Twitter, Facebook Plan For Post-Trump Era

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Both Twitter and Facebook have confirmed that as of Inauguration Day, the official @POTUS and other administration-related accounts will be transferred to Joe Biden’s team, whether Donald Trump has conceded or not.

Twitter told Politico that the @POTUS handle will become Biden’s when he’s sworn in Jan. 20. Similarly, the @VP account will go to Kamala Harris, @FLOTUS to Jill Biden, and @WhiteHouse and a few other accounts to the Biden administration. And Facebook told Reuters it too will transfer the @POTUS, @FLOTUS, and @WhiteHouse Pages and Instagram accounts to the Biden team once he’s sworn in.

“Twitter is actively preparing to support the transition of White House institutional Twitter accounts,” spokesperson Nick Pacilio told Politico. “As we did for the presidential transition in 2017, this process is being done in close consultation with the National Archives and Records Administration.”

Swapping ownership of the accounts doesn’t require the involvement of Trump or his team, or Biden’s team, Twitter said. (It did add that it plans to meet with Biden’s transition team to discuss their plans for using Twitter over the next four years.)

As for Facebook, it worked directly with the Obama administration and Trump team in 2017, “and we expect to do the same here,” it told Reuters.

Both platforms will wipe the accounts’ content during handover, archiving previous posts and resetting them to clean slates. As Politico notes, this is standard practice: When Barack Obama left office in 2017, his @POTUS tweets were moved to @POTUS44, a locked account managed by the National Archives and Records Administration.

Also per usual, accounts’ followers won’t be changed; folks who don’t want to follow a Biden @POTUS, a Harris @VP, etcetera, must manually unfollow.

Trump, of course, has not discussed post-presidency social media plans, but he will likely move back to the personal Facebook and Twitter accounts he operated before taking office. How long he’ll hold on to them is another matter. Twitter and Facebook have each exempted him from certain content guidelines because he’s a politician and because his accounts are often used to make announcements and other official declarations. Twitter–which has pinned fact-check information about voting on the majority of Trump’s post-election tweets–already said that once he’s off the @POTUS account, he counts as a private citizen and will be subject to the same guidelines as everyone else.

Facebook–which has also begun to add labels to Trump’s tweets despite earlier blithering from Mark Zuckerberg about fact-checking and freedom of speech–has not yet made a statement about how it’ll handle Trump as a non-president.

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‘The Queen’s Gambit’ Becomes Netflix’s Most-Watched Limited Scripted Series, 4th Biggest TV Show Overall

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Netflix’s female-fronted, chess-focused limited drama series The Queen’s Gambit has shattered records for the streaming service, according to VP of original series Peter Friedlander.

In its first 28 days, 62 million global households watched the The Queen’s Gambit — with Netflix counting a view as at least two minutes of consumption, according to The Hollywood Reporter. This makes it Netflix’s most-watched limited scripted series to date — and its fourth most popular series of all time. The Queen’s Gambit, which maintains a 100% ranking on Rotten Tomatoes, appeared on Netflix’s top 10 ranking in 92 countries, Friedlander says, and was No. 1 in 63 of those countries, including the U.K., Argentina, Israel, and South Africa.

The Queen’s Gambit follows a young orphan chess prodigy, who struggles through abandonment and addiction on her quest to becoming the world’s greatest chess player.

And the ramifications of the series have reverberated far beyond Netflix. Since bowing last month, The Queen’s Gambit — an adaptation of Walter Tevis’ 1983 book — has hit The New York Times bestseller list 37 years after its publication. At the same time, Google search queries for ‘chess’ have doubled. And on online platform chess.com, the number of new players has increased five-fold, according to Netflix, while the series has also led to higher interest around next year’s World Championship, the International Chess Federation said.

“I don’t think any of us could have predicted that The Queen’s Gambit — and the extraordinary Anya Taylor-Joy — would become the global phenomena they are today, or our biggest limited scripted series ever,” Friedlander said.

The Reporter notes that while The Queen’s Gambit is Netflix’s most-watched limited scripted, another unscripted limited series, Tiger King, is still top dog — or cat. That docuseries, following the life of controversial zookeeper Joe Exotic, barely edged out The Queen’s Gambit with 64 million views in its first 28 days.

In terms of overall series, however, Variety notes that The Witcher is Netflix’s most-watched series to date, with 76 million views in 28 days, followed by season four of Money Heist (65 million views in 28 days), followed by Tiger King, and then The Queen’s Gambit.

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As Billie Eilish Hits 1 Billion Views, YouTube Unveils ‘Infinite Music Video’ Concept For “Bad Guy”

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YouTube Music is unveiling today a brand new promotional content and creator discovery concept to fete Billie Eilish’s hit track, “Bad Guy,” which just joined the 1 billion views club — marking the 18-year-old’s first track to do so.

To celebrate, YouTube Music is introducing Billie Eilish: Infinite Bad Guy — what it’s billing as “the world’s first living music video.” For the experience, YouTube has pulled 15,000 “Bad Guy” cover videos onto a standalone website at billie.withyoutube.com (pictured below), where viewers can scroll through endlessly. Notably, all of the covers have been synced, so that when viewers navigate to the next cover artist, the track picks up right where it left off.

All told, there are billions of different viewing combinations, YouTube says, making each sequence unique. Other than autoplay, viewers can also navigate the ‘Infinite Bad Guy’ website via hashtag, instruments, or genres — while clicking through at any time to a creator’s channel if a particular cover catches their eye. (Creators with eligible videos can opt into or out of the project via a ‘manage’ tab on the website, YouTube says).

YouTube’s global head of artist relations, Vivien Lewit, says that the venture marks a one-off — for now — and won’t necessarily be created for every music video that surpasses 1 billion views from here on out. That said, it’s possible that the format could live on with other artists. The team chose to pilot the idea with Eilish, Lewit says, because “Bad Guy” is one of the most-covered songs on YouTube.

The infinite music video concept was developed by YouTube and Google Creative Lab — an interdisciplinary team of designers, writers, business leaders, filmmakers, animators, producers, and creative technologists housed within YouTube’s parent company that has created over 1,500 so-called ‘experiments’ to date. These experiments are artistically-inclined tech ventures that harness Google products like Chrome, Android, and more. Most recently, for instance, the team created a way for users to celebrate the Indian holiday of Diwali using augmented reality.

The Google Creative Lab harnessed machine learning to align the audio from cover videos with different tempos, instruments, keys, and styles, YouTube says.

And this isn’t the first time that YouTube Music has worked alongside Eilish on a promotional content venture. She was the first artist, for instance, to be tapped by the platform for a short-form series in Feb. 2019 pairing buzzy singers with other video creatives.

Eilish has amassed 4 billion views on her official YouTube channel in 2020 to date, where she counts 35 million subscribers.

You can check out a trailer for the venture below, or experience it for yourself right here.

