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Meta Platforms (META 0.52%) is no longer just a social media giant. It’s building one of the world’s largest AI infrastructures, recruiting elite talent, and embedding artificial intelligence into every layer of its ecosystem — from apps and ads to AR glasses.

While OpenAI and Google dominate the spotlight, Meta is quietly constructing the foundation to lead the next decade of AI development. Here’s how it plans to win.

Image source: Getty Images.

Building the backbone: A massive infrastructure bet

Meta’s AI ambitions rest on one of the biggest infrastructure buildouts in tech history. The company plans to spend $60 to 65 billion in capital expenditures this year, channeling much of that into data centers and custom AI hardware. By the end of 2025, Meta expects to operate over 1.3 million GPUs — a scale few companies can match.

This massive investment isn’t just brute force spending. It’s a strategic move to gain control. Meta is already testing its own AI chip, designed to reduce reliance on Nvidia and optimize training efficiency. Like Amazon‘s in-house silicon program, this initiative gives Meta tighter control over cost, performance, and innovation speed.

The company is also expanding a global network of data centers equipped with liquid cooling and energy-efficient designs. These facilities will train large language models such as LLaMA 3 and future generations while powering AI-driven features across Facebook, Instagram, and WhatsApp.

For Meta, infrastructure is more than a resource — it’s a moat. Every improvement in computing efficiency compounds across billions of users and trillions of interactions. That scale gives Meta a self-reinforcing infrastructure advantage.

Investing in people

Technology changes fast, but exceptional people adapt and shape the future. Meta understands that better than most. Over the past year, the company has aggressively recruited top AI researchers and engineers from DeepMind, OpenAI, and Anthropic.

In a bold move, Meta hired Alexandr Wang, the founder of Scale AI, to lead its new Superintelligence division. And that’s after investing $14.3 billion in Scale AI, the AI company Wang founded after dropping out of MIT. The hire signals Meta’s intent to compete not just in applied AI but in the broader race toward artificial general intelligence.

Zuckerberg’s philosophy is straightforward: world-class talent compounds like capital. So, it makes sense to spend heavily to acquire the best talent. This strategy is not new to Meta. Years ago, it paid a hefty sum ($16 billion) to acquire WhatsApp early on — mainly for the talent and technology.

While such a strategy does not guarantee an outcome, it has its advantages, particularly in securing the best talents — while eliminating a potential future competitor. That’s precisely what Meta did with its WhatsApp deal, and the learnings from the WhatsApp acquisition helped fuel the development of Messenger, Meta’s own messaging app.

Integration: Hardware, software, and ecosystem

Meta’s most significant edge lies in integration — uniting infrastructure, talent, and products under one ecosystem. The company’s open-source large language model, LLaMA, already powers its AI-driven functions such as real-time translation and intelligent assistants across Messenger and WhatsApp. Each deployment brings new data, which strengthens the next generation of models.

But Meta isn’t stopping at software. Its Reality Labs division is bringing AI into the physical world through devices like the Ray-Ban Meta smart glasses, which include conversational assistance, translation, and image recognition. Zuckerberg envisions a future where AI becomes ambient — invisible, intuitive, and always available.

Over time, Meta’s ecosystem could span everything from LLaMA models running on powerful clusters to lightweight AI running directly on AR glasses or smartphones. With more than 3 billion users, Meta holds an enormous testing ground for refining these systems at scale.

What does it mean for investors?

Meta’s AI strategy isn’t about racing to release the flashiest model. It’s about building the foundation of the next computing era. By investing heavily in hardware, empowering world-class talent, and integrating AI into every layer of its ecosystem, Meta aims to become the operating system of the AI age.

Execution remains the real test. Building trillion-parameter models and next-generation chips is one challenge; translating them into durable products is another. But Meta has a history of thriving when it builds patiently, at scale, and in plain sight. And that’s precisely what it’s doing right now.

Investors looking to invest in AI companies should keep the stock on watch.

Taiwan Semiconductor Manufacturing Company (TSM 1.50%), also known as TSMC, is one of the premier manufacturers of advanced processors, many of which are used for artificial intelligence. The company’s strong position in this space and its growth over the past few years have resulted in its stock price soaring nearly 200% over the past three years.

Recent research from The Motley Fool sheds some light on how TSMC’s manufacturing technology is a step ahead, how it makes the majority of its revenue, and where most of its customers are located. Importantly, all of these factors work together to set TSMC apart from the competition and make its stock a smart one to own for years to come.

