WS: Media & Marketing Insights Report by Web Summit

January 2024

Introduction 2023 was a year of continuous change and innovation at the intersection of marketing, media and technology. One standout trend has been the accelerating development and adoption of generative AI. With increasingly convincing and accurate automated content creation – from ChatGPT to custom LLMs – GenAI promises to transform marketing and media, as companies utilise these technologies to better understand and reach consumers. The creator economy has also continued maturing, as platforms such as YouTube, TikTok and Instagram enable influencers and creators to monetise their content. Brand sponsorships, product placement, paid subscriptions and more allow creators to turn their passions into careers. Having entered the media scene more than a decade ago, podcasts are still going strong. Their diverse nature appeals to today’s engaged and savvy news consumers of all ages. In particular, the podcast scene in the Middle East and North Africa has grown significantly. Elsewhere, with misinformation rampant, public support for investigative journalism that exposes corruption and spreads truth remains vital, and there are calls for media outlets to champion funding in order to uphold democracy and maintain accountability within institutions. Finally, marketing strategies need to evolve to resonate with younger generations, including gen Z and generation Alpha. With short attention spans and high nonsense sensors, these groups expect authenticity and are not happy with one-size-fits-all branding. In this Web Summit report, we explore the 2023 trends across marketing and media while preparing for 2024 and beyond.

– the Web Summit editorial team

Table of contents Media Balancing innovation and ethics in the AI age

Speaking truth to power in dangerous times

Podcasts revolutionising media in every corner of the world

QAnon: The other pandemic

Marketing What skills are crucial for the modern CMO?

Can AI revive the ‘glory days’ of product placement?

Money, trust and the key to good storytelling

Understand gen Z to get ahead of generation Alpha

Creators Can AI write the next great novel?

The creator economy: Smoke and mirrors

Content creators can’t make money – here’s why

Sonic speeding into real life

About us

Media

Balancing innovation and ethics in the AI age AI in the newsroom is nothing new. Organisations, including the Associated Press, have been using it for the past decade to carry out tasks such as partially automating stock market or sports reports. What’s new is that, with the advent of generative AI, this technology has gone mainstream and is now directly impacting audiences. “We have centred our coverage around this whole burgeoning of generative AI – how does it impact ordinary people?” said Thomson Reuters Foundation editor-in-chief Yasir Khan in reference to the foundation’s recent investigation into AI being used for surveillance in the US prison system. This focus on accountability and the socio-economic implications of AI underscores journalism’s critical role in addressing the broader impacts of technological advancements – beyond the traditional realm of reporting on funding rounds and new consumer products. “While keeping an eye on the development of AI, we are also tapping into where it’s being used in ways that require accountability,” said Yasir, explaining the company’s focus on digital rights, data privacy, surveillance, and inequalities that AI technology may create or exacerbate.

Media

It’s clear that AI is no longer the preserve of the technology reporter. It’s cropping up regularly in news stories across politics, finance, entertainment, education and more.

industry faces the dual challenge of utilising AI’s potential while also mitigating its risks. Yasir emphasised treating media literacy as a public health issue, underscoring the importance of equipping future generations to be shrewd news consumers.

But do people fully understand how AI is impacting society? It’s pervasive, cropping up in some surprising news stories in 2023. In reference to the Hollywood strikes, Associated Press (AP) executive editor Julia Pace explained, “a lot [of coverage has been] about what the risks of AI could be ... I think we all have to become internal experts in order to have it infused throughout the coverage”.

According to Yasir however, Generative AI should not be met with panic when it comes to trusting the veracity of images or pieces of writing online. It might be slightly more convincing, but fake news has always existed. “Malcolm X said – a long time before I was born – that you don’t believe everything you read in the newspapers, right? That was always a good rule; be a savvy consumer of the media,” said Yasir.