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Charli D’Amelio Has Amassed 100 Million TikTok Followers In One-And-A-Half Years

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Charli D’Amelio has realized a distant TikTok dream — surpassing 100 million followers on the app within roughly one-and-a-half years, having launched her TikTok channel in May 2019.

D’Amelio, 16, has quickly become the most-followed creator on TikTok by a mile, followed only by Addison Rae (70 million followers), Zach King (53 million followers), and Loren Gray (50 million followers).

“It’s literally insane,” D’amelio said in a TikTok video to fete the occasion, in which she hosted a Zoom meet-and-greet with several of her fans (below). “I’m excited to see where this journey goes from here.” On D’Amelio’s behalf, TikTok is also donating $100,000 to American Dance Movement — a nonprofit dedicated to improving and increasing access to dance education in the United States — with $10,000 going to 10 different dance schools across the country.

D’Amelio is a former competitive dancer who has become renowned for her abilities on the app. Her massive following has also made possible several big-ticket brand collaborations with the likes of Hollister, Morphe, Invisalign, and Dunkin’ Donuts. D’Amelio also hosts a podcast with her older sister, Dixie — a huge TikTok star in her own right with 35 million followers. She is also the author of a forthcoming autobiographical advice book called Essentially Charli.

Charli and Dixie — along with their parents, Marc and Heidi — are en route to building a full-fledged family entertainment empire. Last month, former UTA digital co-head Greg Goodfried departed the agency to work with the D’Amelio family full-time. The family counts 1.2 million subscribers on a collective YouTube channel, and reportedly have a reality television series in the works.

@charlidameliothank you so much to everyone who joined these zooms and stay tuned for more of these!! it was so much fun talking to you all!!!♬ original sound – charli d’amelio

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Snapchat Giving $1 Million Per Day To “Top” Creators With New Short Video Platform ‘Spotlight’

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Snapchat has launched its own short video platform—and will distribute $1 million per day to creators of top-viewed content.

Spotlight, now the fifth tab on Snapchat’s recently redesigned home page, will surface “the most entertaining Snaps from the Snapchat community all in one place,” parent company Snap says. The tab isn’t like YouTube’s Trending page or Instagram’s Discover; content isn’t scraped automatically or algorithmically from across Snapchat. Instead, users have to manually submit their video Snaps by selecting Spotlight in the “Send To” menu, and Snap’s content moderators screen each submission before allowing it to appear on the tab.

Videos within Spotlight are ranked by a proprietary formula that predominantly takes it account total number of unique views, as well as average watch time and number of likes. The higher a video’s rank, the greater chance it has to earn money for its creator: Snapchat will divvy up the $1 million per day amongst an undisclosed number of “top” videos, a Snap spokesperson tells Tubefilter. Creators will receive a share of the money proportional to how many views their video(s) generated, and top creators each day will see very significant earnings, the spokesperson said.

To qualify for payment, creators must be over the age of 16, and–at least for now–must be located in the U.S., U.K., Canada, Australia, New Zealand, Norway, Sweden, Denmark, Germany, or France. The program will run through the end of 2020, a Snap spokesperson said, and potentially beyond.

In a statement, Snap emphasized that creators “don’t have to be a celebrity, influencer, or public figure” to earn money on Spotlight. “We want to make Spotlight fair and fun,” it said.

On the viewer side, Spotlight will serve videos to users based on their interests, and will aim to serve local content when it can, Snap says. As for how often content on Spotlight will rotate, Snap says that submitted videos will remain live within the tab until creators choose to delete them, meaning a video could go viral and earn payout at any time after publication.

Snap says a key reason it created Spotlight is because it saw Snapchatters publicly posting their videos to other platforms–such as, perhaps, TikTok.

Those who have been following Snapchat’s developments will know that Spotlight is just the latest in a series of moves Snapchat has made to expand beyond its ephemeral private-messaging origins and toward being a TikTok competitor. Over the past few months, it’s launched permanent public user profiles and given folks a way to share links to original programming off-platform. Finally, just last week, it acquired Voisey, a U.K.-based startup whose titular app lets users make custom songs and soundbites with a variety of vocal effects.

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Insights: Wonder What’s Ahead For Film? Watch What WarnerMedia Does

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Jason Kilar learned the streaming-video business from the inside by running Hulu and Vessel. These days, he’s trying to drag media giant WarnerMedia into this century, and boy, are Hollywood heads spinning.

The latest bombshell: this week’s decision to simultaneously release Wonder Woman 1984 on recently launched subscription streamer HBO Max and in the tattered remnants of the traditional theater business.

Release day is Christmas Day, which also will see the debut of the newest Pixar film, Soulon Disney+, one of Disney’s three streaming services. Together, they represent another big step away from the elaborate set of distribution “windows” Hollywood studios built over the past century into what eventually will be the dominant distribution platform for video of all types and durations

“The glass is continuing to shatter across the historically rigid sequential release windows of the feature film industry,” wrote industry analyst Rich Greenfield of Lightshed Partners in a post this week.

Greenfield has been among the loudest voices urging Hollywood studios to accelerate into the streaming future. He even suggested in a separate post that WarnerMedia and NBCUniversal merge, and their parent companies get out of the content business entirely.

I’m not expecting AT&T and Comcast to follow Greenfield’s suggestion anytime soon, but I wouldn’t put it past Kilar to think about it. He’s already undertaken a streaming-first restructuring of WarnerMedia’s film, TV, home entertainment, and online operations that continues to shed jobs, prominent execs, and entire divisions.

A fan-friendly transformative experiment

In announcing the Wonder Woman decision, Kilar positioned the decision as a fan-friendly experiment in an extraordinary time.

“We see an opportunity to do something firmly focused on the fans: give them the power to choose between going to their local cinema or opening on HBO Max,” Kilar wrote. “Super-fans will likely choose both.”

It is possible that virtually no one outside a 30-mile radius of Hollywood Boulevard will, as Lincoln put it, “little note, nor long remember” the decision. But it’s a big step toward a future where fans do have a choice about where they see a new film, and where streaming services routinely launch new movies to help attract and keep subscribers.

“Experiment or not, this is a very big deal for the global film industry,” Greenfield wrote. “It reminds us of the crack that starts in the movie Ice Age, when Scrat pulls the acorn out of the ice and ultimately starts an avalanche.”

That’s because Wonder Woman is one of the most important franchises in the WarnerMedia portfolio. The eponymous 2017 film that rebooted the franchise cost an estimated $149 million to make, and grossed a sturdy $821 million worldwide, just over half that in the United States.

The 2017 film was symbolically important, too. Warner’s DC superhero franchises are led  by stalwarts Superman and Batman, both male, as are most of Disney’s Marvel franchises. But Wonder Woman is a female superhero, and the film was directed by a woman, Patty Jenkins. To have a hit film about a female superhero, directed by a respected female creator, was a big deal in a town still grappling inadequately with racism, sexism, and poor access to positions of power and influence for women and people of color.