1. The company is a leader in advanced chip manufacturing

TSMC manufactures some of the world’s most advanced processors, and the breakdown of the company’s revenue shows just how much comes from its different manufacturing capabilities. Chip companies use the term chip node to describe how many transistors will fit onto a semiconductor, with the unit of chip measurement being nanometers (nm). Generally speaking, the smaller, the more advanced the processor.

Here’s a snapshot of Taiwan Semiconductor’s top five revenue generators, by chip size:

Data source: Taiwan Semiconductor.

This revenue composition is important to highlight because it shows that a whopping 60% of the company’s semiconductor sales are from the smallest and most advanced processors (3nm and 5nm) on the market.

No other company compares to TSMC’s manufacturing prowess, and it’s likely to continue outpacing the competition. TSMC has already sign 15 deals with tech companies for 2nm semiconductor manufacturing, leaving rivals, including Samsung, far behind.

2. Its advanced processors are driving its growth

Just as important as the technology behind TSMC’s revenue is what technologies those processors power. If we go back five years, smartphones were the driving revenue force for TSMC. Now, it’s high-performance computing (think AI data centers).

The company has dominated the manufacturing of advanced processors so well, in fact, that TSMC makes an estimated 90% of the world’s most advanced processors.

Here is the company’s revenue distribution over the past four quarters:

Data source: Taiwan Semiconductor.

TSMC’s making the majority of its revenue from high-performance computing is important because it shows that the company successfully adapted with the times, moving from its previously dominant smartphone segment to sales from chips to AI data centers.

More growth could be on the way, too, considering that semiconductor leader Nvidia believes technology companies could spend up to $4 trillion on AI data center infrastructure over the next five years.

3. U.S. tech giants drive demand

Taiwan Semiconductor is based in, you guessed it, Taiwan, but the vast majority of its sales come from selling processors to North American companies. About five years ago, North America accounted for just over half of TSMC’s sales, but that’s jumped to 75% currently. China and the Asia-Pacific region tie for second place with just 9% each.

Why does this matter? Some of the most advanced artificial intelligence companies, including Nvidia, OpenAI, Microsoft, Meta, and Alphabet, are based in North America. Taiwan Semiconductor’s shift toward sales in this geographic area is a reflection of the company successfully attracting the world’s leading AI companies to have their chips made by TSMC.

Is Taiwan Semiconductor a buy?

With TSMC making an estimated 90% of the world’s most advanced processors, the company outpacing its manufacturing competition, and artificial intelligence companies poised to spend trillions of dollars to build out and upgrade data centers, TSMC is well positioned to be a great AI stock for years to come.

Just keep in mind that the stellar gains TSMC stock has experienced over the past several years have been a result of the early AI boom, which means future returns may not be quite as impressive.

In the latest salvo between Hollywood and artificial intelligence companies, tech start-up Character.AI has removed many Disney characters from its chatbot platform after the Burbank entertainment giant sent the firm a cease-and-desist letter, alleging copyright infringement.

Chatbots on the Character.AI platform impersonated well-known Disney characters such as Elsa, Moana, Peter Parker and Darth Vader and generated replies that simulated the “essence, goodwill, and look and feel of each character” and also incorporated their backstories, according to a letter dated Sept. 18 from a law firm representing Disney.

“These actions mislead and confuse consumers, including vulnerable young people, to believe that they are interacting with Disney’s characters, and to falsely believe that Disney has licensed these characters to, and endorsed their use by, Character.ai,” the letter said. “In fact, Character.ai is freeriding off the goodwill of Disney’s famous marks and brands, and blatantly infringing Disney’s copyrights.”

Disney also raised concerns about reports that chatbots have engaged users in inappropriate conversations.

A spokesperson for the Menlo Park-based startup said in an email that Character.AI responds “swiftly” to rights holders’ requests to remove content and noted that all of the characters on the service are generated by users.

On Tuesday afternoon, a few Disney characters remained on the platform, including Elsa from the hit animated film “Frozen.” The spokesperson said removing the characters is a process.

“We want to partner with the industry and rightsholders to empower them to bring their characters to our platform,” the spokesperson said. “Our goal is to give IP owners the tools to create controlled, engaging and revenue-generating experiences from deep fandom for their characters and stories, expanding their reach using our new, interactive format.”

Friction between Hollywood studios and AI firms has been growing.

In June, Disney and Comcast’s Universal Pictures sued AI company Midjourney, alleging that its image generator infringed on its copyrighted characters from franchises such as “Star Wars” and “Despicable Me.”

