Video Recordings, Downloads and Streaming

Subterms

    More stories

    • 150 Shares169 Views

      in Television

      ViacomCBS renames itself as it plays catch-up with Paramount+, its streaming service.

      by

      On Tuesday, Shari Redstone staged her second hourslong investor presentation in two years. Both events were designed for the same purpose — to reposition her old-line media company, ViacomCBS, as a streaming giant in the making, one capable of competing head-on with Netflix, HBO Max, Disney+ and Amazon Prime Video, despite a late start.This time, there was less snickering.“Some of you thought we were on an impossible mission,” Robert M. Bakish, the chief executive of ViacomCBS, said during the presentation on Tuesday. “It’s not only possible. It’s happening.”To highlight the importance of its fast-growing Paramount+ streaming service, Ms. Redstone, the company’s chair, announced that ViacomCBS would rename itself Paramount Global.Paramount+ had 32.8 million subscribers worldwide at the end of its most recent quarter, up from fewer than 19 million a year earlier. In the three months that ended on Dec. 31, Paramount+ added 7.3 million customers, the result of offerings like “1883,” the prequel to “Yellowstone”; “Clifford the Big Red Dog”; and National Football League games. (A year earlier, ViacomCBS was adding about a million streaming subscribers a quarter.)The company’s streaming portfolio (Paramount+ and niche services from Showtime, BET and Nickelodeon) now has about 56 million subscribers. Mr. Bakish said that number would grow to 100 million by 2024, more than the roughly 70 million the company had previously forecast. The company also raised its 2024 streaming revenue goal to $9 billion, from $6 billion.Streaming brought in about $4.2 billion last year, including advertising sales from the free Pluto TV service.Paramount+ unveiled a barrage of additional programming to fuel continued growth. The expanded lineup will include fresh content from franchises including “Yellowstone,” “Beavis and Butt-Head,” “Teenage Mutant Ninja Turtles,” “Real World,” “Dora the Explorer,” “NCIS,” “SpongeBob SquarePants,” “Transformers” and “South Park.” Paramount+ will be the exclusive first stop after theatrical distribution for all Paramount Pictures movies beginning in 2024. (Many previously went to Epix, a premium cable channel.)Starting this summer in the United States, Paramount+ subscribers will be able to upgrade to receive Showtime content, including the new hit drama “Yellowjackets” and older series like “Billions.”ViacomCBS shares declined about 6 percent in after-hours trading. Richard Greenfield, a founder of the research firm LightShed Partners, cited investor concern about Mr. Bakish’s “meaningfully stepping up spending” on content.It may be growing quickly, but Paramount+ continues to lag behind competitors like Disney+, which added 11.8 million subscribers worldwide in its most recent quarter to reach 129.8 million. Netflix has about 222 million. More