The sequel coming Christmas was expected to be even bigger. It likely cost more than $200 million, with tens of millions already spent on marketing. That’s a hefty investment, but one the studio made because it reasonably expected the sequel, with the same stars and director, might gross more than $1 billion worldwide.

New metrics for success

We’re not in a normal time, of course, so realistically, the film won’t generate anything like that $1 billion in box office in this new scheme. But that doesn’t mean it’ll be a failure. It just means Hollywood needs to embrace some new metrics for success.

The key will be how many new subscribers join HBO Max to watch WW84, and then stick around, as well as how many existing subscribers decide to remain with the service.

Every one of those subscribers would end up paying $15 a month, month after month, or roughly triple what the studio keeps in its split with theaters for the sale of a single ticket. That recurring revenue, backed by deep data about what customers like, and potentially far less marketing expense, are the real winning numbers here.

The release of a certifiable blockbuster is also important to buff up HBO Max’s image with potential subscribers at a time when competition and cancellations are making the entire sector challenging. Indeed, after a shambolic launch last spring just as Kilar joined the company, many HBO cable subscribers still don’t understand they get the online service for free, with all its excellent additional programming beyond HBO’s own shows.

Nearly 50 years ago, HBO launched as the first cable network. Its name back then was Home Box Office. Now, HBO Max has a chance to become a true home box office. If this works out, once again a Wonder Woman movie could be a vital symbol of a changing Hollywood–and just in the nick of time, too.

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Facebook Could See Antitrust Charges From Nearly 40 States Over Acquisitions Of Instagram, WhatsApp (Report)

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State and federal investigators reportedly plan to bring antitrust charges against Facebook after probes revealed that subsidiaries Instagram and WhatsApp might have been better off had Facebook not acquired them.

According to a report from the Washington Post, investigators allege that Facebook’s subsumption of Instagram for $1 billion in 2012 and WhatsApp for $19.3 billion in 2014 “helped create an anti-competitive social networking juggernaut that has left users with few quality alternatives.”

Investigators have specifically looked at how Facebook handles user data, and how Instagram and WhatsApp have changed since acquisition, sources familiar with the matter told the Post. One key part of the probe was Facebook’s promise that messaging service WhatsApp would have operating independence and keep its rigorous data privacy protections intact. Instead, investigators reportedly found, Facebook has tried to de-silo users’ data and integrate it with other Facebook services.

There have been public signs of similar de-siloing within Instagram; in 2018, the platform’s cofounders, Kevin Systrom and Mike Krieger, exited the company because Zuckerberg was reportedly trying to take more and more control of its day-to-day operation.

Another area of concern for regulators is how Facebook manages third-party access to its services and user data, sources said. Facebook has, of course, faced numerous data-handling inquiries focused on the safety of its users–but this time, officials are looking more at Facebook’s competitors. They believe Facebook might be able to gatekeep young potential rivals by purposefully choosing not to give them access to data.

Around 40 state attorneys general intend to participate in the lawsuit, the Post reports. It is on track to be filed in December. If it succeeds, Facebook could be ordered to divest ownership of Instagram and WhatsApp, or establish stronger boundaries between itself and subsidiaries.

Zuckerberg, along with other major tech leaders, has appeared before Congress several times to discuss data handling and antitrust issues. In July, he argued that Facebook buying Instagram and WhatsApp helped push the companies to loftier heights, and said that new challengers like TikTok are evidence that competition in the social media space is still possible.

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Instagram Adds Branded Content Tags To ‘Reels’, ‘Live’, Unveils Several Updates To ‘Branded Content Ads’ Format

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Instagram announced today a number of updates to the way it distributes and labels branded content that it says are intended to make creation and amplification easier for influencers and brands alike.

First, Instagram is bringing branded content tags — which disclose that posts have been paid for as part of a partnership — to its TikTok-like product, Reels. To that end, Instagram said it will begin testing branded content tags within its Live video product as well in coming weeks. (Both are pictured above). Instagram also said it would roll out new age restrictions for branded content, enabling both businesses and creators to set a minimum age for their branded content feed posts, which can also be set to vary from country to country.

“Branded content is a powerful tool for creators and businesses, and these updates will help them get more out of the content they’re creating together,” Instagram COO Justin Osofsky said in a statement. “This will continue to be an area of focus for us as we build out a suite of monetization tools that support creators’ various needs and ambitions.”

In another addition, Instagram is updating Branded Content Adsa format launched in June 2019, in which ads that were organically published by a creator to her own account can then be amplified across the wider Instagram ecosphere by advertisers. In addition to the financial benefits, such ads drive visibility and discovery for creators, Instagram says. Branded Content Ads can appear in feeds and in Instagram Stories.

Previously, a creator needed to post the ad organically in order for it to be amplified by a brand partner. But now, a new workflow will enable businesses to create Branded Content Ads without a creator posting it to her account first. Of course, creators can approve or pause any ads that have been published from their handle.

Also on the Branded Content Ads front, businesses can now integrate product tags — or shoppable links to products featured in posts that serve to streamline the ecommerce progress. Before today, Instagram notes, branded posts from creators that included product tags were not able to be promoted via Branded Content Ads. And finally, Instagram is making Branded Content Ads more sophisticated in Stories, adding tappable elements including @mentions, location information, and hashtags.

As Osofsky said, Instagram continues to launch new monetization products for creators, including — most recently — Badges in Live product as well as an ad rev share for IGTV. That said, both of these features are only available to select creators for the time being.

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‘Cyberpunk 2077’ Has A Built-In Mode For Content Creators That Disables Copyrighted Music

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To flesh out the soundscape of its upcoming pièce de résistance Cyberpunk 2077, video game developer CD Projekt Red licensed more than 150 tracks from artists like Grimes and Run the Jewels.

That was a problem. Because while CDPR might have the legal right to include the songs in its game, content creators who want to upload or stream their playthroughs on platforms like YouTube and Twitch still aren’t allowed to include the songs in their videos. So, if any of their content about 2077 included the copyrighted tracks–which apparently play on a near-constant basis as gamers make their way through the gritty world–they could be hit with a DMCA notice that would pull said content and potentially have long-term effects on their channels.

After CDPR revealed details of the soundtrack, some concerned streamers reached out to Twitch, wondering how they would legally be able to share the game with viewers. Its reply: if they’re unable to avoid the music, then “mute the game audio.”

The answer drew significant backlash from Twitch creators who were likely already stinging over other DMCA-related issues; the platform has lately seen a deluge of filings from record labels claiming the use of copyrighted music in archived, often years-old clips. Twitch initially responded to the mass DMCAs by auto-deleting creators’ content without exception. It’s since apologized for that approach and says it’s working with labels on licensing options.

But, luckily, CDPR had a different answer. In the latest episode of Night City Wire, its series of virtual 2077 promo events, the developer revealed it has created a streaming mode that will disable copyrighted tracks.

