take the time and listen to our fans and interact with them on Social Media or even in person when we run into them in public. We always have an open ear and love to hear ideas from our fans.
Tubefilter: How do you make your videos stand out amidst all the noise on YouTube?
AMP: We don’t worry about the noise.
Tubefilter: What’s your favorite part of making content on YouTube?
AMP: The engagement. The comments. The feedback. Making someone’s day better even if it’s just a little bit. The fact that we can do that is amazing to us.
Tubefilter: Have you expanded your content and/or the AMP brand off YouTube at all? Launched any merch, a related business, a presence on another social platform, and so on? Do you want to?
AMP: Yes, we are exploring other social media platforms like TikTok and Facebook. Merch has yet to be officially released by AMP, but we do assure that it will be a must-cop when released! We have much more in store for our fans. This is only the beginning.
Tubefilter: What’s next for you? Any plans looking to the future?
AMP: Bigger and better content. More expansion. International. The future is looking bright.
This week’s installment of YouTube Millionaires is brought to you by Bright – a learning platform focused on real conversations that level up your life.
On Bright, participants receive unprecedented access to learn from their favorite creators, icons and experts within an intimate, live video chat setting. More than 1500 talent are on the waitlist to lead Bright Sessions for audiences looking to improve their lives. Fans come face-to-face with their favorite talent, ask questions and are able to make requests from the VIP area while joining talent on the Bright Stage for direct exchanges and personal learning among other Bright interactive features.
For more info and to experience conversations that level up your life, head over to Brightlive.com.
US fantasy Sweet Tooth has been renewed for Season 2 by Netflix.
The second season will consist of eight, one-hour episodes. Season 1 was all filmed in New Zealand.
“It’s been equally thrilling and heartwarming to experience how people around the world have been falling in love with our deer-boy,” said series showrunner Jim Mickle. “We couldn’t be more excited to continue our collaboration with Netflix and keep following Gus and his friends on their extraordinary journey.”
The series is based on the DC comic book series of the same name by Jeff Lemire. It takes place ten years after “The Great Crumble” wreaked havoc on the world and led to the mysterious emergence of hybrids — babies born part human, part animal. Unsure if hybrids are the cause or result of the virus, many humans fear and hunt them. After a decade of living safely in his secluded forest home, a sheltered hybrid deer-boy named Gus (Christian Convery) unexpectedly befriends a wandering loner named Jepperd (Nonso Anozie). Together they set out on an extraordinary adventure across what’s left of America in search of answers— about Gus’ origins, Jepperd’s past, and the true meaning of home.
Sweet Tooth also stars Adeel Akhtar as Dr. Singh, Will Forte as Richard, Stefania LaVie Owen as Bear, Dania Ramirez as Aimee Eden, Aliza Vellani as Rani Singh, and Neil Sandilands as General Abbot; with James Brolin as the voice of the narrator.
Digital studio Portal A, known for its branded content productions, is doubling down on its efforts in the originals space in partnership with Pearl Street Films — the nine-year-old TV and film studio co-founded by Ben Affleck and Matt Damon.
The series, titled Reaver X Specter, is a sci-fi action horror drama set in Atlanta, Deadline reports, about an alien invasion disguised as a medical epidemic, whereby two rival sisters must put their personal baggage aside to work together to stop the attack.
Portal A and Pearl Street are currently pitching the project to broadcast networks and streaming services, according to Deadline. The series was created by writer/director Kholi Hicks and developed by Pearl Street’s Fanshen Cox and producer Brittany Turner. The Haunting of Hill Housewriter Jeff Howard will serve as consulting producer.
Pearl Street is behind noted films like Manchester By The Sea and Ridley Scott’s upcoming The Last Duel.
Portal A, for its part, is supercharging its efforts in the premium content space following a 2019 investment from Jimmy Kimmel-backed Wheelhouse Entertainment, according to Deadline.
In addition to Reaver X Specter, the company is readying a Snapchat series called Action Royale about a teenager who starts an underground esports gambling ring to pay off his father’s debts. Starring Sons of Anarchy’s Kim Coates, it will bow this fall. Also in the works at Portal A is Catalyst, a docuseries about the modeling agency that reps trans model and actress Hunter Schafer and Aaron Rose Philip — the first black, transgender, and physically disabled model to be repped by a major agency.
On the podcast front, Deadline reports, Portal A is producing What It’s Like with Molly Burke, in which the blind YouTuber will interview people with extraordinary stories.
The 2022 iteration of the consumer electronics conference will feature a program track dedicated to non-fungible tokens, cryptocurrencies, and other blockchain-based tech, Varietyreports.
For those unfamiliar, CES–which has been running annually since 1967–provides a forum for companies to introduce their latest cutting-edge innovations. The event also offers C Space, a hub for brand marketers, ad agencies, digital publishers, and social media platforms to present and network.
Karen Chupka, EVP of CES, told Variety that the track is intended to explore the history of NFTs and their impact on the art market, as well as the economics of cryptocurrencies.
“NFTs represent a dynamic fusion of technology and digital media,” she said. “The digital assets ecosystem is primed for significant growth in 2022 and beyond…We think the CES audience is ripe for that discussion.”
Longtime CES advisor United Talent Agency is consulting on the track. Brent Weinstein, partner and CIO at UTA, said that he believes blockchain-based tech will have “a massively disruptive impact on media for years to come.”
“There’s a misconception that there was this huge NFT rush earlier this year and the world has moved on, but that’s not true,” he said.
Barry Sonnenfeld is a director and producer with the most incredible filmography.