“We can’t inform our audiences about what’s real and what’s not unless we know how to do that internally as well.” Julia Pace Associated Press

Julie underscored the importance of fostering AI literacy within news organisations. AP’s proactive approach, for example, involves developing internal frameworks and standards to identify AI-generated content, particularly in relation to disinformation. “We can’t inform our audiences about what’s real and what’s not – about what to look for – unless we know how to do that internally as well,” Julie pointed out. Julie Pace Associated Press

This reflects a broader trend in journalism – a balancing act between embracing technological advancements and upholding ethical standards. As AI becomes more integrated into newsrooms, the

Media

Speaking truth to power in dangerous times In an era of misinformation and government propaganda, quality journalism faces existential threats. That’s according to journalist and author Vincent Bevins, who warned that the business models that once supported robust investigative reporting have crumbled. “There’s no longer a business model for journalism in general, but especially for international journalism and serious global investigative reporting,” asserted Vincent. The author argued that with fewer journalists holding those in power

“As a society, we have to decide if we want journalism, because I think if we don’t have journalism, we’re not gonna have democracy.”

accountable, governments find it easier to control the narrative. “With less and less people dedicated to doing the kind of thing that I’m supposed to be doing, it becomes much easier for the government of the United States or the UK, or any other of the powerful countries … to simply say something – to leak some claim about some ‘bad country’ to the press – and then for there to be no pushback,” Vincent claimed. The result is a steady decline in quality coverage. “International journalism is worse than when I started 15 years ago, and I think it’s going to be worse in five years unless we make a concerted effort to try to figure out how to actually fund [it],” Vincent warned. The author said the problem is fundamentally political rather than technological: “As a society, we have to decide if we want journalism, because I think if we don’t have journalism, we’re not gonna have democracy.” With propaganda on the march in an era of rising authoritarianism, protecting quality journalism may be more vital than ever. As Vincent made clear, the business models that once supported the fourth estate continue to crumble. Finding a way to fund speaking truth to power is an urgent challenge of our time.

Vincent Bevins Journalist and author

Media

Podcasts revolutionising media in every corner of the world

Journalism was once monopolised by single-source news platforms. In the last decade, however, there has been a significant shift towards multiplatform, multimedia consumption, which has radically transformed news coverage. Since the introduction of podcasts, and as a result of the ease with which content creators can create audio shows, there is a surplus of opinions, perspectives and information sources, producing a “proliferation of viewpoints,” according to Podeo founder and CEO Stefano Fallaha. But why the change?

Media

“[The industry] used to be dominated by large media conglomerates and large publishers, which actually limited the number of sources that control the majority of information dissemination,” said Stefano.

to ask the right questions – and obviously make up their own judgement of the content itself,” said Stefano. Nowhere is the exponential growth of podcasts more evident than across the Middle East and North Africa, claimed the Podeo founder. Stefano explained that just three years ago, there were fewer than 1,000 podcasts coming out of the region, but now, it’s all changed.

“What we’ve seen is that this growth of content was sort of reflected specifically within, and driven by, content creators – who are independent producers and publishers – and journalists… and it sort of opened up this [podcasting] platform,” the founder added. As a result, consumer media literacy is improving. “The reality is that [podcasting] is the most powerful and impactful medium because it engages audiences through in-depth analysis and leaves them

“We onboarded more than 60,000 podcasters in the last 12 months. And that’s massive, because now they’re reaching millions of listeners across the world.” Stefano Fallaha Podeo

“We onboarded more than 60,000 podcasters in the last 12 months. And that’s massive, because now they’re reaching millions of listeners across the world,” said Stefano. Podcasts are opening doors for more diverse Middle Eastern and North African voices, and enabling public discourse in a way traditional media hasn’t catered to. “You have all of these political podcasts, and even the news podcasts that are driving action and civic engagement across their audiences,” pointed out Stefano, adding that “[podcasters] are sharing opinions and ideas … and they’re building communities.”

Stefano Fallaha Podeo

Media

QAnon: The other pandemic

In the darker recesses of the internet, the QAnon phenomenon thrives.

“No one should think that they’re too clever not to fall for a conspiracy theory. ” James Ball The New European

Rooted in an almost messianic dedication to Donald Trump, QAnon constitutes a second pandemic, according to journalist and author James Ball.

this mindset of there being a conspiracy of the elite against the masses, and then anything that fits into that could be absorbed by it.”

While stating that QAnon is “stupid” and “really dumb”, James said that “no one should think that they’re too clever not to fall for a conspiracy theory … and QAnon trains you to radicalise yourself”.

So while QAnon often excludes things like aliens or flat Earth theories, it can include anything that fits the shadowy and oppressive narrative.