“We know that for content creators, licensed music can sometimes be problematic,” Hollie Bennet, CDPR’s U.K. head of communication, said during the stream. “So with this new mode, you’ll be able to disable a small number of selected tracks which could cause some issue, replacing them with a different song, helping to avoid any problems.”

The mode will kick on automatically when folks begin streaming from Xbox, PlayStation, or Stadia. It can also be toggled on/off as needed, Bennett said. PC players will have to toggle it on/off before they begin streaming.

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‘Cyberpunk 2077’ Has A Built-In Mode For Content Creators That Disables Copyrighted Music

  • Post category:Other
  • Reading time:3 mins read

To flesh out the soundscape of its upcoming pièce de résistance Cyberpunk 2077, video game developer CD Projekt Red licensed more than 150 tracks from artists like Grimes and Run the Jewels.

That was a problem. Because while CDPR might have the legal right to include the songs in its game, content creators who want to upload or stream their playthroughs on platforms like YouTube and Twitch still aren’t allowed to include the songs in their videos. So, if any of their content about 2077 included the copyrighted tracks–which apparently play on a near-constant basis as gamers make their way through the gritty world–they could be hit with a DMCA notice that would pull said content and potentially have long-term effects on their channels.

After CDPR revealed details of the soundtrack, some concerned streamers reached out to Twitch, wondering how they would legally be able to share the game with viewers. Its reply: if they’re unable to avoid the music, then “mute the game audio.”

The answer drew significant backlash from Twitch creators who were likely already stinging over other DMCA-related issues; the platform has lately seen a deluge of filings from record labels claiming the use of copyrighted music in archived, often years-old clips. Twitch initially responded to the mass DMCAs by auto-deleting creators’ content without exception. It’s since apologized for that approach and says it’s working with labels on licensing options.

But, luckily, CDPR had a different answer. In the latest episode of Night City Wire, its series of virtual 2077 promo events, the developer revealed it has created a streaming mode that will disable copyrighted tracks.

“We know that for content creators, licensed music can sometimes be problematic,” Hollie Bennet, CDPR’s U.K. head of communication, said during the stream. “So with this new mode, you’ll be able to disable a small number of selected tracks which could cause some issue, replacing them with a different song, helping to avoid any problems.”

The mode will kick on automatically when folks begin streaming from Xbox, PlayStation, or Stadia. It can also be toggled on/off as needed, Bennett said. PC players will have to toggle it on/off before they begin streaming.

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Twitter Names Jennifer Prince Global VP And Head Of Content Partnerships

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Twitter has promoted company veteran Jennifer Prince to the role of global VP and head of content partnerships.

In this capacity, Prince — who has been at Twitter for seven years — will oversee the teams that work with digital creators, media companies, and other content publishers in order to leverage the Twitter platform in terms of distribution and monetization, Variety reports. Prince will oversee content categories including TV, film, music, sports, news, lifestyle, and influencers.

Prince will report to Twitter’s VP of customers, Matt Derella. She succeeds Kay Madati, who departed Twitter roughly one year ago, and whom Prince had previously replaced in an interim capacity during that time.

Previously, Prince served as Twitter’s head of media and entertainment advertising revenue partnerships. She joined the company in 2013 — as senior director of entertainment — from Google and YouTube, where she served as head of ad sales for film and TV, per Variety.

“Jen is an exceptional leader whom I’ve been privileged to see in action for more than a decade,” Derella said in a statement. “She knows how to build trust with partners, drive industry leadership, and create sustainable success for our customers.”

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Twitter Names Jennifer Prince Global VP And Head Of Content Partnerships

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  • Reading time:2 mins read

Twitter has promoted company veteran Jennifer Prince to the role of global VP and head of content partnerships.

In this capacity, Prince — who has been at Twitter for seven years — will oversee the teams that work with digital creators, media companies, and other content publishers in order to leverage the Twitter platform in terms of distribution and monetization, Variety reports. Prince will oversee content categories including TV, film, music, sports, news, lifestyle, and influencers.

Prince will report to Twitter’s VP of customers, Matt Derella. She succeeds Kay Madati, who departed Twitter roughly one year ago, and whom Prince had previously replaced in an interim capacity during that time.

Previously, Prince served as Twitter’s head of media and entertainment advertising revenue partnerships. She joined the company in 2013 — as senior director of entertainment — from Google and YouTube, where she served as head of ad sales for film and TV, per Variety.

“Jen is an exceptional leader whom I’ve been privileged to see in action for more than a decade,” Derella said in a statement. “She knows how to build trust with partners, drive industry leadership, and create sustainable success for our customers.”

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Twitch Co-Founder Kevin Lin Departs Company After 12 Years: “I Will Build Again”

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The entrepreneur Kevin Lin — who co-founded Twitch in 2011 alongside Emmett Shear, Justin Kan, Kyle Vogt, and Michael Seibel — is departing the company after working on the venture for roughly twelve and a half years, he said, when Twitch first grew out of Justin.tv in 2007.

“After many months of contemplation, I’ve decided it’s time to journey into my next adventure,” Lin wrote in a Medium post announcing his exit. “Twitch is a wonderfully poggers thing through which I have met so many great friends, experienced so many cultures, and shared in the heights of human connection. Twitch has forever widened my worldview and given me purpose.”

Next up, he says, he plans on taking a brief breather, but vows, “I will build again” — specifically in the realm of technology that can serve as a “positive amplifier in our lives,” he writes.

Lin took the opportunity to thank his immigrant parents for exposing him to games at a young age, writing that “video games gave me a common language with more people than I had ever thought possible.” He also thanked his co-founders, whom he says “have irreversibly improved my life,” as well as the “the relentlessly amazing Twitch staff” and the Twitch community at large.

“Without Kevin, Twitch does not exist,” Shear tweeted in response to Lin’s announcement. (Shear serves as Twitch’s CEO, and is now the sole remaining co-founder at the company). “His approach to work (and life) has been an inspiration to how I work. Kevin thinks about everyone first and foremost as people, not as their role. I’ve learned how to be a better leader and better friend because of him.”

Twitch launched as a gaming-centric spin-off of now-shuttered Justin.tv, which Kan and Shear established in 2007, and was subsequently acquired by Amazon for $970 million in 2014. Throughout his tenure, Lin served in a variety of roles, per his LinkedIn profile, including COO, CRO, and managing director of Asia-Pacific.

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Jacksfilms Will Take On Fellow YouTubers In ‘YIAY: The Board Game’ For Charity Live Stream

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This weekend, Jacksfilms will take on “literally all of YouTube” in a livestreamed YIAY: The Board Game showdown.

The YIAY Gives Back stream will feature jacksepticeye (25.6 million subscribers), CrankGameplays (1.91 million), Internet Comment Etiquette with Erik (987K), NakeyJakey (1.63 million), Jon Cozart (4.71 million), and TomSka (6.67 million) doing their best to outwit Jack Douglass (4.71 million) at his own game. YIAY: The Board Game is based off Douglass’ long-running YouTube series Yesterday I Asked You; it’s currently being Kickstartered, and with 11 days to go in the campaign, has raised $164,000 of a $10,000 goal.