From directing the Men in Black films and the Netflix series, A Series of Unfortunate Events, to producer credits on such clever shows as The Tick (BOTH iterations), Pushing Daisies, and Disney’s Enchanted, this is a man with a wicked sense of humor and timing.
Taking on the director’s chair on Apple TV+’s Schmigadoon!, which lovingly savages the Golden Age musicals of Hollywood, seems like a natural fit. But, speaking with TV Fanatic on a virtual press day, Sonnenfeld is quick to set the record straight.
“Y’know, I’m not a big fan of musical theatre whether it’s Broadway or even MGM musicals from the 30s, 40s, and 50s. I never bought the reality of people stopping what they’re doing to break into song.
“So I found it a little bit difficult. There were a few musicals I really liked, but they were a little bit… I loved Miloš Forman’s Hair. I loved Steve Martin in Pennies From Heaven.
“And I loved Monty Python’s The Meaning of Life as well. But it wasn’t like Carousel or Westside Story or that kind of stuff.
“So, for me, the challenge was how do I reproduce the visual style but yet still make it my own as well?
“One of the things is we often shot dance numbers wide, which is something that they would do in older musicals where you can see that they’re actually dancing, head to toe.
“A lot of new musicals are too cutty and have too many inserts, so the challenge was to make it look like an old MGM musical yet still have the acting be very emotional, very real, funny. Reality-based comedy and not people slipping on banana peels funny.”
Geographically, the town of Schmigadoon is an idyllic but surreal environment with the realism of the MGM backlot and lit with a pastel palette and all the menace of a child’s birthday cake.
Furthermore, the diverse (and talented!) chorus is dressed in gingham and floral prints with miles of petticoats as far as the eye can see.
“They’re good for dancing. They flow. We had a great choreographer named Chris Gattelli, who has won Tony Awards on Broadway but hadn’t done that much stuff for the filmed world.
“We had a great working relationship. He would take a group of stand-in dancers, all wearing masks because it was during COVID.
“He would rehearse and record it on his iPhone and then send it to Cinco and myself, and I would give him notes. ‘Let’s pan the camera here. Let’s track instead of panning. Don’t cut around. Let’s do a continuous shot with the person [who] comes close to the lens. etc. etc.’
“And then he would go back and shoot it, and I’d give more notes so, by the time we got to the set to shoot it, Chris had gone through anywhere from three to six iterations on the dance based on notes from Cinco and myself.
“By the time we were on the set, on the day, it was very easy. It was all pre-planned. We knew the lenses. We knew the distance. So it was like a technical rehearsal almost to shoot.”
COVID was a factor that no one had ever had to contend with before while making a TV show. Sonnenfeld was circumspect about its effect on production.
“I don’t want to say that COVID was good for us because it wasn’t.
“It was very hard because, every setup, there would be crew wearing masks and shields, and then when the actors came in, most of the crew had to leave, and then the actors had to rehearse wearing the shields.
“So, it was very difficult, although we did end up coming in a day under schedule in spite of all that.
The Shop: Uninterrupted returns Friday, July 30 at 9 pm on HBOMax. Joining Maverick Carter are DJ Khaled, Trae Young, Jemele Hill, Meek Mill, Chase Young, and Paul Rivera. #HBO #TheShop Subscribe to HBO on YouTube: https://goo.gl/wtFYd7
Stream on HBO Max July 30: http://itsh.bo/hbo-max
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The Shop: Uninterrupted | Season 4 Episode 3 (Promo) | HBO
Paris Hilton is back on screens in Cooking with Paris (which I suspect is another by-product of lockdown).
This is a 6 part reality series… you have been warned.
Paris Hilton can cook…kind of. And she’s turning the traditional cooking show upside down. She’s not a trained chef and she’s not trying to be. With the help of her celebrity friends, she navigates new ingredients, new recipes and exotic kitchen appliances. Inspired by her viral YouTube video, Paris will take us from the grocery store to the finished table spread – and she might actually learn her way around the kitchen.
For 14 or so years, I have been making a living building some of the largest audiences on the YouTube platform. I’ve seen a lot of videos and channels.
What I always find the most interesting, though, is that even after all of the time I’ve spent, all of the videos I’ve watched, all of the papers I’ve written here on Tubefilter, all of the conversations I’ve had with other strategists, all of the data analyses and spreadsheets and reports that I’ve presented–there are still new things to discover, analyze, dissect, and share.
At my agency Little Monster, we’ve been spending a lot of time recently thinking about macro programming strategies on YouTube. What we’ve boiled it down to is that YouTube channels employ one of four typical growth strategies:
I’m going to lay out for you the foundation of each strategy, why it works, how and where it can fail, and the best practices required for each to succeed.
STRATEGY #1: Mass Upload
The T-Series Channel
The Mass Upload strategy is exactly what it sounds like (and the antithesis of the Little Monster Method…but more on that later). Within this strategy, a channel is not trying to maximize every upload, they’re trying to maximize upload-ing. In short, the mass-uploader is placing as many bets (videos) on the board as possible. The basic proposition is more videos should equal more views. And it’s not necessarily wrong.
Of the top 10 most viewed channels in the last 30 days as of this publication, according to Gospel Stats, four of them, including the top two most viewed channels, T-Series and SET-India, have more than 15,000 videos uploaded. Twenty-three channels in the top 100 have uploaded more than 10,000 videos, and 43 channels have uploaded more than 1,000 videos (YouTube Shorts channels excluded).
This strategy is largely employed by media companies with large libraries of content, and it would be difficult to imagine an independent creator being able to pursue this strategy in a sustainable way. However, it’s not impossible.
Take gamers, for instance. A little back-of-the-napkin math would indicate that if a gamer was able to upload 10 clips a day, they would be able to get to 10,000 uploads over the course of nearly three years.