QAnon’s strength lies in the fact that it is leaderless – suffering from “tall poppy syndrome” – in which any emergent leader or dominant figure is cut back down to size – while also being adaptable as “the conspiracy theory that ate all other conspiracy theories”. It is also decentralised, and represents more of a system of belief than a consistent theory. “Any control that Q had over QAnon ended before most people had ever heard of it,” said James. “Instead, it became

This includes satanic child abuse, the 15-minute-city conspiracy (based on the misunderstanding of an urban planning term), 5G, and a variety of belief systems about Covid-19. It attracts disparate groups of disaffected people who supplement conspiracy theories with their own fringe beliefs, often leading to them being radicalised on subjects they previously had no interest in.

Media

Perhaps the most pressing question is, how do people get involved in QAnon?

“You’ll see even a relatively mainstream government say things that are quite adjacent to QAnon,” said James, adding that the UK Conservative party is “doing a fairly shameless bit of flirting with a conspiracy that makes no sense at all”.

“I think a crucial thing is, as odd as it sounds, it’s quite empowering to believe in QAnon,” said James. “Your life doesn’t suck, or you haven’t achieved what you wanted to, not because maybe you’re average – or the capitalist system is stacked against you – but because in complicated, abstract ways, there are people acting against you, and you know about it, and you’re on to it,” said the author.

The author remarked that “at their annual party conference, they made a big thing of banning so-called ‘15-minute cities’ that would stop you leaving the area where you live, which no one has proposed. And also, they are the government – they would be the sinister power behind it.”

And so, now, what began as victimhood changes to “becoming a hero in your own narrative,” according to James. Whereas before you were alone and struggling, now you are part of a mass movement uncovering the truth.

According to James, QAnon isn’t going away any time soon, and those who know nothing about the group may soon find out more than they would like to.

James Ball The New European

“You’ll see even a relatively mainstream government say things that are quite adjacent to QAnon.” James Ball The New European

This line of thinking, however, can lead to the breakdown of families and friendships in the real world, and – often – total ostracisation. This, in turn, often fuels greater devotion to QAnon. QAnon should not be underestimated as a fringe conspiracy theory, according to James, given that “it is very firmly embedded in the US Republican base”. Perhaps more notably, it has also deeply infiltrated the echelons of the UK’s governing Conservative party.

Marketing

What skills are crucial for the modern CMO? The role of a chief marketing officer has evolved from focusing on traditional marketing strategies to a more complex, multifaceted role. But what core skills are needed to thrive as a CMO in 2024?

“Now that Humpty Dumpty has fallen off the wall, there are so many more disciplines available to us.”

The traditional marketing model has expanded. Just a few years ago, there were distinct key legs of the marketing stool: advertising, public relations, direct marketing – and, occasionally, brand design. This was the “whole egg” approach, according to Peter Himler, founding principal and editor of the New Yorkbased PR and marketing firm Flatiron Communications. “Now that Humpty Dumpty has fallen off the wall, there are so many more disciplines available to us,” said Peter. Tech-driven convergence is changing marketing strategies that were once content-driven, independent of delivery.

Peter Himler Flatiron Communications

Marketing

“Delivery matters,” said Tata Consultancy Services chief design officer Fabian Birgfeld, adding that modern CMOs “need to create a holistic solution with a holistic approach”. Fabian went on to say that “this is relatively complicated, but that’s what drives transformation and the changing role of the CMO”.

In regards to marketing specifics, this means understanding the growing role of influencers in shaping consumer trends. When working with influencers, CMOs should take care to align with their brand’s narrative in order to maintain authenticity and avoid issues like greenwashing, especially in sensitive sectors such as energy. For the average CMO, this translates to having your finger on the pulse of influencer marketing or – as Thorsten branded it – ‘creator relations’. “We are consumer brands talking to a young gen Z audience … it’s TikTok first,” added Thorsten.

“You have to be, on the one hand, adaptable to a very dynamic landscape of marketing and digital tech, but also adaptable to the internal organisation – and be able to manage different teams and different stakeholders.” Thorsten Mühl Cosnova

This means that the CMO of 2024 may require a different skillset to that of their predecessors. “I personally look for adaptability, because I think that is one of the core skills,” explained Thorsten Mühl, chief digital marketing and experience officer of cosmetics firm Cosnova. ”You have to be, on the one hand, adaptable to a very dynamic landscape of marketing and digital tech, but also adaptable to the internal organisation and be able to manage different teams and different stakeholders,” added Thorsten.