Douglass and his competition will play rounds of the game where they must answer questions–usually with a twist, like they’re required to draw their response, must write it in a riddle, etcetera–and whoever has the funniest answer wins. As with previous YIAY live streams, viewers will get to vote in real-time to decide which YouTuber wins each round.

The event’s overall winner will receive a $10,000 donation to the charity of their choice. That donation comes from custom merch-maker Juniper, the producer of YIAY: THe Board Game. Viewers can also donate during the stream, and those funds will go toward the winner’s chosen charity, too.

“I am so proud of what YIAY has become,” Douglass said in a statement. He added that he and his team have spent the past year working on the official board game. “The YIAY series I started on YouTube was so fun for me because it let me build something with my community. With the board game, people can create that same experience with their friends and family. Giving back to charity is the icing on the cake.”

The stream will kick off Nov. 21 at 7 p.m. EST on Douglass’ Twitch channel.

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Jacksfilms Will Take On Fellow YouTubers In ‘YIAY: The Board Game’ For Charity Live Stream

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  • Reading time:2 mins read

This weekend, Jacksfilms will take on “literally all of YouTube” in a livestreamed YIAY: The Board Game showdown.

The YIAY Gives Back stream will feature jacksepticeye (25.6 million subscribers), CrankGameplays (1.91 million), Internet Comment Etiquette with Erik (987K), NakeyJakey (1.63 million), Jon Cozart (4.71 million), and TomSka (6.67 million) doing their best to outwit Jack Douglass (4.71 million) at his own game. YIAY: The Board Game is based off Douglass’ long-running YouTube series Yesterday I Asked You; it’s currently being Kickstartered, and with 11 days to go in the campaign, has raised $164,000 of a $10,000 goal.

Douglass and his competition will play rounds of the game where they must answer questions–usually with a twist, like they’re required to draw their response, must write it in a riddle, etcetera–and whoever has the funniest answer wins. As with previous YIAY live streams, viewers will get to vote in real-time to decide which YouTuber wins each round.

The event’s overall winner will receive a $10,000 donation to the charity of their choice. That donation comes from custom merch-maker Juniper, the producer of YIAY: THe Board Game. Viewers can also donate during the stream, and those funds will go toward the winner’s chosen charity, too.

“I am so proud of what YIAY has become,” Douglass said in a statement. He added that he and his team have spent the past year working on the official board game. “The YIAY series I started on YouTube was so fun for me because it let me build something with my community. With the board game, people can create that same experience with their friends and family. Giving back to charity is the icing on the cake.”

The stream will kick off Nov. 21 at 7 p.m. EST on Douglass’ Twitch channel.

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This Streamer Took The Sims’ Lack Of Diversity Into Her Own Hands — And Then Became An Advisor To EA

  • Post category:Other
  • Reading time:3 mins read

Amira Virgil was an avid streamer of The Sims — but she became frustrated when she couldn’t create characters that reflected her reality.

And so Virgil, who goes by the online moniker XMiraMira, took matters into her own hands, creating a downloadable ‘Melanin Pack’ — enabling users to create characters with 18 different skin tones and makeup looks to suit a diverse array of character preferences. In the latest episode of Creator News, Virgil shares that her custom packs have been downloaded more than 1 million times to date, which led her to create other mod packs in realms like hair, clothing, and more.

Virgil’s creations illuminate the overwhelming lack of representation that is endemic to the gaming space, especially given that a recent International Game Developers Association survey found that 81% of the people who make video games identify as white. That said, Virgil’s packs also demonstrate the savvy ways in which creators of color are seeking to solve the issue themselves. The success of her packs, for instance, led Virgil to launch The Black Simmer — a community forum that seeks to advocate for more diversity in The Sims.

Her work turned out to be so vital that it ultimately garnered the attention of Sims publisher Electronic Arts, which tapped Virgil to become part of its EA Game Changers program, which fuses creators directly into the game development process. Michael Duke, senior producer of The Sims 4, says that Virgil led the company to re-think its approach to skin tones and hairstyles, which will be evidenced in a Dec. 8 drop of more than 100 new skin tones. Duke adds that Virgil is one member of a round-table council with whom The Sims team regularly meets in its ongoing bid to become more accessible.

Other games are getting it right in terms of character representation, per Virgil and another leading voice in the space — Tanya DePass, the founder of the advocacy group I Need Diverse Games. These include: The Outer Worlds, APEX Legends (which features voice actors from different countries), Monster Hunter, and Watch Dogs: Legion.

And though the industry may be heading in the right direction in some ways, it still has a long way to go, DePass says — especially with issues of social justice being thrust into the forefront of our collective consciousness this year.

“Gaming as a business and everything else is in its thirties; we shouldn’t still have to be fighting for this,” she says. “People don’t realize that our money is just as green.”

You can check out more in our latest episode of Creator News right here and in the embed above.

Creator News is made possible by and produced in partnership with Patreon–the platform that helps you generate recurring income from your creative work by offering exclusive content and community to your fans. They’ve been amazing partners and we couldn’t do this without them. Go to Patreon.com/CreatorNews to learn more and launch your own Patreon today.

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This Streamer Took The Sims’ Lack Of Diversity Into Her Own Hands — And Then Became An Advisor To EA

  • Post category:Other
  • Reading time:3 mins read

Amira Virgil was an avid streamer of The Sims — but she became frustrated when she couldn’t create characters that reflected her reality.

And so Virgil, who goes by the online moniker XMiraMira, took matters into her own hands, creating a downloadable ‘Melanin Pack’ — enabling users to create characters with 18 different skin tones and makeup looks to suit a diverse array of character preferences. In the latest episode of Creator News, Virgil shares that her custom packs have been downloaded more than 1 million times to date, which led her to create other mod packs in realms like hair, clothing, and more.

Virgil’s creations illuminate the overwhelming lack of representation that is endemic to the gaming space, especially given that a recent International Game Developers Association survey found that 81% of the people who make video games identify as white. That said, Virgil’s packs also demonstrate the savvy ways in which creators of color are seeking to solve the issue themselves. The success of her packs, for instance, led Virgil to launch The Black Simmer — a community forum that seeks to advocate for more diversity in The Sims.

Her work turned out to be so vital that it ultimately garnered the attention of Sims publisher Electronic Arts, which tapped Virgil to become part of its EA Game Changers program, which fuses creators directly into the game development process. Michael Duke, senior producer of The Sims 4, says that Virgil led the company to re-think its approach to skin tones and hairstyles, which will be evidenced in a Dec. 8 drop of more than 100 new skin tones. Duke adds that Virgil is one member of a round-table council with whom The Sims team regularly meets in its ongoing bid to become more accessible.