    • 113 Shares99 Views

      in Television

      After Moving Online, BBC Three Returns to the Airwaves

      by

      The British public broadcaster moved a youth-focused channel online, but now it’s changing course as viewing habits continue to mutate.LONDON — When the BBC took its youth-focused TV channel off the air and moved it online in 2016, the broadcaster was going where its viewers seemed to be.Streaming services like Netflix and Amazon had transformed how people — both in Britain and the U.S. — watched TV, and BBC Three’s target audience of 16- to 34-year-olds were apparently turning their backs on traditional television channels.Now, Britain’s public service broadcaster has done a U-turn: BBC Three — home to shows like “Fleabag” and “Normal People” — is back on terrestrial TV.The move reflects the continued challenges of understanding how the internet is changing TV habits. And it shows how the BBC is doubling down on youth programming as it deals with competition and potential budget cuts.Daisy Edgar-Jones and Paul Mescal in a scene from “Normal People.”Enda Bowe/HuluBBC Three was launched in 2003 as a younger sibling to the BBC’s two long-running TV channels. It produced provocative comedies like “The Mighty Boosh” and “Little Britain” that appealed to a younger audience than the more conventional programming on BBC One and Two. The decision to turn BBC Three into a streaming channel also came with a massive cut to its budget, from 85 to 30 million pounds (about $114 million to $40 million).“It was a disaster. And it was an immediate disaster,” Patrick Barwise, co-author of the book “The War Against the BBC,” said of the move.Time spent watching the channel soon fell by more than 70 percent, and it also lost the same proportion of reach among its target viewership, according to data from Enders, a research company.There is wider evidence that millions of households haven’t, in fact, moved to streaming. In an interview, Fiona Campbell, the head of BBC Three, pointed to a recent report on American TV habits from Nielsen that showed 64 percent of viewers still regularly watch cable television, compared to 26 percent who watch streaming.The idea that young people are turning their backs on traditional TV also seems more complicated than it did six years ago. BBC Three’s relaunch is also intended to make its programming more accessible, Campbell said, especially to less affluent and more rural viewers who may not have high-speed internet and are less likely to be streaming.Fiona Campbell, the head of BBC Three, said on-air broadcasting would make the channel more accessible.via BBCAccording to Barwise, many young viewers are also taking a hybrid approach. “People are watching Netflix or other video some of the time, and then they’re watching broadcast” television, he said. Despite a decline, younger viewers still watch more than one hour of live television a day, according to Ofcom, the British media regulator.During its online-only years, BBC Three still produced some of the broadcaster’s most popular shows, and the renewed investment in the channel — its programming budget will return to 80 million pounds — comes at a time when the BBC is facing pressure from several sides.The British government recently announced that the country’s license fee, which is charged each year to all households with a TV and is the main source of funding for the BBC, will be frozen for the next two years. With inflation rising fast in Britain, this is likely to mean another round of cuts, and the BBC chief Tim Davie has said that “everything is on the agenda.”“To have a freeze in the BBC license fee at precisely the time when genuine inflation is really high, and inflation in the broadcasting industry is really high, can’t be a good moment,” said Roger Mosey, a former head of BBC Television News. “Not only have you got competition from the streamers for audiences, you’ve also got competition for talent.”In this context, the public broadcaster is betting on BBC Three’s track record for producing buzzy shows in combination with the allure of traditional “linear” television. In Britain, despite the availability of seemingly infinite streaming content, viewers have been gravitating toward weekly appointment viewing.The BBC releases many of its popular programs as complete seasons on iPlayer, its streaming service, at the same time as the first episode airs on broadcast television. Charlotte Moore, the BBC’s head of content, said in a phone interview that with “The Tourist,” a drama starring Jamie Dornan, “we were still getting two million people choosing to watch it on a Sunday night even though it’s all available on iPlayer.”When the BBC Three show “Normal People” aired on the broadcaster’s traditional TV channels, it was regularly a trending topic on British social media. “When we do shows that really drive conversation,” Campbell said, “people want to be in for the live moment. And that’s why channels still have a role.”Campbell also believes there are drawbacks to only distributing shows via streaming, since viewers may be more hesitant to engage with documentaries on challenging public-service topics. Citing a recent series on revenge porn, she said, “They’re very challenging subjects, and people would be going, ‘Do I really want to go there?’ Whereas if they encounter it on linear, it can be less intimidating.”While Moore wouldn’t say whether BBC Three would be immune from the next round of budget cuts, she indicated that youth programming would remain a core focus. “Obviously we’ll look at our whole funding envelope to work out how we are going to meet all audience needs, with the money that we have,” she said. “But of course, young audiences are going to continue to be a critical part of that.”A scene from “The Fast and The Farmer(ish),” a tractor racing competition.Alleycats TV, via BBCWith its return to broadcast, Campbell also hopes to make BBC Three stand out from its commercial streaming rivals by telling stories from across Britain. Upcoming programs include “Brickies,” which follows young bricklayers in the north of England, and a tractor racing competition called “The Fast and the Farmer(ish)”, filmed in Northern Ireland and created to appeal to the 11 million young people who live in the British countryside.“You want to reflect the current challenges and pressures and difficulties people are having now, all the more so after the pandemic,” Campbell said. “If we don’t reflect that, then why do they need us in their lives?” More

    • 125 Shares129 Views

      in Theater

      Citing Pandemic, This Year’s Obie Awards Will Include Streaming Theater

      by

      The Obie Awards, an annual ceremony honoring theater work performed Off and Off Off Broadway, this year for the first time will consider digital, audio and other virtual productions.The awards administrators decided to expand their scope in recognition of the adaptations made by many theater companies during the coronavirus pandemic, which prevented most New York theaters from staging in-person performances for at least a year, and in many cases considerably longer. Numerous theaters pivoted to streaming, and some experimented with audio.“We wanted to make sure that the work that did happen was eligible,” said Heather Hitchens, the president and chief executive of the American Theater Wing, which presents the awards. “The Obies respond to the season, and to the evolving nature and rhythms of theater.”This year’s Obie Awards are expected to take place in November, which would be 28 months after the last ceremony, reflecting the extraordinarily disruptive role the pandemic has played in theatermaking. The ceremony will consider productions presented by Off Broadway and Off Off Broadway theaters between July 1, 2020 and Aug. 31, 2022.The exact date for the ceremony has not been chosen, but Hitchens said she expects it to be in-person (the last one was streamed) and she expects it to have a host (or hosts).This year’s Obie Awards will be the first presented solely by the Wing, which also founded and copresents the Tony Awards. The Obies were created by The Village Voice and first presented in 1956; in 2014, as The Voice struggled, it entered a partnership with the Wing to preserve the ceremony, and now The Voice has granted the Obies trademark to the Wing, Hitchens said.The Obies, always a mixture of prestige and quirkiness, have long been distinguished by their lack of defined categories — each year, the judges decide what works to recognize, and for what reason. This year’s awards will be chaired by David Mendizábal, who is one of the leaders of the Movement Theater Company, and Melissa Rose Bernardo, a freelance theater critic. The judges will include David Anzuelo, an actor and fight choreographer; Becca Blackwell, an actor and writer; Wilson Chin, a set designer; Haruna Lee, a playwright; Soraya Nadia McDonald, the culture critic for The Undefeated; Lisa Peterson, a director and writer; Heather Alicia Simms, an actor; and Kaye Voyce, a costume designer. More