Peter Himler Flatiron Communications

Marketing

Can AI revive the ‘glory days’ of product placement?

Reese’s Pieces and a homesick alien changed the world of advertising forever. The iconic 80s movie E.T. was responsible for one of the most memorable and earliest examples of product placement.

technology, it might be making a comeback. Through GenAI, the product – candy or otherwise – isn’t placed in the scene in reality; it’s added virtually in a way that is as non-intrusive as possible for viewers. A YouTuber, for example, can continue a makeup tutorial while a branded item pops up on their vanity table, and disappears just as quickly.

In a scene embedded in pop culture, the titular alien is coaxed into the safety of Elliott’s house with a trail of candy, signalling the beginning of the productplacement boom. After E.T., there was no need to wait for the ads – they become part of the entertainment experience.

You’re probably thinking that featuring a real product is more convincing than a digital copy. It might seem almost counterintuitive to use a virtual object in place of the real thing. Shouldn’t it be subtly – and nonintrusively – placed in the background?

A lot has changed since 1982, and such obvious product placement has fallen out of fashion. But, thanks to generative AI

The COO and chief product officer of ad tech firm Rembrand, David Wiener, touted the benefits of this new approach: “What’s been interesting about this space is

that, in certain situations, actually doing it virtually – placing objects around a video virtually – allows you to tell a story in a better way as a brand than actually having a physical product just sit there.” A very basic example? Rembrand worked with laundry detergent brand Tide to promote its new stain removal pen product by “virtually creat[ing] a stain on someone’s shirt, and then show[ing] – virtually – the pen kind of floating into the scene, erasing that stain,” noted David.

Marketing

The idea is to organically integrate the product while showing its value proposition. But will gen Z viewers take the bait?

Meanwhile, GenAI product placement doesn’t demand anything from the presenter or influencer: “All you have to do is upload a video. I don’t have to do anything else … it’s just another form of revenue,” added Zach.

Podcaster Zach Justice thinks so. The social media personality outlined the main problem with getting viewers to watch the traditional video ads that influencers rely on as part of their revenue stream: “[They] go grab a sandwich while the ad is on … [gen Z is] so ingrained to having that ad break and [their] brains turning off”.

“Doing [product placement] virtually … allows you to tell a story in a better way as a brand than actually having a physical product just sit there.” David Wiener Rembrand

As AI placement becomes more commonplace, David believes it can exist alongside other advertising without cannibalisation. Typical placements run for up to 30 minutes compared to a standard 15-second pre-roll ad. And creators still have the freedom to do dedicated sponsor segments. The only issue is one that has already plagued traditional product placement: annoying an audience. No one wants a repeat of the cringey Mountain Dew robot in Transformers, or the Subway ad in the Hawaii Five-O reboo when a character spent a scene extolling the virtues of their sandwiches. The key to success lies in striking a delicate balance. Brands must ensure their virtual placements are subtle enough to avoid alienating viewers, yet impactful enough to leave a lasting impression. So, no different to what has gone before.

David Wiener Rembrand

Marketing

Money, trust and the key to good storytelling According to Piabo Communications founder and CEO Tilo Bonow, storytelling is vital to any brand’s success. It’s what separates successful companies from competitors, driving consumers to spend exponentially more on products and services. “A great communication strategy and good storytelling can help you as a founder in many, many dimensions. Of course it helps with your valuation. But it also relates to big parts of your story; to your narrative,” Tilo said, in reference to the world of startups. Communication and trust go hand in hand, according to the founder. Regarding trust, Tilo meant more than getting customers on board with your company’s messaging: “When we’re talking about trust, it also relates to investments. When money is the currency of transactions, trust is the currency of interactions.” But how exactly does one create and maintain trust? It begins with emotionally engaging storytelling, claimed Tilo. Beyond

an initial interest in a product is an innate desire to connect with a product’s messaging. “You have to really identify a problem to solve,” added the founder. Only then can businesses win the hearts and minds of people, and create memorable narratives.

“When we’re talking about trust, it also relates to investments. When money is the currency of transactions, trust is the currency of interactions.” Tilo Bonow Piabo Communications

Marketing

Understand gen Z to get ahead of generation Alpha One of the greatest desires of any marketer is to attract a new generation of consumers. While they don’t always have the same purchasing power as older cohorts, they are key trendsetters, representing the customers of tomorrow and offering the promise of longevity.

they are already spending and buying,” said Jay Richards, co-founder at Imagen Insights, a London-based gen Z-focused marketing insights agency. While it is true that gen Z is socially conscious, the idea that they care about all social issues is a mistake.