Large media organizations don’t have this problem. They can use the mass upload strategy to generate billions of monthly views, and when they do, there are a few high-level best practices essential to success.
First and foremost, for this strategy to work, a channel must recognize that what they are really building is a content library. This library will primarily thrive on:
1.1 Content Quality
The word “quality” is subjective here, but let’s be honest: content farms typically mass-produce garbage videos and rarely succeed in the long run.
5-Minute Crafts monthly YouTube Views from January 2019 to May 2021.
On the other hand, the channel T-Series and similar brands succeed not just because of the volume of their library, but also the quality of the content therein. Just eyeballing on a cost-per-minute comparison, the videos being distributed on the T-Series channel probably cost 10x your average YouTube video or more.
The importance of this can not be understated. They are not just pumping out hot garbage on a plate. These are often music videos, movie trailers, or clips from TV shows and movies produced straight out of Bollywood that viewers are looking for.
That last bit is vital to the success of the Mass Upload strategy. If viewers are not looking for the type of content being mass produced, there’s a low likelihood of success with mass-uploading. Movieclips works because hundreds of millions of people are looking for these videos on a monthly basis.
Recent videos from Fandango’s Movieclips
1.2. Never Slow Down
Once a channel has begun to move toward mass uploading, growth is predicated on keeping a mass-upload pace or accelerating. Constantly adding to the library means that the channel will constantly create new opportunities to be recommended to viewers by YouTube.
Most of these uploads will not generate views in the long run. Some content will get a second wind and spike for one reason or another. But every now and then a mass-uploaded video will crank out millions of views a day, every day, for years.
This is where the Mass Upload strategy pays off.
By having many thousands of videos in the channel library, the mass uploader does not need every video to generate thousands or millions of views on a daily basis in perpetuity. They only need a few to break through.
1.3. Thumbnails and Metadata
Mass Upload channels depend largely on their library to drive viewership (as opposed to the success of each new upload). Despite having nearly 200 million subscribers, a new video on T-Series rarely breaks 100,000 views. The vast majority of their 3 to 4 BILLION monthly views are coming from their library of past uploads (videos older than 30-90 days).
In order for these videos to do well over time and be consistently recommended in YouTube’s main arteries (suggested, browse/homepage, and search) they need thumbnails that accurately represent the video, and metadata that is clear so that people can find what they are looking for.
In a recent Creator Insider video, YouTube stated that the recommendation system “finds videos for viewers, not viewers for videos.”
So, in order for YouTube to find your video for a viewer, the content must be doing a good job of satisfying the viewers who have already clicked on it. Thus, the importance of accuracy. When YouTube sees viewers are finding what they are looking for in your video the recommendation system will continue to serve that video to similar viewers; or viewers looking for that thing.
Please note that you do not need a master’s in YouTube “SEO” to succeed here. There’s no amount or “secret sauce” of keywords that will help you rank here. Those days are LONG gone. What matters is:
Viewer satisfaction: Did you deliver on your promise? Did people hang out and keep watching?
Click through rate: You can’t satisfy viewers if they don’t click.
Accuracy: You likely won’t “rank” for a term or topic if the audience and/or the recommendation system believe your video thumbnail or title is misleading.
Mass Upload channels do not need a highly engaged audience to succeed, and may in fact be some of the least engaged with channels given how few views new uploads receive. This strategy is about being everything to everyone (Walmart), instead of being a specific thing to a specific audience (Tiffany’s). The play here is to simply flood the zone with endless uploads as fast as possible. Go fast, and accurately portray the videos in your thumbnails and metadata and you can succeed.
STRATEGY 2: “Search” & The Utility Channel
A “Utility Channel” is how we at Little Monster refer to a channel whose viewership is largely driven by direct informational value to the intended audience. These are essentially channels that make videos where the viewer is there to receive specific information.
Huge audiences can be built here, but it’s difficult. Let’s take for example Khan Academy, whose viewership has little to do with how frequently they post, or the quality of any individual video. Khan Academy’s viewership has far more to do with when people are in school and looking for specific information on the classes they are taking. Note how their viewership thrives when class is in session, and plummets over the summer and over the holidays:
Khan Academy’s monthly YouTube views from January 2020 to May 20201.
While this is a pattern that generally seems to be true for similar educational or curriculum-based channels, other types of utility channels experience a strikingly similar need vs. viewership correlation.
Let’s take a car review channel, Redline Reviews. This channel regularly releases videos reviewing various cars, and their viewership can swing by as much as 300% upload to upload.
These two videos released within a few days of each other:
Two videos from Redline Reviews
What’s driving (pardon the pun) the viewership here is the need for information on a specific car. There are far more people interested in a brand-new model of car and in the price range of a Volkswagen ($32,000) than in the market for a car that has been around for a long time and in the price range of a BMW ($45,000).
Another type of channel that we at Little Monster call a utility channel are recipe channels. The viewership here is predicated on a potential viewer’s need to know how to make the food item being advertised in the thumbnail and title. Again, we still see sporadic viewership ranging from a few thousand views, to tens of thousands of views. As an example, here’s what the viewership on BuzzFeed’s Tasty looks like over 24 recent uploads:
Videos from Buzzfeed’s Tasty Channel
What these channels all have in common is that viewership is largely based on a potential viewer’s interest in the topic of the video. The viewer chooses to watch or not watch based on that particular video’s specific relevancy to them.
I’ve written and spoken extensively about the danger of having viewership be based on topicality previously. That said, in short, what this type of programming strategy leads to is unpredictable viewership, large swaths of your audience becoming less likely to be served your videos over time, and ultimately a mass upload strategy.