    • 150 Shares99 Views

      in Music

      Cardi B Awarded $1.25 Million in Libel Lawsuit Against Blogger Tasha K

      by

      A federal jury awarded the rapper Cardi B around $4 million in a libel lawsuit against a celebrity gossip blogger who had posted videos in 2018 claiming that she was a prostitute who had contracted sexually transmitted infections and used cocaine.Cardi B, whose real name is Belcalis Almanzar, had sued the celebrity gossiper, known as Tasha K, in 2019 for posting more than 20 videos that spread “malicious rumors” about the rapper, according to the lawsuit, which was filed in U.S. District Court for the Northern District of Georgia, where Tasha K lives.The jury found Tasha K, whose real name is Latasha Kebe, liable on two counts of slander and one count each of libel and invasion of privacy, according to a verdict filed on Monday.The jury awarded Ms. Almanzar $1.25 million on Monday and an additional $2.8 million on Tuesday, according to separate verdicts filed on Monday and Tuesday. The award includes $25,000 for medical expenses and around $1.3 million to cover the rapper’s legal fees.Ms. Kebe had also posted in 2018 that Ms. Almanzar had herpes outbreaks in her mouth and that she would give birth to a child with intellectual disabilities.Ms. Almanzar, 29, testified in court this month that she “felt extremely suicidal” after Ms. Kebe posted the videos, adding that “only an evil person could do that,” Lisa Moore, a lawyer for Ms. Almanzar, said on Monday.In the lawsuit, the rapper’s lawyers said that the content would damage her reputation with her fans and affect her business prospects. Cardi B, a Grammy-winning rapper from the Bronx, found fame in 2017 with her song “Bodak Yellow,” which immortalized her propensity for making “money moves.”Ms. Kebe’s claims have helped her amass millions of views on Twitter, Instagram and her YouTube channel, unWinewithTashaK. Most of the content can still be viewed online, even though the rapper sent Ms. Kebe a cease-and-desist letter a few months after Ms. Kebe first posted about her in 2018, according to the lawsuit.Ms. Almanzar’s lawyers said Ms. Kebe was “obsessed with slandering” the rapper, and that she posted the content because it got more views than her other posts, according to the lawsuit. Ms. Almanzar’s lawyers said that the rapper was not a prostitute, had never had herpes and had never used cocaine.In a statement on Tuesday, Ms. Kebe’s lawyers, Olga Izmaylova and Sadeer Sabbak, said they disagreed with the verdict and planned to appeal it.On Monday afternoon, Ms. Kebe said on Twitter that “My Husband, Attorney’s, & I fought really hard,” adding, “it’s only up from here.”Ms. Almanzar had filed the lawsuit against both Ms. Kebe and Starmarie Ebony Jones, a guest on Ms. Kebe’s YouTube channel who had claimed to be a former friend of the rapper.Ms. Jones was not included in the verdict on Monday because she moved to New York after Ms. Almanzar sued her, the rapper’s lawyers said. The lawyers filed another lawsuit against her in New York, where she was found liable last year on counts of libel, slander and invasion of privacy. A lawyer for Ms. Jones could not immediately be reached for comment on Monday night.This case was not the first time the rapper found herself in court. She was indicted in Queens in 2019 in connection with a fight in a strip club the year before. The case is still ongoing. More

    • 150 Shares109 Views

      in Music

      Cardi B Awarded $1.25 Million in Libel Lawsuit Against Celebrity Gossip Blogger

      by

      The rapper sued the YouTuber Tasha K in 2019 after she posted a series of videos claiming that Cardi B was a prostitute.A federal jury on Monday awarded the rapper Cardi B $1.25 million in damages in a libel lawsuit against a celebrity gossip blogger who had posted videos in 2018 claiming that she was a prostitute who had contracted sexually transmitted infections and used cocaine.Cardi B, whose real name is Belcalis Almanzar, had sued the celebrity gossiper, known as Tasha K, in 2019 for posting more than 20 videos that spread “malicious rumors” about the rapper, according to the lawsuit, which was filed in U.S. District Court for the Northern District of Georgia, where Tasha K lives.The jury found Tasha K, whose real name is Latasha Kebe, liable on two counts of slander and one count each of libel and invasion of privacy, according to a verdict filed on Monday.Ms. Kebe had also posted in 2018 that Ms. Almanzar had herpes outbreaks in her mouth and that she would give birth to a child with intellectual disabilities.Ms. Almanzar, 29, testified in court this month that she “felt extremely suicidal” after Ms. Kebe posted the videos, adding that “only an evil person could do that,” Lisa Moore, a lawyer for Ms. Almanzar, said on Monday.In the lawsuit, the rapper’s lawyers said that the content would damage her reputation with her fans and affect her business prospects. Cardi B, a Grammy-winning rapper from the Bronx, found fame in 2017 with her song “Bodak Yellow,” which immortalized her propensity for making “money moves.”Ms. Kebe’s claims have helped her amass millions of views on Twitter, Instagram and her YouTube channel, unWinewithTashaK. Most of the content can still be viewed online, even though the rapper sent Ms. Kebe a cease-and-desist letter a few months after Ms. Kebe first posted about her in 2018, according to the lawsuit.Ms. Almanzar’s lawyers said Ms. Kebe was “obsessed with slandering” the rapper, and that she posted the content because it got more views than her other posts, according to the lawsuit. Ms. Almanzar’s lawyers said that the rapper was not a prostitute, had never had herpes and had never used cocaine.Ms. Kebe’s lawyers did not immediately respond to emails or phone calls on Monday.On Monday afternoon, Ms. Kebe said on Twitter that “My Husband, Attorney’s, & I fought really hard,” adding, “it’s only up from here.”Ms. Almanzar had filed the lawsuit against both Ms. Kebe and Starmarie Ebony Jones, a guest on Ms. Kebe’s YouTube channel who had claimed to be a former friend of the rapper.Ms. Jones was not included in the verdict on Monday because she moved to New York after Ms. Almanzar sued her, the rapper’s lawyers said. The lawyers filed another lawsuit against her in New York, where she was found liable last year on counts of libel, slander and invasion of privacy. A lawyer for Ms. Jones could not immediately be reached for comment on Monday night.This case was not the first time the rapper found herself in court. She was indicted in Queens in 2019 in connection with a fight in a strip club the year before. The case is still ongoing. More