Warner Bros. Discovery joined the legal fight earlier this month, alleging that Midjourney’s software was producing rip-offs of characters such as Scooby-Doo and Superman.

Domino’s Pizza (DPZ -0.60%) may be best known for late-night delivery, but for investors it represents something bigger. One of the most durable growth stories in the restaurant industry. Over the past two decades, Domino’s has outpaced the S&P 500, delivering close to 3,000% in stock return to investors.

Now, with more than 21,000 stores worldwide, the question is what keeps Domino’s compounding from here. The answer lies in three powerful forces: International expansion, digital leadership, and menu innovation.

Image source: Getty Images.

1. International expansion, and particularly China

One of the biggest issues with Domino’s is the sheer size of its U.S. store count (7,031 as of March 23), which limits its future growth potential. While the bears are not wrong in saying that, they are missing the bigger picture, wherein the real growth engine is from overseas. For perspective, Domino’s now operates more international stores than domestic ones, and global markets (with more than 14,000 stores) are providing both scale and profitability.

The most significant growth opportunity here is China. Domino’s master franchisee there, DPC Dash, ended June 2025 with about 1,198 stores across 48 Chinese cities. Same-store sales have grown for more than 30 straight quarters, and management expects to add about 300 stores in 2025 and 350 more in 2026. It also has 30 million customers on its loyalty program there, up from 19 million a year ago.

Importantly, DPC’s growing scale is translating into profitability. In the first half of 2025,  Domino’s China generated $362.7 million in revenue and a fivefold increase in net profit year over year, with adjusted EBITDA margins climbing to 12.4%. Those numbers highlight a rare combination: Rapid revenue growth alongside improving margins.

While impressive, the growth in China is likely to be in the early days. With a population of 1.4 billion, the country can certainly accommodate many more thousands of stores. For investors, that’s a blueprint that could extend to other emerging markets as Domino’s replicates the model in emerging markets like India or Southeast Asia.

2. Ongoing investment in digital and technology

Domino’s has long differentiated itself through technology. It was one of the first pizza chains to roll out mobile ordering, and today, digital accounts for a large share of its sales base. In the U.S., more than 85% of sales now come through digital channels.

That’s more than just a convenience metric. Digital orders typically carry higher average tickets and lower error rates, and foster customer loyalty through push notifications and rewards. By steering customers to its own app, Domino’s also collects valuable data, enabling upselling and targeted marketing.

The company is also partnering with other tech companies. Its DoorDash deal, announced in May 2025, allows Domino’s stores to appear on DoorDash’s marketplace while still using Domino’s drivers for fulfillment. This hybrid model expands customer reach without compromising the delivery experience for customers.

Looking ahead, Domino’s ongoing investment in the latest technology and innovations could further enhance the customer experience while making its operation leaner and better. Both will add to the bottom line over the long run.

3. Menu and value innovation

People crave variety, even in a category as simple as pizza. Domino’s continually updates its menu with new toppings, sides, and limited-time offers that encourage repeat visits from loyal customers while attracting new demographics.

Internationally, Domino’s adapts to local tastes — paneer pizzas in India, durian pizzas in China — to ensure cultural relevance while still leveraging its global brand. That balance of localization and consistency is a significant strength as it expands into new markets.

Value remains just as crucial as novelty. Domino’s has consistently positioned itself as an affordable option in quick-service dining, offering carryout deals, bundles, and promotional pricing that appeal to price-sensitive consumers. This approach has helped Domino’s not only sustain demand through economic cycles, but also gain market share during more challenging times.

The combination of menu variety and value pricing has cemented Domino’s position as the largest pizza chain in the world, and it gives the company multiple levers to drive growth even when broader consumer spending slows.

What does it mean for investors?

Domino’s isn’t just a restaurant chain anymore — it’s a global platform powered by scale, technology, and relentless customer focus.

International expansion, particularly in China, offers a long runway for store growth. Its digital leadership strengthens customer loyalty and operational efficiency. And menu and value innovation keep the brand relevant and affordable across markets.

That’s why, even after two decades of outperformance, Domino’s story may just be getting started. Investors should keep the company on their radar.

An uncrewed hydrogen-powered autonomous surveillance airship the size of a small bus has been floating over Portuguese waters, collecting imagery of ships and other objects. The goal of these test flights is to see if this airship can provide NATO with situational awareness of the maritime domain.

The flights are part of the alliance’s annual demonstration seeking new robotic technology to boost its defenses. The airship is one of several systems that NATO is evaluating during this exercise, which is called Robotic Experimentation and Prototyping using Maritime Unmanned Systems (REPMUS) 25 and Dynamic Messenger (DYMS) 25. NATO is also trialing unmanned surface and underwater vehicles, as well as other aerial ones, as part of the exercise.