This leads to a mass upload strategy because that is the best way to succeed when you are a utility channel. This is true because the more videos you have that could potentially be relevant to a viewer, the more likely you are to gain viewership. The calculation is simple because if you want to grow as a utility channel, the more topics you cover (videos) the more potential viewership you will have. What is a library other than a utility to find the information you want?
Therefore, the same best practices that exist for Mass Upload hold true for a utility channel, with a few small tweaks:
Your channel’s niche largely determines the thumbnail style that is most likely to get your videos viewed. Recipe channels typically use glamour shots of the finished food product, car review channels use glamour shots of the featured car, and so on. These selections accurately represent the video, but more importantly adhere to conventions audiences have become used to and conditioned successful channels to use. Essentially, those channels that have come before you in a given niche have done the hard work of finding out what viewers are most likely to click on through years of trial and error.
2.2. Being first
Utility can significantly benefit from being first to do something. When the latest tech or gadget comes out, those who are able to secure early access and get videos uploaded quickly tend to outperform others who come after.
The reason for this is that if your video is one of the first to be uploaded on a given topic, it’s a video that YouTube will already have processed the data around. This means your video, if it has decent metrics, will likely be served at the top of Search, in Homepage feeds, and at the top of Suggested, as interest and viewership spikes on a given topic. Additionally, there’s likely to be a small supply of videos on the specific topic of interest, and therefore your video is more likely to be put in front of viewers rather than others.
This becomes an upward spiral as the increase in views leads to higher clickthrough rates as the video generates more and more social proof in the form of views. This leads to YouTube continuing to serve your video to more and more people in more and more places (assuming other factors remain relatively constant).
2.3. Specific Niche
While mass upload channels can be far more broad (“movies,” “music,” etcetera), Utility channels must find as specific of a niche as possible. This allows for your audience to flow across your videos more seamlessly as your videos’ close relation to each other means they are likely to be more relevant to the viewer.
These are the main differences between the Mass Upload strategy and utility channel strategy in regards to best practices. However, there’s a poison pill in the utility channel strategy.
The pill is that viewership is based on the viewer’s interest in a topic, which makes it extremely difficult to build a sizable audience. This is true because it’s unlikely that the people you get to watch one of your videos will want to watch many (or any) of your other videos, because they’re only watching based on the value they can get out of the initial video they clicked on, or their interest in the topic of a specific video in the first place.
The audience is not there for you the creator, the style of the content, or the format of the show or video.
For example, look at these screen grabs from some of the top search results for “how to make chocolate chip cookies”:
Besides the different logos, these three channels are virtually indistinguishable from one another in terms of personality, style, and format.
These are the three key areas where a utility channel can distinguish itself. Focusing on developing these three areas can make a utility channel move beyond just providing informational value, and allow them to provide “entertainment” value or “connection” value as well.
“To connect with others” was the third main reason people came to YouTube in Google’s study. This connection specifically relates to how a personality, talent, or host connects directly to their audience.
If there were a clear, repeatable science to creating this connection, there would be millions more full-time YouTubers, movie stars, and famous musicians. However, I don’t think this is some mysterious X-factor that you either have or you don’t. It can be honed and it can be leveled up through practice and training.
A common trope in our industry is “be authentic.” Hell, I’ve said it myself when advising creators at Little Monster. But I’ve never heard someone actually describe what that means in practical terms or at least define it in a way that is universally applicable.
My advice would be to study the creators on YouTube that you or your audience connect with. What do they do that makes you want to spend time with them? Find what that is, and what that is about you or your talent, and double down on that. Take improv classes. Practice making videos. I’m not saying you’ll be the next PewDiePie, Zendaya, or Cardi B, but improving your skills here can increase your chances of finding success on YouTube.
As it pertains to style, that’s simple and straightforward. Do people watch your videos because they really love the unique style of video you’re creating? Is there something you can do to make your style just a smidge or two better than those in your vertical? If so, this can make you and your content stand out amongst the sea of competitors.
The lovely thing about style is that it’s far less subjective than connection, there are far more resources to make yourself better at the actual art of video creation, and it doesn’t take a lot to really stand out.
When speaking to Utility channels, the aspect of content creation that Little Monster focuses on most is format. I’ve written extensively about how a channel can distinguish itself by way of format in my Taxonomyarticle here on Tubefilter. I encourage you to read that article with an open mind, and to keep in mind that what I am proposing in that article is a methodology about how to create anew format, not just ape what is already being done successfully.
What we are essentially advocating for here is moving a channel from having a Utility Channel approach (Mass Upload) to a Little Monster Method strategy. The reason for this is that by and large, most media companies and independent creators (who, by the way, are media companies whether they recognize it or not) will not be able to compete against the Mass Upload strategy. If you can out-upload the Mass Uploaders, by all means, give it a shot. But you’re more likely to bankrupt yourself or burn out than overtake a channel that already has thousands of videos and is adding more daily.
The vast majority of this type of channel will have to win not through quantity but through quality. Finding your footing in personality/talent, style, or format is the surest way we at Little Monster have found to do that.
STRATEGY #3: The Home Run Game
Channels that play The Home Run Game upload many different types of videos until one really takes off (home run!). Once you’ve hit a home run, you double down on whatever worked, the “value proposition” of that particular video, be it format, style, personality, topic, or some combination of the four.
We see this often in channels that have been around for a long time before suddenly exploding with growth. A few top examples of this are channels like Cocomelon, PewDiePie, and MrBeast. MrBeast uploaded well over 100 videos and was active on YouTube for six years before he reached 1,000 subscribers.