Other games are getting it right in terms of character representation, per Virgil and another leading voice in the space — Tanya DePass, the founder of the advocacy group I Need Diverse Games. These include: The Outer Worlds, APEX Legends (which features voice actors from different countries), Monster Hunter, and Watch Dogs: Legion.

And though the industry may be heading in the right direction in some ways, it still has a long way to go, DePass says — especially with issues of social justice being thrust into the forefront of our collective consciousness this year.

“Gaming as a business and everything else is in its thirties; we shouldn’t still have to be fighting for this,” she says. “People don’t realize that our money is just as green.”

You can check out more in our latest episode of Creator News right here and in the embed above.

Creator News is made possible by and produced in partnership with Patreon–the platform that helps you generate recurring income from your creative work by offering exclusive content and community to your fans. They’ve been amazing partners and we couldn’t do this without them. Go to Patreon.com/CreatorNews to learn more and launch your own Patreon today.

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YouTube Millionaires: 17-Year-Old LexiVee03 Is Already A Career YouTuber

  • Post category:Other
  • Reading time:9 mins read

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.


LexiVee03 is a lot of things: high school student, college student (yes, at the same time), gamer, “low-key sneakerhead”–and, for the past three years, a career content creator. When she launched her YouTube channel in 2017, she was just 14, but she already knew it was going to be more than a hobby.

Like many Gen Z’ers, Lexi had grown up watching YouTube. In middle school, she’d entertained herself by filming videos she never planned to upload. As she got older, though, the idea of making content she could show the world became increasingly appealing and increasingly plausible.

Lexi’s also one more thing: a planner. Right off the bat, she established her channel’s upload schedule–and a thesis. “I decided up front what my vision and purpose would be in creating, and made sure it was clear to my viewers. I wanted to chronicle my life and my interests,” she says. “I create content that I love and would want to watch myself.”

Her channel tipped over 1,000 subscribers in December 2017, after she posted a video about her sneaker collection. Since then, she’s regularly published updated collection videos, along with dozens of personal vlogs, challenges (especially 24-hour challenges, as they’re a fan favorite), and day-in-the-life snapshots, plus content on Instagram, where she has 334K followers, and TikTok, where she has 287K.

Among Lexi’s future plans are more content, more merch, and creating her own business. But for now, she’s mainly focused on sticking to her upload schedule while getting through the last semester of high school–and, above all, “not taking myself too seriously.”

Check out our chat with this new Millionaire below.



Tubefilter: How does it feel to hit one million subscribers? What do you have to say to your fans?

LexiVee03: It feels awesome…a feeling of accomplishment! It is a dream come true and a blessing from God. I would like to thank my subscribers for their support and for sticking with me. I truly love each and every one of them, and I never forget that I would not be where I am without their love and support.

Tubefilter: Tell us a little about you! Where are you from? How did you get started on YouTube, and why did you pick YouTube to be your main platform?

LexiVee03: I was born and raised in Huntsville, Ala. I “started YouTube” when I was nine years old, making fake videos that I never uploaded. I would make the videos to entertain myself and just have fun. It was my favorite thing to do! I think I’ve always had a passion to entertain and be a positive influence to kids and teens.

Tubefilter: Did you go into content creation intending to “become a YouTuber,” or did you end up becoming a creator without quite meaning to?

LexiVee03: I started my channel in October of 2017 and put out my first video within a week! I intentionally set out to be a content creator, and to create a relatable space where people could come and have a laugh and be entertained.

Tubefilter: Much of your channel chronicles your everyday life as a student—and we’re guessing a lot of your life has been disrupted by COVID. How has the pandemic changed your content? Have you expanded to other niches or tried new topics? Have you kept things steady?

LexiVee03: The pandemic has definitely had an effect on the content that I had planned for my channel, especially during the lockdown period in my state. The main difference in the beginning of the pandemic was me being unable to go out and film content with my friends. I quickly adapted to produce content in the safety of my home, but tried to still make it interesting and entertaining to my subscribers. I am always trying to think of new things and expand into other niches. I do pay attention to what’s trending on YouTube, and I put my own spin on it to make it relatable to my viewers.



Tubefilter: How do you balance YouTube with being a full-time high school student? Do you have a content production schedule you stick to, or do you fit it in where you can? Walk us through an average day!

LexiVee03Balance is super hard, especially because I am a high school senior and a dual-enrolled college student. I do have a content production schedule, posting two times a week, but unfortunately that has had to slip sometimes because school comes first! A typical day consists of me waking up and getting ready to attend school in person. My college classes are both virtual, so I attend those online. Right after school, I am doing homework and studying. If I have time, I will spend some doing my YouTube stuff (planning, filming, editing, responding to emails, and working on sponsored content). I do my best to get some relaxation time in and may play a few games of Among Us with my friends and watch YouTube or Netflix. I end up going to bed pretty late, which is not good.

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?

LexiVee03: For me personally, I decided up front what my vision and purpose would be in creating, and made sure it was clear to my viewers. I wanted to chronicle my life and my interests, and I created entertaining content around that. I create content that I love and would want to watch myself. If you don’t like your content, it’s likely your viewers will not like it either.

Consistency was also a key factor in my growth! My parents were instrumental in that. I decided early on that I had to be consistent and committed to uploading at least once a week, and I’ve been able to hold myself to that goal since then. I think my subscribers really enjoy my challenges and vlogs. I am a low-key sneakerhead, and I love retro Jordans. The video that brought me my first 1,000 subscribers was of my sneaker collection. I continue to do updated collection videos, and it seems like my viewers still enjoy them because they do well. Twenty-four-hour challenges have also gained a lot of popularity on my channel, and I have seen a lot of growth from those. I try to do a 24-hour challenge every month or two, because I know that is what attracted many of my current subscribers.

I definitely pay attention to my analytics and comments, and adjust my content depending on how my viewers react. I wouldn’t be where I am without them, so if they don’t like my content, I try to switch it up to what they want to see! If something does well, I expand on it, and they seem to respond very well to that as well.

Tubefilter: How have you made your videos stand out amongst all the noise on YouTube?

LexiVee03Being myself–there is only one Lexi! Being myself and not conforming to the “norm” is important to me, and I think my subscribers enjoy and really appreciate that. I am a normal teenager just like them, with normal problems and insecurities.

Tubefilter: What’s your favorite part of making content on YouTube? Do you have any thoughts/feelings on making YouTube content versus making content for other platforms like TikTok and Instagram?

LexiVee03: I love creating content! My favorite part is the freedom I have on YouTube to really just do whatever I want, all while being my silly self! YouTube is my favorite platform to create content on because my videos can be as long or short as I want, and I can switch the content up and still maintain my subscriber base. I enjoy the freedom to just kinda talk to my subscribers about anything that’s on my mind. They’re like my family, and we’re there for each other. I am working on being more consistent on Instagram and TikTok. I like how I can express myself in different ways on each platform, so I try to use each in different ways to communicate with my subscribers and followers.