    • 113 Shares109 Views

      in Theater

      Augmented Reality Theater Takes a Bow. In Your Kitchen.

      by

      The Immersive Storytelling Studio at the National Theater in London is using technology to bring a miniature musical to viewers’ homes. It’s one of several high-tech British projects pushing dramatic boundaries.LONDON — Standing in front of a golden bandstand, dressed in a white satin gown and pearls, the vocalist Nubiya Brandon sashayed to a gentle beat. Stepping toward the spotlight, she took a lazy turn around the stage, singing a playful calypso number and smiling occasionally at the band behind.The weird thing about this show, called “All Kinds of Limbo,” was that Brandon appeared to be in this reporter’s kitchen. The singer was in fact an eerily realistic holographic avatar on a mobile phone screen; her performance had been recorded and was now being broadcast in augmented reality from the National Theater in London.Via the technology’s strange alchemy, which overlays digital imagery onto whatever a camera phone is pointing at, Brandon seemed to be singing and sashaying on the countertop. After she took a bow, her image evaporated and the bandstand faded into nothingness, leaving only a sink full of washing up behind.The success of digital-only theater productions has been one of the pandemic’s surprise silver linings: Audiences have been willing to try them and theater companies have found fans thousands of miles away. But could immersive technologies provide a more intriguing path forward for drama, one that will endure once Covid-19 (hopefully) subsides? Augmented reality (A.R.) and virtual reality (V.R.) are already changing gaming, music and art; might theater be next?“All Kinds of Limbo’s” director, Toby Coffey, said he hopes so. In 2016, he set up the National Theater’s Immersive Storytelling Studio, which operates as a kind of “start-up” within the company, he said in a recent interview at the studio’s modest space, which was crowded with a jumble of technical equipment. The team’s brief is to see how live theater and new technologies can interact and intersect.Toby Coffey, who founded the National Theater’s Immersive Storytelling Studio in 2016.Suzie Howell for The New York Times“Theater makers are naturally fascinated: They’re used to working in 3-D,” Coffey said. “As soon as you bring a director or stage designer or choreographer into V.R., you see their brains whirring.”The studio’s first production, “Fabulous Wonder.land,” was a V.R. music video featuring a track by the musician Damon Albarn with words by the playwright Moira Buffini. The team has since made 360-degree films of live shows, developed a one-on-one piece in which an audience member interacts with a live actor while wearing a V.R. headset and created a mixed-reality “exhibition” about government welfare cuts.“All Kinds of Limbo” came into being in 2019 after the National Theater had a hit with “Small Island,” a play about postwar Jamaican immigration to Britain. Coffey and his team commissioned Brandon, the vocalist, and the composer Raffy Bushman to create a 10-minute song sequence responding freely to the play’s themes. It was written, performed and motion-captured that year, and was initially presented as a V.R. experience in one of the theater’s event spaces.Brandon performing in a motion capture studio to record “All Kinds of Limbo.”The National TheaterWhen the pandemic shut down British performing venues in March 2020, Coffey accelerated plans to turn “All Kinds of Limbo” into an at-home experience. The retooled version can be watched via A.R. on a mobile device, via a V.R. headset, or on a regular computer. Brandon’s performance stays the same, but, depending on the device used, the experience feels subtly different.To summon some of theater’s shared intimacy, it’s being ticketed and broadcast as live, although the show is recorded. Other people attending virtually are represented by blades of moving white light and, by playing with the settings, you can move around the space and see the action from different angles.It’s a short piece, but “All Kinds of Limbo” does feel like the glimmering of a new art form: somewhere between music video, video game and live cabaret show.Over the last few years, Britain’s theater scene has become a test bed for similar experiments. Last spring, the Royal Shakespeare Company co-produced an immersive digital piece called “Dream” that featured actors performing using motion-capture technology and was watchable via smartphone or computer. Other projects, such as shows by the Almeida theater in London and the company Dreamthinkspeak in Brighton, England, require participants to turn up in person and get equipped with VR headsets.Francesca Panetta, a V.R. producer and artist who was recently appointed as the alternate realities curator at the Sheffield DocFest film festival, said in a video interview that practitioners from audio, gaming, theater, TV and other art forms were collaborating as never before. “Many different people are trying to explore this space and work out what it really is,” she said. “No one is quite sure.”One of the most keenly awaited partnerships is between the immersive theater troupe Punchdrunk, which pioneered live site-specific shows such as “Sleep No More” and “The Masque of the Red Death” in the mid-2000s, and the tech firm Niantic, best-known for the wildly successful A.R. game Pokémon Go.Speaking by phone, Punchdrunk’s co-founder Felix Barrett seemed invigorated by the creative possibilities. “We’re on the cusp of a new form of entertainment,” he said. “It’s a new genre; it just hasn’t been named yet.”Later this year, Niantic and Punchdrunk plan to unveil the first results of their collaboration. Barrett was reluctant to reveal too much, but said that it would offer participants “a citywide adventure” that will feel like an immersive video game happening in the real world. “Our goal is to try and make you the hero of your own living movie,” he said.Ambitious as such projects are, they are also — at least by theater standards — time-consuming and forbiddingly expensive. The Royal Shakespeare Company’s “Dream” wouldn’t have been possible without corporate sponsorship and a hefty grant from a roughly $55-million British government fund promoting digital arts innovation. The latest iteration of “All Kinds of Limbo” relies on a partnership with Microsoft and the livestreaming platform Dice.Production work on “All Kinds of Limbo.” The show can be watched via A.R. on a mobile device, via a V.R. headset, or on a regular computer, through Jan. 30.The National TheaterThere’s also the question of audience. Though theater-led projects such as “Dream” and “All Kinds of Limbo” have gained positive reviews, they have attracted only a tiny fraction of the 12 million viewers who watched a 2020 virtual performance by the rapper Travis Scott in the online game Fortnite. The chances of monetization at scale look slim, at least for now.And the irony is that, while the pandemic may have whetted audience appetites for digital drama, it has had devastating consequences for theater companies themselves. The National Theater’s Immersive Storytelling Studio originally had four staff members; after belt-tightening layoffs in the company, it’s now just Coffey and one full-time co-worker. “Even before the pandemic, we could have been doing 10 times more than we had resource to be able to do,” Coffey said. “We need to work within those restrictions.”What happens next is up for debate. The National Theater is working on redeploying the app and distribution platform used for “All Kinds of Limbo” into something that works for other projects. Panetta said that the metaverse, if it genuinely takes off, offers its own possibilities for live performance. “It’s difficult to see what the pathway is; I suspect it’ll be a mix of many different things,” she added.So how long until we’re watching Ibsen or Shakespeare in augmented reality at our kitchen tables? Coffey laughed, then cautioned that designing successful A.R. performances was still an emerging skill. “But some day it’ll happen, I have no doubt,” he said.All Kinds of LimboStreaming through Jan. 30; allkindsoflimbo.com. More