3.1. Playing The Home Run Game
This strategy can work in a few different scenarios:
You have an understanding of your channel’s core value proposition but can’t really get traction in your niche or vertical. In this scenariom it makes lots of sense to explore different styles, formats, and talent or performance styles.
For example, let’s say you’ve built a decent-sized audience in the home improvement vertical. You know your audience generally wants and expects you to talk about interior design. Your typical video shows you doing some sort of DIY project in your home.
Instead of doing the same thing in each successive upload, take some swings at the fences. Try reacting to various clichéd themes, critiquing celebrity homes, remaking things in a celebrity’s home, go handheld instead of on a tripod, and so on.
You have a large competitive advantage, like a brand. If you’re a media brand, you likely have a library of content. Is there something you can do with this library that others are not? A different format or style of video? If you’re a non-media brand can you leverage your access to events, celebrities, or products to get an advantage over people in this space? If so, take these swings.
Note that if you do hit a home run here, you’re going to want to move everything else you are creating to another channel or spin this type of content out into a separate channel. YouTube channels are designed for one core value proposition. Two competing shows or types of value propositions on the same channel will hurt both.
You have a new channel and therefore have room to experiment with no consequences. For people starting out on YouTube this is the perfect time to try things that are outside the norm. Every minute, 20+ DAYS worth of content is uploaded to YouTube. Do something unique to stand out in this content tsunami.
In the long run, the Home Run Game strategy should be considered a means to an end, with the end being a solidified, clear value proposition. If a channel always swings for the fences with wildly different programming, the audience will have no idea what to expect when YouTube serves them one of its videos.This will alienate both the audience and the recommendation systems. As a mentor once told me, you want to be dependable, but not predictable.
The home run game is not moneyball. The home run game is trying to become the Yankees on a Norwich Sea Unicorns budget.
STRATEGY #4: The Little Monster Method
Moneyball, the 2003 book and 2011 film starring Brad Pitt and Jonah Hill, chronicles how Billy Beane took the Oakland A’s to the playoffs in 2002 and 2003, with one of the lowest team salaries in the majors.
Essentially, Beane built a team by leveraging data to select and utilize players who were statistically highly likely to lead to wins through their combined impact, without relying on individual superstars.
The Little Monster Method is moneyball for YouTube channels.
We use data to create and distribute videos for our clients that are highly likely to succeed with our client’s audience and thereby the YouTube recommendation system. Like Beane, our clients’ videos win because they are analytically designed to do so.
Our method is based on the premise that a YouTube channel should serve one audience a single core value proposition. We use the data in YouTube analytics to understand exactly what that audience is most interested in, and then super-serve them what they want.
This is a 360-degree approach to content creation, analyzing and optimizing the:
Value proposition of the channel
Format of the content
Style of the content
Talent on screen
Topics of videos
Length of the content
The two most important elements in this strategy are the Value Proposition and the format of both the channel and videos.
4.1. Value Proposition
A value proposition is essentially the answer to the question “Why does someone watch your videos/channel?” It can be a concept (“they will be inspired”), format (it will be a reaction video), style (a Wes Anderson film), personality (a specific person will be in the video), or a topic (videos will always be about surfing).
The value proposition doesn’t need to be universally true for every viewer, but it does need to be universally true for every video. For example, if we asked MrBeast’s fans “Why do you watch MrBeast?” you would get a lot of different answers. However, from MrBeast’s point of view, every video is a larger-than-life spectacle (therefore, that’s the value proposition).
For MrBeast, the other elements (format, style), while important, are not beholden to this same singularity. For example, he can do a Challenge video format in one video, and in the next a reaction/listicle video format.
In the video below, MrBeast is utilizing a very classic Challenge video format, where three teams are competing to win a prize. Here, it’s a house:
Utilizing a completely different format (reaction/listicle) MrBeast made a video where he tips waiters and waitresses with real gold bars:
As you can see these videos are completely different formats, but still deliver on the larger-than-life spectacle value proposition.
For MrBeast, format is less of a core necessity than for others. This is actually true for the vast majority of “influencers.” Quite often, once someone achieves influencer status, the core value proposition has become the creator.
MKBHD is a great example of a channel that has made personality it’s core value proposition. MKBHD’s core value proposition is that you get to hang out with him. He’s cool, transparent, humble, engaged, excited, and unflinchingly himself. He also has some of the slickest and most stylish “tech review” videos on the platform. Unlike other tech review channels, his content doesn’t adhere to a singular format at this point, because it doesn’t need to.
First We Feast by and large has two primary formats (in this case, named shows)–Hot Ones, and The Burger Show. By and large Hot Ones outperforms The Burger Show.
Recent videos from Complex’s First We Feast Channel
On MTV’s Wild ‘N Out, the rap battles and highlights from the show dominate the other types of content they’ve tried:
Video thumbnails from MTV’s Wild ‘n Out
And for Binging with Babish, his main show beats out the secondary show Stump Sohla regularly.
Recent videos from Babish Culinary Universe
The reasons these secondary shows all underperform (and there are countless examples) is because they do not match the core Value Proposition of the channel fully, as these are channels that are more reliant on a viewer’s interest in the format.
You may be asking, why does this matter? What’s the harm in putting multiple value propositions or multiple formats into one channel?
The problem lies in how YouTube’s recommendation systems are built and how audiences behave. To make recommendations, the YouTube recommendation system uses:
A viewer’s past viewing history (clicks, duration of view)
A viewer’s past engagement history (likes/comments/surveys)
Contextual information (device, location, time of day, etc.)
Collaborative filtering (How other similar viewers have engaged with a video)
Video stats (clickthrough rate, average view duration, user feedback)
This system is designed to treat each individual user independently, creating a YouTube that is customized specifically for them.