In the case of gen Z, they are set to have US$33 trillion in spending power by 2030. That is big business. Given that the elder gen Z are in their late 20s, however, the big business has already begun. “They’re saving up to buy luxury products, and

As a result, brands should be careful when expressing opinions on social topics in an attempt to get clout from gen Z. “If you’re a brand trying to engage with this demographic, choose two or three core causes to get behind,” said Jay, citing Black Lives Matter as an example where many brands were wrong-footed, posting black Instagram squares only to later receive backlash for drowning out content from Black activists.

Marketing

Another example is sustainability, which seems to be a dominating social issue for gen Z. But then why are they buying fast fashion? “Because they’re broke,” said Jay, pointing out that some 43 percent of the generation are primarily concerned about their finances.

What’s clear is that gen Z wants to be part of a conversation, to cocollaborate and to be dealt with transparently. To speak to gen Z, brands must build online communities and be responsive to customers. This, in turn, will build a dialogue and make consumers emotionally invested in the brand or product. But companies must have transparency – particularly with crisis comms – to safeguard the emotional trust invested by the consumer.

This financial worry will shift as they age and earn, with sustainable brands better placed to capture them in time, according to the founder.

Just as constant talk about millennials has faded from the headlines, so too will the fascination with gen Z, as it passes to generation Alpha. But who are they?

To effectively market to this generation, it’s important to understand how they interact.

According to Imagen Insights: 95 percent of gen Z say real-life interaction is more important than making friends online, which seems to have become even more important after Covid-19.

Gen Z has little patience for influencer-brand collaborations, over-polished social media, and attempts to force them into using new – and dubious – technology.

Three-quarters of the generation do not own an AR or VR headset, smart glasses, or NFTs, and don’t envision them in their social lives. Jay Richards Imagen Insights

Marketing

Generation Alpha are those currently aged 13 or below – 2.8 million of whom are born every week. Of this generation, 65 percent will work jobs that do not currently exist.

According to Jay, this could cause a similar phenomenon to child celebrity – social media could be a traumatic influence in these kids’ lives, leading to a wholesale rejection of it.

The challenge for marketers who are used to social media is that most of this generation have essentially grown up as their parents’ personal social media influencers, and with parents who are social media influencers themselves. More than 75 percent of parents share their children’s data online, and eight out of 10 parents have followers they have never met.

If that’s the case, what is the future of marketing? It’s likely to be a variation on today’s and yesterday’s marketing: building trust through transparency, conversation and collaboration.

Gen Z:

Generation Alpha:

• Aged 14-28

• Aged 13 and under

• Set to have US$33 trillion spending power by 2030

• 2.8 million born each week; will represent two billion people by 2025

• 43% of gen Z are concerned about their finances

• Most diverse generation in history

• 95% say real-life interaction is more important than making friends online

• 65% will work jobs that do not currently exist • More than 75% of parents share their children’s data online

• 72% don’t own an AR or VR headset, smart glasses, or NFTs – and don’t envision a place for them in their lives

Creators

Can AI write the next great novel? As generative AI continues its meteoric rise, some have begun asking whether tools such as ChatGPT could write fiction on par with the greats.

“[As an author] I want to be memorable. I want to be the best ever. I want to be superlative,” said the Economist deputy executive editor Kenneth Cukier, explaining that LLMs (large language models) are trained to produce content that is average and lacking originality.

Given the depth of human creativity and emotion needed to produce timeless classics – such as Emily Brontë’s Wuthering Heights, William Golding’s Lord of the Flies or Charles Dickens’ Great Expectations – could a computer program truly compete?

“[As an author] I want to be memorable. I want to be the best ever. I want to be superlative.” Kenneth Cukier The Economist

Creators

“In short, the way the system works is to find the median answer. An LLM wants to make sure an answer is good. If you think of it as a Gaussian distribution, wham, right in the middle, it’ll be good. But I don’t want good. Good sucks,” Kenneth said.

Of course, what differentiates between a good read and great literature is truly subjective. Dan Browne’s works might be regarded as forgettable distractions by some, but they consistently knock it out of the park on the bestseller lists. Isn’t that a mark of good entertainment? And certainly one that ChatGPT could set its sights on reproducing if there’s a formula to it.