    • 150 Shares189 Views

      in Music

      He Makes Justin Bieber and the Bee Gees Go Viral on TikTok

      by

      Griffin Haddrill is a founder of VRTCL, an agency hired to turn hit songs into memes.Name: Griffin HaddrillAge: 24Hometown: Bozeman, Mont.Currently Lives: In a four-bedroom house in Las Vegas with walls covered in street art.Claim to Fame: Mr. Haddrill is a co-founder of VRTCL, an agency hired by major record labels to make songs go viral on TikTok through remixes, mash-ups, meme-able chorus snippets, creator partnerships and other algorithmic alchemy. “I usually start with the lyric sheet to see if there is maybe a trend we can capitalize on or maybe a creative idea around the beat,” he said. For Lil Nas X’s “Montero,” that meant devil-themed makeup tutorials and interpretive dance routines set to the track. He also works with vintage hits like the Bee Gees’ “More Than a Woman,” which thanks to his efforts, has been featured in more than 279,000 TikTok videos including sunset selfies, boba tea tutorials and cyst removals. The right music “makes influencers feel part of a cool and cultured moment, and they like showing that off to fans,” he said.Big Break: Mr. Haddrill has always had an ear for music and business. At 12, he handed his father a business plan for high-tech earbuds. At 16, he was a music manager for Gregory Lake, an underground hip-hop artist, and 100Tribn, a D.J. act, while he was completing rehab in Salt Lake City for cocaine addiction. At 20, he dropped out of San Jose State to pursue music management full-time in Las Vegas. In 2019, he and Sean Young, a former influencer on Vine, saw how social media algorithms were starting to mold the habits of young listeners, and founded VRTCL.Latest Project: VRTCL, which Mr. Haddrill said brings in $1 million in monthly revenue and employs 18 people, was acquired in July by Create Music Group, a data-driven music company in Los Angeles. Mr. Haddrill, who is staying on as chief executive, is guarded about the terms of the deal. “With earning potential, the acquisition is in the eight figures,” he said.Next Thing: Mr. Haddrill helped turn “Stay” by Kid Laroi and Justin Bieber and “Best Friend” by Saweetie and Doja Cat into TikTok earworms last year. But his dream client list skews older: Duran Duran, Billy Joel and other cassette-era acts. “One song that I always thought could really blow up again is Cher’s ‘Believe,’” he said.Unlimited Data: He recently hired Conover Wang, a former roommate and software engineer at Reddit, to develop a program to analyze TikTok song data, including views, comments and shares. “The software is really a core part of our business, although it doesn’t have a name yet,” he said. “We should probably call it something cool.” More