If a viewer has historically clicked on your videos regularly, watched them, and given positive feedback (implicitly, like spending a long time watching and then watching a bunch more of your videos, or explicitly, like filling out a survey about your video positively), YouTube will continue to serve them your videos. More importantly, YouTube will use this data and suggest your videos to similar viewers.
Now, let’s say you switch up your formats or introduce a new show concept and YouTube feeds the new format or concept to your audience…and they don’t like it. They don’t watch for very long, click “like,” or leave comments…You’ve changed the value proposition, and YouTube is going to ding you for it.
This is because YouTube is incapable of deciphering between two different series on a YouTube channel. The recommendation system is built to simply understand if a viewer clicked, watched, and enjoyed your videos the last few times they were recommended to that viewer.
Like we see with The Burger Show, Quarantine Workout, and Stump Sohla, audiences haven’t responded with the same enthusiasm, so YouTube serves these new concepts/formats to fewer people in their audience.
But it gets worse. Because YouTube is incapable of deciphering between different shows on your channel, it becomes less likely to serve your audience ANY of your videos in the future, including the type of video the audience initially liked. The introduction of a new value proposition is a big gamble–and from Little Monster’s point of view, a bad bet.
There are billions of videos on YouTube and 500 hours’ worth of content is uploaded every 60 seconds. Why should YouTube waste its time and impressions trying to decipher which specific videos from a channel a particular viewer might be interested in when they could just show them any of the millions of other videos with better metics from channels the viewer has a greater probability of enjoying?
In other words, YouTube is not going to subsidize your bad bet. Their value proposition to the audience is that there is nothing in the world as entertaining as YouTube. If your new series doesn’t support that idea as well as your previous series did, YouTube has to shield people from it in order to live up to their value proposition.
In addition, the impressions that could have been going to your high-performing videos have been going to these new concept/format, underperforming videos–a double whammy for you and your content.
All of this causes your viewership to bleed over time, and eventually leads to “channel decay,” possibly to the point of no return.
This is why channels that make the mistake of having multiple value propositions decline in viewership.
Don’t just take my word for it–here’s a graph of Babish Culinary Universe’s viewership over the last 12 months. The second show, Stump Sohla, first appeared on the channel in September of 2020:
Babish Culinary Universe monthly YouTube views from May 2020 to May 2021
Beyond value proposition and format, the other elements of a programming strategy all adhere to the same principles in the Little Monster Method.
4.3. Talent/Personality: Are we seeing high CTRs but low relative average view duration? If this is married to other data (like negative comments about the main person onscreen) this might be an indication of a needed shift in performance or talent. If there are multiple different talent onscreen, is there one that gets more positive comments? Are there there spikes (good) or click off (bad) when a specific talent or character is onscreen?
4.4. Style: What style of video does your audience most like to watch–handheld multi-camera with quick cuts, or a locked-down single camera and slower pacing? Here we’re looking at the difference in average view duration and average percentage viewed, and similar deep metrics.
4.6. Tactical Analytics: When we look at more tactical items in The Little Monster Method–titles, thumbnails, video length–our goal is to make the video the most “clickable,” without being misleading. Here we’re going to be analyzing things like the velocity of the video. Essentially, is the video getting more viewership in its first one hour, two hours, or ten hours than our other videos? What is it about the programming choice, thumbnail, and title that is causing this higher relative clickthrough rate? How many faces should we put in a thumbnail (if any)? Should we use text? Are we going for a clear value proposition as to what the video is about, creating an information gap, or teasing the viewer with our thumbnail and title combination? Do videos that fall between 17 minutes and 23 minutes on average generate the best average view duration for more viewership in the long run or is there a different sweet spot in length?
4.7. Timeline & Evolution: We break down content and best practices for a channel over the long run by looking at what worked at the 30-, 60-, 90-, and 365-day mark. Combining analytics over the short- and long-term and teasing out the often subtle differences helps Little Monster create maximum impact and reach quickly and over the lifespan of a video.
At Little Monster, we’re not looking for “viral” videos or home runs. We’re looking for videos that are more likely to get on base than they are to strike out. We’re using all of the data both on-platform and off-platform to make extremely well-informed decisions as to what combination of factors in strategy and tactics will lead to audience growth. We’re playing moneyball, and we’re winning. You should too.
Matt Gielen is the founder and CEO of Little Monster Media Co., a video agency specializing in production and audience development on YouTube. Founded in the summer of 2016 Little Monster has already helped dozens of clients big and small grow their audiences including MovieClips, Condé Nast, Viacom, CBSi, and NBCu. Formerly, Matt was Vice President of Programming and Audience Development at Frederator Networks where he oversaw the building of the audiences for Cartoon Hangover, Channel Frederator and the Channel Frederator Network.
You can read more of Matt’s articles on Tubefilter here, and follow Matt on Twitter.
TikTok is commemorating the one-year anniversary of TikTok For Business — its public-facing website where advertisers can review ad products, tender purchases, track spend, and glean best practices — with a new community-wide hashtag campaign.
Dubbed Re:Make, the campaign will see TikTok partnering with brands and agencies to reimagine iconic ads as TikToks, while also soliciting recreations from the TikTok community at large using the #TikTokReMake hashtag.
The inaugural brands to participate in Re:Make are Skittles, Snickers, and Old Spice. In a blog post, TikTok said that other brands could get in touch about participating in future installments.
Skittles will highlight its 2007 spot called Touch, where a protagonist turns objects into Skittles. Accordingly, creators Maddi Winter and Nick Uhas have put their own spin on the spot using animation and science experiments, respectively. Snickers, for its part, will fete its You’re Not You When You’re Hungry Super Bowl campaign starring Betty White — which has been reimagined by TikToker Ross Smith and his beloved grandmother (see below).