Tubefilter: Have you expanded your content/personal brand off YouTube at all? Launched any merch, a related business…? Do you want to?

LexiVee03: I definitely want to expand my brand beyond YouTube and create a business, but with school keeping me so busy right now, I am not able to commit all the time I would like to focus on that. I’ll get there, though! I just approved merch samples, and I have new merch coming soon! I have released merch in the past, but I am super excited to release a new collection of my merch this winter! Stay tuned!

Tubefilter: What’s next for you and your channel? Any plans looking to the future?

LexiVee03: My immediate plans for my channel is to be more engaging and committed to my viewers and be more consistent with my uploads. I want to use my platform to positively influence and entertain my viewers–it’s something that I am truly passionate about. Finding the right balance without taking myself too seriously is important to me. I just want to have fun and be my normal silly self!

 

Lexi is repped by Charley Button at Select Management.
Header image courtesy Dokk Savage Photography.

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BuzzFeed Acquires HuffPost In Stock Deal As Part Of Larger Pact With Its Parent, Verizon Media

  • Post category:Other
  • Reading time:3 mins read

Digital media giant BuzzFeed has acquired fellow publisher HuffPost, as part of a larger advertising and content partnership between BuzzFeed and HuffPost’s parent company, Verizon Media. As part of the acquisition, Verizon Media has also purchased a minority stake in BuzzFeed.

The size of Verizon Media’s investment in BuzzFeed wasn’t disclosed, though BuzzFeed purchased HuffPost in a stock deal, The Wall Street Journal reports. Notably, BuzzFeed founder Jonah Peretti was also the co-founder of HuffPost in 2005 alongside Arianna Huffington, Andrew Breitbart, and Kenneth Lerer. HuffPost was acquired by AOL for $315 million in 2011, and AOL was acquired by Verizon for $4.4 billion in 2015. Verizon Media, for its part, is the media arm of the telecom giant, whose portfolio also includes Yahoo and Techcrunch.

The multi-faceted deal, BuzzFeed and Verizon Media say, will unlock new revenue opportunities in terms of content syndication across both companies. BuzzFeed and Verizon Media will also create an innovation group to explore monetization opportunities, including ad sales and the development of new ad products (such as extended and augmented reality applications), as well as commerce opportunities.

As part of the deal, HuffPost content will be continue to be amplified via Yahoo, which is a huge driver of its traffic, Verizon said — as will BuzzFeed content going forward. Verizon Media will continue to manage ad sales for HuffPost.

“I have vivid memories of growing HuffPost into a major news outlet in its early years, but BuzzFeed is making this acquisition because we believe in the future of HuffPost and the potential it has to continue to define the media landscape for years to come,” Peretti said in a statement. “With the addition of HuffPost, our media network will have more users, spending significantly more time with our content than any of our peers.”

“While considering opportunities to work together, naturally, Jonah and I also discussed the property he co-founded, HuffPost,” added Verizon Media CEO Guru Gowrappan. “We quickly realized BuzzFeed’s strategy would complement HuffPost’s roadmap, injecting it with new energy and growing the brand into the future.”

Going forward, HuffPost will continue to operate as a separate and distinct news organization from BuzzFeed. Peretti will oversee the newly-combined company, with BuzzFeed leading the search for a new editor-in-chief at HuffPost, following the departure of Lydia Polgreen in March, when Polgreen was tapped by Spotify to lead its podcast studio, Gimlet Media.

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BuzzFeed Acquires HuffPost In Stock Deal As Part Of Larger Pact With Its Parent, Verizon Media

  • Post category:Other
  • Reading time:3 mins read

Digital media giant BuzzFeed has acquired fellow publisher HuffPost, as part of a larger advertising and content partnership between BuzzFeed and HuffPost’s parent company, Verizon Media. As part of the acquisition, Verizon Media has also purchased a minority stake in BuzzFeed.

The size of Verizon Media’s investment in BuzzFeed wasn’t disclosed, though BuzzFeed purchased HuffPost in a stock deal, The Wall Street Journal reports. Notably, BuzzFeed founder Jonah Peretti was also the co-founder of HuffPost in 2005 alongside Arianna Huffington, Andrew Breitbart, and Kenneth Lerer. HuffPost was acquired by AOL for $315 million in 2011, and AOL was acquired by Verizon for $4.4 billion in 2015. Verizon Media, for its part, is the media arm of the telecom giant, whose portfolio also includes Yahoo and Techcrunch.

The multi-faceted deal, BuzzFeed and Verizon Media say, will unlock new revenue opportunities in terms of content syndication across both companies. BuzzFeed and Verizon Media will also create an innovation group to explore monetization opportunities, including ad sales and the development of new ad products (such as extended and augmented reality applications), as well as commerce opportunities.

As part of the deal, HuffPost content will be continue to be amplified via Yahoo, which is a huge driver of its traffic, Verizon said — as will BuzzFeed content going forward. Verizon Media will continue to manage ad sales for HuffPost.

“I have vivid memories of growing HuffPost into a major news outlet in its early years, but BuzzFeed is making this acquisition because we believe in the future of HuffPost and the potential it has to continue to define the media landscape for years to come,” Peretti said in a statement. “With the addition of HuffPost, our media network will have more users, spending significantly more time with our content than any of our peers.”

“While considering opportunities to work together, naturally, Jonah and I also discussed the property he co-founded, HuffPost,” added Verizon Media CEO Guru Gowrappan. “We quickly realized BuzzFeed’s strategy would complement HuffPost’s roadmap, injecting it with new energy and growing the brand into the future.”

Going forward, HuffPost will continue to operate as a separate and distinct news organization from BuzzFeed. Peretti will oversee the newly-combined company, with BuzzFeed leading the search for a new editor-in-chief at HuffPost, following the departure of Lydia Polgreen in March, when Polgreen was tapped by Spotify to lead its podcast studio, Gimlet Media.

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Creator-To-Consumer Vendor Gumroad Launches Monthly Memberships

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  • Reading time:2 mins read

Gumroad, a digital sales platform for indie creators to vend everything from comics to music to video games to DIY classes, has launched tiered monthly memberships.

Through them, creators can offer regular installments of content in exchange for monthly payments. Like Patreon, perhaps the largest provider of creator-to-consumer content subscriptions, Gumroad is letting creators set different tiers. So, they could choose to offer an extra comic page per month to $2 subscribers and ten extra pages per month to $5 subscribers, or sell different levels of license for software they developed. Memberships also let creators offer fixed-length subscriptions that will end after set periods of time.

Any products delivered through memberships pop up in subscribers’ account libraries.

Gumroad, which was founded in 2011 by CEO Sahil Lavingia, bills itself as more creator-friendly than competitors like Patreon and OnlyFans. Lavingia publishes the platform’s financials on Twitter every month; in September, for example, it earned an $819,000 slice (with an ultimate net profit of $16,000) from processing $12.9 million worth of transactions for 19,480 creators. Ten of its creators made more than $100,000 that month, 192 made over $10,000, and 1,657 earned more than $1,000.