    • 63 Shares199 Views

      in Television

      The Boy King of YouTube

      by

      Over the protests of my fellow concerned parents, I want to admit something: I don’t care all that much about screen time, the great child-rearing panic of the 21st century. So many of us have come to believe that if our children spend more than a certain amount of time staring at a screen, whether television, phone or iPad, they will succumb to some capitalist plot to turn them all into little consumption monsters with insatiable appetites for toys, sugar, more screen time. This seems absurd to me, but as the father of a 4-year-old, I have not been immune to screen-time shaming — it upsets me to see my child watching a vapid show like “Paw Patrol” on our iPad. These moments of protest usually come, it should be noted, when I’m sitting beside her, staring at my own phone, scrolling through Twitter.“This show is dumb,” I’ll sometimes say. She almost always ignores me. Her stony silence then prompts me to try to think of a show that’s not dumb, which is an impossible task — because what kids’ programming isn’t dumb?For the last two years, her favorite show has been “Octonauts,” about a diverse band of animals who explore the oceans and swamplands in vessels called GUPs. They help whales and eels and flamingos in need. What’s left unsaid, but certainly seems clear enough to me, is that the Octonauts have colonized the Vegimals, a species of squeaking underwater creatures who all resemble one sort of vegetable or another. The Vegimals’ oppression does not register with my daughter, who has watched every “Octonauts” episode multiple times, owns a small fortune in toy GUPs and goes to her preschool dressed in a sweater with Kwaazi, an incorrigible pirate cat, knit across the front. I have not yet talked to her about how the Vegimals are portrayed as infantile, loyal beings who love to bake kelp cakes all day, but I plan on doing so soon.What effect do all these television shows have on the developing brain of a 4-year-old? I don’t honestly know, but I try not to worry too much about it. Life is long and full of different stimuli. I spent most of my preteen years reading horny fantasy books by Piers Anthony and the science fiction of L. Ron Hubbard. The “good” books I read mostly involved warrior mice who were probably also colonialists. I’m fine now. A wary ambivalence seems like the most healthful way to go.There is one type of video I refuse to let my daughter watch: toy videos. Parents with kids of a certain age will certainly know what I’m talking about here, but for the rest, a toy video is an internet genre, usually found on YouTube, that features someone playing with another plastic monstrosity, often one with tie-ins to “Paw Patrol.” The genre has spawned many toy-video variants: Some feature adults; others, kids. Some have even been deliberately packaged to hide their true content from concerned, but perhaps less than vigilant, parents.On occasion, especially on long drives, I’ll hand my daughter the iPad. She watches “Peppa Pig,” which I, of course, hate — those British pigs with their phallic noses prattling on about nothing. Invariably, after about 20 minutes or so, I’ll look back and see her, still strapped into her car seat, brow furrowed, jabbing at the screen with her finger. Then I’ll hear the same high-pitched nonsense, but in a much worse British accent, and know she has switched from Peppa proper to a video of some adult with Peppa toys who, for God knows what reason, is re-enacting a scene in which Peppa and her brother, George, go jump in muddy puddles or whatever.“No!” I yell.My daughter then looks up, annoyed.There’s no real logic to this, of course. What’s the difference between watching the Anglophone silliness of Peppa, a show that exists only to sell toys, and a video of someone playing with the toys themselves?Until recently, my daughter and I were somehow able to avoid the king of toy videos: Ryan Kaji. There’s no one way to describe what Kaji, who is now 10 years old, has done across his multiple YouTube channels, cable television shows and live appearances: In one video, he is giving you a tour of the Legoland Hotel; in another, he splashes around in his pool to introduce a science video about tsunamis. But for years, what he has mostly done is play with toys: Thomas the Tank Engine, “Paw Patrol” figures, McDonald’s play kitchens. A new toy and a new video for almost every day of the week, adding up to an avalanche of content that can overwhelm your child’s brain, click after click.Kaji has been playing with toys on camera since Barack Obama was in the White House. Here are a few of the companies that are now paying him handsomely for his services: Amazon, Walmart, Nickelodeon, Skechers. Ryan also has 10 separate YouTube channels, which together make up “Ryan’s World,” a content behemoth whose branded merchandise took in more than $250 million last year. Even conservative estimates suggest that the Kaji family take exceeds $25 million annually. But we’re a full decade into being stunned by YouTuber incomes, and I’m not sure these numbers should be alarming, or even surprising.Ryan Kaji and his parents, Loann and Shion, on the set of Nickelodeon’s “Ryan’s Mystery Playdate” last summer.Ilona Szwarc for The New York TimesRyan’s parents, Shion and Loann Kaji, met while they were undergraduates at Texas Tech University. Shion, the son of a microchip executive, moved to the United States from Japan when he was in high school and still speaks with a slight accent. Loann’s family escaped Vietnam on a boat and shuttled through refugee camps in Malaysia and Singapore before they made it to the United States; she grew up in Houston wanting to be a teacher. After college, Shion left to get his master’s in engineering at Cornell, but he returned to Texas within a year, after Ryan was born. (He would complete his master’s degree online.) They moved in together and began the uncertain and difficult work of trying to piece a family together.Which is all to say, these aren’t your stereotypical parents of a child star, who, frustrated with their own crashed Hollywood dreams, put their kid through singing and dancing lessons in the living room of a bungalow in Van Nuys. But neither are they just an adorable couple who stumbled into fame and fortune. They’re much cannier than that.In his first-ever video, Ryan Kaji, then just 3, squats on the floor of the toy aisle at Target. He looks very cute, doe-eyed with a Beatles mop cut. He’s being filmed by Loann. “Hi, Ryan,” she says brightly.“Hi, Mommy,” Ryan says.