Finally, Old Spice has proffered 2010’s The Man Your Man Could Smell Like, starring Isaiah Mustafa — known to many as ‘The Old Spice Man’. For this ad, TikTok tapped U.K. creators Munya Chawawa and Niall Gray to put a distinctly British spin on the commercial by incorporating local references and British humor.
“TikTok is home to a new generation of creative community that has evolved the platform into a culture creation engine,” the company wrote in its blog. “Thanks to our creators, these timeless stories can be told and retold in exciting new ways.”
The Ice Age continues but hope springs eternal, and our Arc of Humanity continues to roll along at TNT.
TNT’s Snowpiercer had a rocky departure out of the station, plagued by numerous production changes and network pivots back in 2017 before finally premiering in 2020.
However, since then, it has garnered accolades and audience numbers for its exciting twists, deep character development, and incredible world-building.
Filming has just wrapped in Vancouver on Season 3 and, with it, the announcement that it has already been renewed for Season 4.
“Snowpiercer has been an incredibly successful series for us that continues to capture the imagination of viewers, grow audience and maintain strong ratings,” said Sam Linsky and Adrienne O’Riain, co-heads of scripted original programming for TBS, TNT, and truTV.
“All of our seasons embark on an emotional, unexpected ride, and the well-plotted storylines will continue to evolve and remain relevant to audiences. We’re excited to keep the train running into season four.”
Star Daveed Diggs makes the official video announcement flanked by castmates Rowan Blanchard (Alex Cavill), Mickey Sumner (Bess Till), Iddo Goldberg (Bennett Knox), and Sheila Vand (Zarah Ferami).
Noticeably missing is Jennifer Connelly, whose character Melanie Cavill was presumed dead at the end of Snowpiercer Season 2, but since no body was found, audiences were left questioning her fate.
TNT has provided the following tidbits on how Season 3 will unfold:
Season three picks up with Layton (Diggs) and his inner circle commanding a small pirate train in search of Melanie (Connelly) and a possible warm location to restart civilization, aided by a newfound survivor.
Back on Snowpiercer, Mr. Wilford (Sean Bean) is consolidating power, foiled only by secret allies of Layton’s hidden on the train, committed to the cause.
Emmy nominee Archie Panjabi and Chelsea Harris (Sykes) join the Season 3 cast, with Mike O’Malley (Roche) being elevated to a series regular.
A premiere date for Season 3 has yet to be announced but, in the meantime, what would be a better binge-watch in the heat of the summer than a frozen post-apocalyptic thriller?
Both Snowpiercer Season 1 and Season 2 are currently available to stream on the TNT app in the US and on Netflix globally.
Elizabeth Mitchell is the latest addition to the cast of Netflix’s Outer Banks, which returns for its second season Friday, July 30.
Mitchell is best known for her scene-stealing roles on Lost, The Purge: Election Year, Revolution, and Once Upon a Time.
The list goes on. The actress has appeared in a string of hit movies and TV shows, and TV Fanatic got the chance to chat with her about Outer Banks, as well as her new projects on the horizon.
TV Fanatic: Your latest series, Outer Banks, kicks off its second season this week. What attracted you to the show?
Elizabeth Mitchell: A lot of things. I hadn’t seen it yet when I got the audition, and I watched it really quickly because I love to do my homework, but then I continued to watch it, and I absolutely got sucked in.
So I think it was working with the Pate brothers and with this incredible cast. I was just excited about it.
I didn’t know a whole lot about the character, except that she was a bit toxic and hurt.
I wanted to see what that looks like. So I found myself a little bit scared and a little bit excited, and that’s what drew me to it. Those two things are usually a good signal for me.
You’re playing Carla Limbrey on the series. Are you able to speak about how your character fits into the show?
Carla is a Charleston native. She is old money. She is one from one of those old, old, old, old Southern families.
And she is after the same thing everybody is after, but she has a very distinct reason and, honestly, nothing to lose. So she is an interesting, in my way of thinking, antagonist for this particular story.
The first season ended on quite the cliffhanger, with the Pogues assuming John B and Sarah to be dead. Can you tease anything about the aftermath of that?
The aftermath is very rewarding. They do it in such a way where the first three episodes really do feel like the wildest ride you can imagine.
I think that what we all hope for and long for is that the Pogues will all be together. That’s what happens when you fall in love with a group like that, and I think people will be happy with the way things turn out this season.
I understand you’re playing Margo on the new Netflix drama, First Kill. What can you tell me about that show?
I’m a vampire! I’m a 500-year-old vampire! Oh, I’ve always wanted to play a vampire.
That’s exactly what attracted me to this show. I love the showrunner, Felicia. I find her world-building skills to be second to none.
I was excited about the idea of working on a television show with so many females. I thought that that was really fun.
When I spoke and auditioned and interviewed with everybody, I was in a room with all women, and I found that to be so interesting, in comparison to where I had been auditioning most of my life. I was instantly intrigued and a little bit tickled and ready to take it on.
And I quite like Margo. She is an interesting matriarch, and she fascinated me as well. So I think a combination of the script and the people behind the camera. All of that was really intriguing to me.
Your past shows have mostly been on cable and broadcast, and they’ve typically rolled out on a weekly basis. What are your thoughts on releasing all the episodes at once?
I like the idea of it feeling like a long movie. I liked the idea that you can be immersed. I think that sometimes with the twisty turny adventure shows that I like so much, if you separate them by too much time, you forget a plot point, and then you have to go back and rewatch.
And I think when they’re all together, especially for a thriller or an adventure show, those shows really do benefit from being back to back.