While AI can churn out prose, some people doubt it possesses the deeper logic or intelligence required for more complex stories. In reference to John le Carré’s page-turner, The Spy Who Came in from the Cold, Kenneth said that “to have done that, these crossconnections are so elaborate and require symbolic reasoning, and a sense of deception”.

Perhaps the true test will come when AI can make us shed tears at a story’s end. Because, as Kenneth put it, what we remember most are “books where you were sad; where you deliberately read slowly, so that you wouldn’t finish it”. Until AI can do that, the novels that leave a mark will likely still come from the heart and not an algorithm. Of course, AI will keep advancing. “Can [GenAI] write a bestseller? Today? No. Tomorrow or some time in the future? Yeah,” predicted Eamonn.

“Can [GenAI] write a bestseller? Today? No. Tomorrow or some time in the future? Yeah.” Eamonn Carey Tera Ventures

Indeed, AI struggles with “the humanity in those characters; the story; the narrative,” said columnist and Tera Ventures general partner Eamonn Carey referencing Haruki Murakami’s 1Q84. “When I finished, it was like I’d lost my friends.” “I do think that you can use these tools to help you ideate,” the columnist stated. But, “for fiction novelists, you’re gonna have to write it yourself; you’re gonna have to do the hard work,” Eamonn added. Kenneth claimed that, while truly standout literature is out of reach, current generative AI is probably capable of writing a decent ‘airport novel’. “Dan Browne is formulaic … so AI should be fantastic at doing that,” the editor added.

Creators

The creator economy: Smoke and mirrors The creator economy is a marketing term used so widely it’s been accepted as a given. But what does it mean? And does it exist? We all vaguely understand the creator economy as a revenue-generating system where social media influencers and digital content creators can generate healthy incomes from their online output. But few people understand the actual dynamics of this concept, or that it is much less clear-cut than it seems.

– at least according to SmarterLicense cofounder and CEO Liz Hagelthorn. “It’s not like you get a bunch of followers, and then all of a sudden you get paid, in the traditional sense,” said Liz. “I wish we were fighting for the small creator to win. But really, all of the commerce, marketing teams and billions in advertising are built on the quicksand that is the creator economy.”

It is a perceived economic opportunity for people with big followings on social media to make real money. But that’s not how it works

Creators

In a traditional economy, there are incentives and disincentives for all participants. In the creator economy, however, there are very few incentives for the creators themselves beyond the promises of exposure that may – or may not – lead to something.

said @YourKoreanDad creator Nick Cho. “So they extract some value; extract some money; extract attention to be able to scale their business... But, in the meantime, what is the reverse exchange of value?” asked Nick.

“The honest truth is that, when I encounter people in creator-related businesses, 98 percent of them, they’re like vampires. They’re coming to suck value out of the creator space,”

This is especially the case with the many consultancies and agencies that have sprung up in recent years to help turn small creators into bankable online property.

“I wish we were fighting for the small creator to win. But really, all of the commerce, marketing teams and billions in advertising are built on the quicksand that is the creator economy.” Liz Hagelthorn SmarterLicense

The reality is that most content creators never reach those heights. Nick believes there is a better way for creators to generate revenue directly from their content, rather than relying on partnership middlemen. Top creators are making massive money, but there should be more for the smaller creators lower down on the food chain. To attract and maintain new creators, micro revenue streams such as payment for views could help people with smaller follower numbers develop their content more sustainably. So far though, no one has sought to address this issue meaningfully.

Liz Hagelthorn SmarterLicense

Creators

Content creators can’t make money - here’s why Being platform agnostic is viewed as a vaguely positive strategy for content creators. Be on more platforms, get more exposure. But is it as simple as that? Is it even possible? “I don’t think you can be agnostic,” claimed GE Beauty founder, CEO and communicator Camila Coutinho. “Because you cannot get the same content and spread it across all platforms … you have to create a different thing for each platform, and that costs time and [brainpower].” As a long time influencer – “I’ve been blogging for 18 years. I say I’m like the grandma for blogging.” – Camila knows where GE Beauty’s audience is. “[They are] a little bit older … so they are mostly on Instagram. I prefer to focus there and then spread my message on the other platforms.” Likening platform loyalty to the game ‘Kiss, Marry, Kill’, the CEO said: “I would marry Instagram because they are

always there at the end of the day. Maybe kiss TikTok, because we’re still flirting.” As a more recent content creator, former Olympian Christine Peng-Peng Lee has a different experience: “I probably would marry TikTok just because it’s been so good to me.”