“What you want today?” Loann asks. “What is your pick of the week?”Ryan stands up and picks out a “Lego choo-choo train.” He does seem precocious, but not obnoxious — he doesn’t rattle off factorials or sing “Over the Rainbow” or “Tangled Up in Blue” or anything like that. Just a 3-year-old who seems a little advanced for his age, especially when it comes to expressing himself. There’s little that distinguishes this video from the millions of other family videos on YouTube, and Loann herself says she didn’t really expect anything to come from it other than something to share with her son’s grandparents. If you’re being uncharitable, you might note how “pick of the week” seems to suggest a plan for unending content.Shion saw no issue with it — why would he? — but he worried about the cost of buying toys nonstop for Ryan to play with on YouTube. And so the young couple agreed to allocate $20 a week in production costs, toys included. Loann would film everything on her phone and edit the videos on her laptop.For years, Kaji has made a new video almost every day of the week, adding up to an avalanche of content..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}At the time, Ryan was watching a lot of YouTube shows. His favorites were “EvanTubeHD” and “Hulyan and Maya,” each of which served as inspiration. Children’s content on YouTube tends to be derivative in this way. Once a specific toy or activity becomes popular, copycats emerge, knowing that algorithms will pick up and spread their version of “Slime Time” or what have you. A result is a self-referential world where thousands of children do the exact same thing on thousands of separate channels.When Ryan was getting started, one of the most popular and copied trends involved a giant papier-mâché egg filled with toys. Loann says Ryan wanted to do a giant-egg video, but this would have broken the weekly budget. Loann improvised. She had a lot of old toys based on the movie “Cars” lying around, which she stuffed into the requisite papier-mâché egg. In the video, Loann wakes Ryan up from a pretend nap. He seems genuinely surprised and begins smacking away at the egg with an inflatable toy. Then he begins pulling some clearly used toys out of the egg and feigning great surprise. The video currently has over a billion views.The giant egg was Ryan’s breakthrough. His channel’s audience began growing at an explosive rate, which then placed pressure on Loann to keep feeding her son’s new fans. “I was worried,” Shion says. “Every time I looked at other YouTubers, I didn’t see the huge growth that we were seeing over a short period of time.” That growth wasn’t just limited to the United States; Ryan was becoming popular in Asia, as well. “I was concerned about how much we could keep doing this without putting too much pressure on Ryan.”Virality is mostly luck: A teenager does a dance on TikTok, and suddenly every middle- and high-school kid has seen it, and before you know it, the dancer has 100 million followers and 15 separate sponsorship deals. Some critics will divine great importance from the tiniest of details and build a theory about what the kids really want, but there’s usually nothing outside the brutal logic of algorithms and the insatiable appetites of children.When Ryan’s egg video went viral, Loann saw an opportunity to make some extra income, though she didn’t know all that much about monetizing videos. Their first paycheck from YouTube was for about $150. At the time, Shion was still working as a structural engineer, and while he wanted to help Loann, who had a job as a teacher, someone needed to earn a steady salary.But after about a year of continued growth and bigger paychecks from YouTube, Shion and Loann both realized that they needed to commit fully to influencer life or risk squandering Ryan’s rare gift. They wanted the core of their channel, at the time called Ryan’s Toys Review, to remain the same — Ryan playing with the toys he liked, from “Cars” and “Thomas & Friends” — but they needed help. So they hired a couple of editors and started a production company, Sunlight Entertainment. Loann, who was pregnant at the time with twin girls — Emma and Katie, who are now 5 years old and appear frequently in Ryan’s videos — finally quit teaching to become a full-time YouTube mom.Shion held out a little longer, but he, too, eventually left his job to manage his son’s business. “I started to feel like I was the dead weight in the family,” Shion told me. Ryan needed full support from both parents. “So that’s when I realized, OK, we need to kind of step back, and we have to see how we can support Ryan in his branding.”Shion and Loann noticed that a lot of kid YouTube channels were focused more on the brand of the toy than on the brand of the talent. They were, in plainer terms, just adding “Thomas the Train” to their titles and hoping that other kids who wanted to consume every single video about Thomas the Tank Engine would stumble upon their content. Shion thought this was backward. Ryan, not the toys, should be the brand. Shion was proposing an interesting evolution: Given Ryan’s popularity, why couldn’t he create his own brands, his own characters, his own toys? Why help Thomas when you can create your own universe of characters, diversify your content streams, ramp up merchandising and license your content to some of the biggest platforms in the world? “People are watching Ryan, not the toy he’s showing,” Shion says. “So, oftentimes, we create a new original, animated character that’s inspired by Ryan.”Today, Ryan’s World includes the separate channels “Combo Panda,” “Ryan’s World Español” and “Gus the Gummy Gator.” Ryan doesn’t put in extensive appearances in all these videos; sometimes he just gives a short introduction. In one recent video, the action starts with Ryan in his backyard holding a rubber ball. He tosses it halfheartedly in the air, watches it bounce and then says that Peck and Combo — two of the cartoon characters in Ryan’s World — are going to teach viewers about gravity. He’s on camera for all of 35 seconds.Loann and Shion say that cameos like this are their way of limiting the amount of time Ryan needs to be on camera, which is their main concern these days. Still, there’s little doubt that he has spent most of his childhood being captured on video. Many of these appearances are banal; some are of dubious taste, like “Ryan’s First Business-Class Airplane Ride to Japan.” Others are just more videos of a cute kid playing with toys. Right now, as I am typing this, the latest entry in the Ryan’s World feed is an hourlong video in which Ryan is present for a vast majority of the screen time. He gives a few scientific facts about the strength of spiders, plays with some toys and is his usual, charming self, all while wearing a Ryan’s World T-shirt.In 2017, the Kajis established a partnership