It doesn’t bother me one bit. I kind of think it’s wonderful. I do it myself. When I fall in love with something, you just sit on the couch, and all of a sudden, you fall into another world.
You’ve been a part of some of my favorite shows, including Lost, Revolution, Dead of Summer, and Once Upon a Time.
What are your thoughts on either of those shows making a comeback in some capacity?
I would be so happy if any of them did come back. The fun thing about any sort of reboot is that you get a different perspective of a good idea.
And a different perspective of a good idea, a creative take on something that works, is something that I’m always happy to watch. Battlestar Galactica was just extraordinary, right?
It’s so fun when we take things, and we put a whole different idea. That would be an absolute pleasure for me to watch on any of those shows.
I really like the Purge franchise, but my favorite one was Election Year.
I’m so glad. I liked that one, too. It felt like a thriller to me.
Do you think you’d ever return to the franchise?
I absolutely enjoyed working with everybody. If they came up with something that we all thought was wonderful, absolutely.
Those people were fantastic to work with, and I liked the fact that that one was more thriller than horror.
It’s not that I don’t like horror, it’s just that I liked the thriller aspect of it, and I had been wanting to do that.
So that felt like it filled something that I hadn’t really done before. I really enjoyed it. I loved our director and I had a great time with him.
You’re also attached to the movie When Time Got Louder. What can you tell me about that?
Oh, my goodness. I really loved that movie. That is such an emotionally naked film.
Very few of us wore any makeup, and a lot of it was improv.
We worked with a lot of incredible actors on the spectrum. It’s about a family living with autism, and it’s unflinching, but at the same time, it shows you the joy of it, as well as the struggle.
I learned so much in doing it, and I found it to be an emotionally naked role that I enjoyed tremendously.
I had such a lovely time just being a mom and a mom who is in a crisis. Our young director was also extraordinary.
If we circle back to First Kill, you’re playing a vampire for the first time, which you’ve wanted to do for some time.
Can you speak about some of the challenges of that in comparison to some of your previous roles?
The first one is physical. It’s very hard to talk with the teeth in. You have a little bit of a lisp. Like, I feel like I talk maybe like I did when I was seven and didn’t have my teeth right, but it’s very endearing, especially when you see other people do it.
Although you can’t really claim humanity for someone who is 500 years old and also a predator, you can claim love for family and you can claim wanting the people that you love to be safe and well and cared for.
And that part, I also identify with. Those are the things that we have in common. The predator is not. I’m not a predator, and I don’t think that way, but to be a hunter. It’s a very interesting thing to play.
It’s a very interesting thing to think of yourself in that way in an imaginary setting. So that was really interesting, especially for such a pacifist as me.
Thanks so much for chatting with me, and good luck with all your projects this year. I’m so excited for all of them.
So many, and I don’t really know how I ended up being so lucky, but I’m excited too. And I’m grateful that you are. Have a wonderful rest of your day.
Netflix on Thursday announced a renewal for Sweet Tooth Season, citing what the company calls as “60 million member households” watching the show in its first four weeks.
As is the case with Netflix’s arbitrary numbers, the number above means that each of those households watched at two minutes of the series.
Sweet Tooth Season 2 will consist of 8 1-hour episodes.
Jim Mickle will serve as Executive Producer, Writer, Director, and Showrunner for season 2. Mickle said of the renewal,
“It’s been equally thrilling and heartwarming to experience how people around the world have been falling in love with our deer-boy.”
“We couldn’t be more excited to continue our collaboration with Netflix and keep following Gus and his friends on their extraordinary journey,” he continued.
In addition to Mickle, Team Downey’s Susan Downey, Robert Downey Jr., and Amanda Burrell, and Linda Moran will return as Executive Producers.
Team Downey’s Evan Moore returns as Producer. Oanh Ly (Chilling Adventures of Sabrina) will join as a co-executive producer for season 2.
Sweet Tooth is produced by Team Downey in association with Warner Bros. Television.
The series is based on the DC comic book series by Jeff Lemire.
Sweet Tooth stars Christian Convery as Gus, Nonso Anozie as Jepperd, Adeel Akhtar as Dr. Singh, Will Forte as Richard, Stefania LaVie Owen as Bear, Dania Ramirez as Aimee Eden, Aliza Vellani as Rani Singh, and Neil Sandilands as General Abbot.
James Brolin serves as the voice of the narrator.
Here is the official synopsis for the series.
Ten years ago “The Great Crumble” wreaked havoc on the world and led to the mysterious emergence of hybrids — babies born part human, part animal. Unsure if hybrids are the cause or result of the virus, many humans fear and hunt them.
After a decade of living safely in his secluded forest home, a sheltered hybrid deer-boy named Gus (Christian Convery) unexpectedly befriends a wandering loner named Jepperd (Nonso Anozie).
Together they set out on an extraordinary adventure across what’s left of America in search of answers— about Gus’ origins, Jepperd’s past, and the true meaning of home.
But their story is full of unexpected allies and enemies, and Gus quickly learns the lush, dangerous world outside the forest is more complex than he ever could have imagined.
The multi-talented influencer Logan Paul has departed CAA to join competing talent agency WME.
WME will rep Paul in all areas of his career globally with an emphasis on television, film, digital, and brand partnerships. The 26-year-old will continue to be managed by Jeff Levin and represented by lawyers Adam Kaller and Duncan Hedges.
Paul is also the host of the Impaulsive podcast, which has released 200 episodes to date and amassed 2.7 million followers on an accompanying YouTube channel. Following appearances on The Masked Singer and at various WWE events, Paul is continuing to pursue opportunities in film and TV, according to WME. He is also the proprietor of a popular clothing brand called Maverick.