“I don’t think you can be agnostic … because you cannot get the same content and spread it across all platforms.” Camila Coutinho GE Beauty

Creators

However, this kind of platform loyalty has its problems. A cautionary tale is TikTok’s US$2 billion creator fund that was shut down in December 2023. This fund was aimed at short-form content – the really viral stuff, including transitions (the hand swipe or finger snap) – that is under 60 seconds in length and designed to spread like wildfire across the platform.

creators to try new things. But coming into 2024, making a living as a content creator is becoming a tricky balancing act between carving out a niche and ensuring you’re not too dependent on any one strategy or platform.

These short videos often bring overnight fame and income to the creator. But with TikTok’s decision to end the fund, a once assured revenue stream dried up overnight.

“I am dealing with it on a daily basis. I’ll be very honest; it’s one of those things I’m still figuring out.” Christine Peng-Peng Lee Former Olympian

This type of content had become bread and butter for many creators, including Christine, who said, “short form – that was kind of my niche. I do a lot of transitions”. How is Christine dealing with the scrapping of the creator fund and the introduction of the new Creativity Program, which requires creators to make videos that are longer than a minute if they want to monetise them? Christine Peng-Peng Lee Former Olympian

“I am dealing with it on a daily basis. I’ll be very honest, it’s one of those things I’m still figuring out,” explained the former Olympian. Christine referred to this change as a “fun challenge” that pushes

Creators

Sonic speeding into real life Japan is a content pioneer, with gaming at the forefront. Nowhere is this witnessed more than in the world of ‘VTubers’ – Japan’s virtual gaming YouTube streamers who are breaking a new frontier by bringing gaming characters to life.

Shuji Utsumi, COO at Sega and keeper of the Sonic brand is enthusiastic about VTubers, saying: “We’re planning to expand transmedia initiatives to our major IPs. We firmly believe it plays an important role, allowing us to strategically expand the values of numerous IPs in innovative ways.”

They use virtual, computer-generated avatars with real-time motion-to-capture technology for streaming. Avatars, perhaps, like Sonic the Hedgehog.

Of the top VTubers, just 10 percent are actual, real human beings. And it’s big business. “They’re some of the mostsubbed and

“We’re planning to expand transmedia initiatives to our major IPs. We firmly believe it plays an important role, allowing us to strategically expand the values of numerous IPs in innovative ways.”

superchatted livestream influencers of both the real world and virtual,” said AKA Virtual CEO Jia Shen.

Shuji Utsumi Sega

Creators

Technology also means that brands can now bring these VTube characters into the real world, and feature them in marketing and brand-based content creation. Jia’s company partnered with Sega to bring its distinct stable of characters – including Sonic and the Street Fighters – off-console and into the real world. Whether that ends up being as impactful as promised is yet to be revealed.

VTuber facts and stats: • 1.1 billion – hours of viewership clocked up by VTubers in 2023 • 73.9 percent – VTubing channels run by independent virtual influencers (rather than companies) • 38.5 percent – VTubers based in Japan, more than three-quarters of whom are women

Shuji Utsumi Sega

• Kizuna AI is considered one of the first mainstream virtual influencers, with three million followers on YouTube and an additional three million on TikTok

Of the top VTubers, just 10 percent are actual, real human beings. And it’s big business. “They’re some of the most-subbed and superchatted livestream influencers of both the real world and virtual,” said AKA Virtual CEO Jia Shen.

• Virtual characters don’t always pan out. Netflix launched its VTuber N-ko two years ago to highlight new anime content, but quietly dropped it in the last year

“In Japan, they’re now everywhere, appearing on TikTok, streaming platforms and live television. They’re so mainstream that you can find them in your local convenience stores adorning your favourite snacks,” Jia continued.

• Twitch and YouTube – with a 50/50 split – account for 98.9 percent of the VTuber market

According to Jia, this is a trend that is also beginning to catch on in the West, particularly as younger audiences gravitate towards self-curation of their content diets on TikTok, YouTube and Twitch.

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