with Pocket.watch, a licensing company headed by a former executive from the Walt Disney Company. Pocket.watch handles the Ryan’s World franchise, including the deals with Walmart, Amazon and Skechers. But even as the family enterprise was expanding, Shion says, most viewers at that time still wanted to see Ryan play with familiar toys. So, Ryan continued to do — and generate a great deal of revenue from — what he had always done: picking up a popular toy and playing with it on camera. In 2019, Truth in Advertising, a consumer watchdog group, filed a complaint with the Federal Trade Commission, accusing the Kajis of “deceiving millions of young children” by not adequately disclosing their advertisers. (A spokeswoman for the family said that they “strictly follow all platforms’ terms of service and all existing laws and regulations, including advertising-disclosure requirements.”) The brand, which has continued to profit from sponsored content on its YouTube channels, also makes money from its line of Ryan’s World toys, multiple deals with streaming networks and licensing deals.Today, Sunshine Entertainment, the production company Shion and Loann created, has 30 employees. And the Kajis have traded Houston for Hawaii. When I asked Loann why they moved, she said, “Well, I always wanted to live in Hawaii, and now that we can afford it, we thought, Why don’t we just do it?”Last summer, I traveled with my daughter to Simi Valley, Calif., for a taping of the Nickelodeon show “Ryan’s Mystery Playdate,” a half-hour-long, professionally produced recapitulation of many of the motifs from Ryan’s YouTube videos. The night before the shoot, I asked my daughter to watch an old episode of the show on our iPad. She didn’t seem particularly interested at first, but when I moved to turn it off, she slapped my hand away and said she liked Ryan. Which didn’t surprise me — why wouldn’t she like him? But I admit I did feel slightly disappointed. Over the next few days, I had her sample a bit more from the Ryan Kaji media empire: A science lesson in which Ryan and his little twin sisters mix baking soda and vinegar; a game of tag played between Loann and Ryan; and the giant-egg video that started it all. She, of course, liked the egg the best.The Nickelodeon shoot was at a remote studio lot that had been made up to resemble a boulevard, with long stretches of building facades that somehow evoked historic Boston and the Wild West at the same time. Crew members in masks and plastic face shields were standing around the set, waiting for the talent to arrive. The Kajis’ tight schedule and their desire to spend as much time as possible in Hawaii means that Ryan flies to Los Angeles, films a season’s worth of shows, then heads right back home.Kaji and crew members on set of “Ryan’s Mystery Playdate.”Ilona Szwarc for The New York TimesThe conceit of “Ryan’s Mystery Playdate” is relatively simple. Ryan, Shion and Loann play a game. Ryan generally wins. Shion usually loses. Loann wins some and loses some, but she mostly hovers as a positive, encouraging presence. At some point, the mystery play date arrives. Today’s two guests were the Pie Ninja, who throws pies, and Major Mess, a burly military man who loves to make messes.A blast of cheery music sounded, then a round of recorded applause. Ryan emerged from a door wearing a pair of polarized sunglasses. Next came Loann and Shion, dressed in brightly colored jumpsuits, followed by a couple of production assistants who carried water and clipboards. The first contest was a simple memory-based matching game. Whoever missed got a pie in the face from the Pie Ninja. Before shooting started, however, Shion and the director on the set had to negotiate whether Shion would be hit with one or two pies. Shion said he didn’t really have any problem with two pies, which pleased the director.When the filming started, Ryan kept the scene together as Loann and Shion repeatedly forgot their lines. This, Loann would tell me later, is how nearly all these shoots go. Ryan rarely makes mistakes, nor does his positive attitude waver much. He spends a majority of “Mystery Playdate” with an amazed, gape-mouthed look on his face.Watching the Kajis coming together as a family to play these games reminded me of a moment from high school, when I was driving around town with a couple of classmates I didn’t know particularly well. One of them, an exemplary student who did things like run for student council, divulged that she and her parents played board games together once a week. This seemed absolutely insane to me, but I didn’t say anything about it, because you never know if your family’s dysfunction is atypical or if everyone else is just lying about their happy lives. I pictured this classmate seated on the floor of a living room, one much bigger than mine, playing Parcheesi with her bookish parents. This image persisted, and for the next year, I felt a great deal of hostility toward her. Today I play games with my daughter almost every night, but I suppose there’s still part of me that thinks about that happy family and still cannot fathom how such things could ever be possible.Why do children want to watch happy children playing with toys they can’t have? Are they responding to the toys or to the images of a happy family? Are they envisioning a life they already feel may be out of reach? And at what age does aspiration turn into resentment? I imagine my daughter will grow tired of these toy videos when she learns to feel real jealousy, which I suppose is a good reason to hope she just keeps watching them.And yet there’s something a bit unsatisfying about this explanation. Because if it were true that children just want to watch other children doing the things they most want to do, the most popular videos would show kids watching “Paw Patrol” on an iPad. The Kaji empire and its thousands of imitators, oddly enough, have created perhaps the only world in which children do not stare at screens. It’s a nice dream, I admit, but not to the extent of persuading me to allow my daughter to keep watching videos. The limits we set as parents may be arbitrary, but they are all we’ve got.Ryan’s life, despite its fictional presentation as a parade of remarkable discoveries that he shares with his enthusiastic parents, may not be all that different from my daughter’s. During the shoot in Simi Valley, after a long stretch of filming in the intense sun, I overheard a crew member say to him, “If you finish this scene, you can play Minecraft.”Jay Caspian Kang is a staff writer for the magazine and the opinion pages. He is the author of the novel “The Dead Do Not Improve,” and his latest book, “The Loneliest Americans,” was published by Crown in October. More