“Multiple people have told me, ‘I picked Gumroad because I could see when I give Gumroad money what they actually spend money on,’” Lavingia told The Verge, which was first to report on Gumroad’s new memberships. “I think it’s underrated how much people appreciate knowing how the business that they’re using actually functions and runs as a business.”

Memberships are now available to all Gumroad creators.

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Creator-To-Consumer Vendor Gumroad Launches Monthly Memberships

  • Post category:Other
  • Reading time:2 mins read

Gumroad, a digital sales platform for indie creators to vend everything from comics to music to video games to DIY classes, has launched tiered monthly memberships.

Through them, creators can offer regular installments of content in exchange for monthly payments. Like Patreon, perhaps the largest provider of creator-to-consumer content subscriptions, Gumroad is letting creators set different tiers. So, they could choose to offer an extra comic page per month to $2 subscribers and ten extra pages per month to $5 subscribers, or sell different levels of license for software they developed. Memberships also let creators offer fixed-length subscriptions that will end after set periods of time.

Any products delivered through memberships pop up in subscribers’ account libraries.

Gumroad, which was founded in 2011 by CEO Sahil Lavingia, bills itself as more creator-friendly than competitors like Patreon and OnlyFans. Lavingia publishes the platform’s financials on Twitter every month; in September, for example, it earned an $819,000 slice (with an ultimate net profit of $16,000) from processing $12.9 million worth of transactions for 19,480 creators. Ten of its creators made more than $100,000 that month, 192 made over $10,000, and 1,657 earned more than $1,000.

“Multiple people have told me, ‘I picked Gumroad because I could see when I give Gumroad money what they actually spend money on,’” Lavingia told The Verge, which was first to report on Gumroad’s new memberships. “I think it’s underrated how much people appreciate knowing how the business that they’re using actually functions and runs as a business.”

Memberships are now available to all Gumroad creators.

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MrBeast Launches New Channel, ‘Beast Philanthropy,’ To Raise Money For His Food Bank

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  • Reading time:2 mins read

Famously generous YouTuber MrBeast has launched a new channel, Beast Philanthropy, to support his new nonprofit food bank.

MrBeast–real name Jimmy Donaldson–has regularly donated to food banks and pantries throughout his YouTube career. He first announced plans to launch his own charity in August, and in October said his team had “worked out all the legal stuff” and was securing a warehouse for the cause. Now, he says 100% of revenue generated by Beast Philanthropy will support the nascent organization.

“Our food bank is coming along nicely!” he tweeted Nov. 18. “In a month or so I’m going to start posting on [Beast Philanthropy] videos of us feeding communities.”

He added that if the channel “brings in the kind of money I think it will, I think we will quickly be able to expand to dozens of communities and feed hundreds of thousands of people.” Donaldson has previously said that with channels like Beast Philanthropy, he hopes to “use my main channel’s influence to one day open hundreds of homeless shelters/food banks and give away all the money.”

Per Beast Philanthropy’s channel description, 100% of ad revenue, merch sales, and brand sponsorships will go to the food bank.

Donaldson’s core channel has 46.4 million subscribers and brings a staggering 400 million views per month. Since he unveiled Beast Philanthropy yesterday, it has attracted nearly 44,000 subscribers.

Tubefilter has reached out to Donaldson’s reps for more information about the organization, and will update this story with any new details.

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UTA Signs Prominent Scambaiting Twitch, YouTube Streamer ‘Kitboga’

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  • Reading time:2 mins read

UTA has signed Twitch and YouTube creator Kitboga — a leading figure in the scambaiting space — for worldwide representation in all areas of his career. Kitboga’s agents say the focus will be bringing his anti-scam message to bigger and newer audiences.

Scambaiting refers to creators who pose as victims of would-be fraudsters — IRS impersonators or technical support scammers, for instance — in order to waste scammers’ time and resources, report them to authorities, and expose them publicly. UTA notes that Kitboga got into scambaiting after his own grandmother fell victim to myriad schemes.

Kitboga, who does not disclose his actual name and typically streams in aviator sunglasses, has amassed 2.1 million followers across all of his social platforms, including 1.4 million YouTube subscribers and 823,000 Twitch followers, where he averaged over 8,600 concurrent viewers last month. He is best known for harnessing his background in coding to expose con artists, and has also created numerous characters using a voice modulator in his scambaiting streams, including 80-year-old Edna, a Russian man named Vicktor, and the valley girl Navaeh.

Earlier this year, Kitboga garnered headlines by exposing a scammer who was vending a an essential oil that she falsely claimed would cure COVID-19. And earlier this week, he was joined on-stream by YouTube vet Felicia Day (below):

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Amazon Kids+ Pacts With Ryan Kaji For Its First Original Series, With Toy Tie-In

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  • Reading time:2 mins read

Everybody wants a piece of Ryan Kaji — including, it turns out, Amazon Kids+, a child-focused subscription service comprising books, movies, TV shows, apps, and games for $3 per month. Amazon launched the service in 2012, but re-branded it from its former name, FreeTime Unlimited, in September.

Amazon has tapped Kaji to star in its first-ever, original long-form series for Kids+ dubbed Super Spy Ryan — a half-hour hybrid live-action and animated series that premieres on Nov. 27 in the U.S., U.K., and Canada. It will arrive in Germany and Japan next month. Super Spy Ryan, which also marks the first time that Ryan has voiced-over animation, is produced by Sunlight Entertainment, the Kaji family’s own production company, and studio partner Pocket.watch. The animation was produced by Japanese studio Shin-Ei Animation.

In the series, Ryan becomes transported into an animated world where he and his friends must recover a precious golden console from a nefarious hamster named The Packrat — a new character within the Ryan’s World franchise. The series will also arrive with toy tie-ins, including a $60 Secret Agent Mystery Mission Case and a Super Spy Figures six-pack, which is priced at $20, both of which are for sale on Amazon.

“The appetite for great kids and family entertainment continues to build momentum, as evidenced by the demand we’ve seen on a global scale around our franchises featuring YouTube creators like Ryan,” Pocket.watch founder and CEO Chris Williams said in a statement. “We’re focused now, more than ever before, on finding the best partners to bring these beloved stars to kids and families amid these challenging times.”

Ryan has become ubiquitous across today’s web, with not only a massive YouTube channel (27 million subscribers and 675 million monthly views) but an OTT hub called Ryan and Friends, and a linear Nickelodeon series called Ryan’s Mystery Playdate. Most recently, Ryan became the first YouTuber to have a float fashioned in his likeness for the Macy’s Thanksgiving Day Parade. Ryan’s World consumer products generated $200 million in retail across 24 countries last year, Pocket.watch says — a figure that is slated to grow in 2020.

You can check out the trailer for Super Spy Ryan below:

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