The airship being tested is made by the Finnish Kelluu company, which also operates the aircraft. It is one of about 10 that are providing imagery and other sensing capabilities for commercial and scientific purposes. With NATO already conducting maritime security missions, the company sees a potential military role for its airships to provide persistent, low-level surveillance. 

The Kelluu LTA is relatively small as far as airships go, clocking-in at about 12 meters long. It can fly for up to about 12 hours at low level, the company states. They are designed to carry an assortment of sensors, including electro-optical/infrared cameras and passive systems that can detect electromagnetic emissions. Able to launch from austere locations with no runways, these airships operate “very quietly and without emissions, providing real-time connectivity without being limited by radio-link ranges (BRLOS),” company CEO Janne Hietala told us on Wednesday.

NATO officials did not want to elaborate on any particular system taking part in REPMUS25. However, they did discuss the overall goals for this demonstration.

“All of these systems require experimentation and integration into the operational environment,” Cmdr. Arlo Abrahamson, spokesperson for NATO’s Allied Maritime Command, told TWZ on Wednesday. “We want to place these systems in the hands of our operators and ensure those systems meet the operational requirements of Allied forces.”

Dynamic Messenger/REPMUS is working to bring new unmanned systems into the operational environment by gaining user feedback to spur development, Abrahamson told us. With the tests still being conducted, it is too early to say if or how an airship would be useful for NATO operations, Abrahamson noted.

Earlier this year, the alliance stood up Operation Baltic Sentry in response to several instances of underwater cable sabotage believed to have been carried out by China and Russia. In one such incident, Finnish authorities say the Russian-linked Eagle S purposely dragged its anchor across the sea floor to break undersea cables. The ship was later found to be full of spy equipment. Finnish authorities detained the ship and its crew, which you can see in the following video.

One of the main goals of Baltic Sentry is to provide additional persistent surveillance to better track vessels. That in turn is meant to ensure a quicker response to ships acting in a suspicious manner. 

The case could be made that airships in general could potentially benefit such a mission because of their long loitering and diverse sensing capabilities, as well as their efficiency. It doesn’t take much imagination to see the potential that deploying larger numbers of these uncrewed airships over a wide area can provide a drastic increase in situational awareness. This distributed approach to persistent sea surveillance using extended-endurance uncrewed systems has garnered major interest from militaries around the globe.

Overall, the U.S. and other nations are either developing or increasingly using lighter-than-air-craft for just those reasons. The Chinese spy balloon incident brought this reality to the headlines.

Additionally, China, in particular, as we have frequently noted, appears to be investing heavily in lighter-than-air technologies. A huge hangar in a remote area in the country’s northwest is a key example of this. The War Zone has been following activities at the facility, which is tied to the country’s development of high-altitude airships that could potentially gather intelligence, facilitate long-range communications, provide early warning capabilities for missile defense, or even possibly serve as launch platforms for drones and other payloads.

Balloons, airships and aerostats have a long history as surveillance and maritime patrol platforms, and transportation aircraft.

Kelluu’s uncrewed concept is a revamping of sorts of the maritime patrol role of lighter-than-air craft dating back to the First World War and widely used during the Second World War.

However, several fatal accidents and mishaps in the past have created headwind for the development and fielding of these systems.

There appears to be growing interest in the Kelluu airship.

The Finnish Air Force tested the Kelluu LTA in June. It was the first time an airship took part in Atlantic Trident 25, a two-week tactical and operational training exercise held across multiple locations in Finland.

“The airships complement high-level intelligence with low-altitude precision data and multi-sensor capabilities that support real-time situational awareness,” the Finnish Air Force stated on X at the time.

The Finnish Air Force did not provide details about what, if any, plans it has to further test or use the Kelluu airships. We’ve reached out for comment. Kelluu declined comment.

Greg Louganis is starting a new chapter in his life.

The U.S. diving legend has auctioned off three of the five Olympic medals he won between 1976-1988, sold his home and is parting with most of his other possessions as part of a journey of self-discovery that is taking him, at least for now, to Panama.

“So, as life moves forward, what are you prepared to leave behind?” Louganis wrote Friday in a Facebook post. “I am 65 years old, and I am asking just that. I am no longer who I used to think I was. Not even close to ‘What’ other people or ‘Who’ other people think I am.”

Louganis shared some details of his plan in that post and expanded on them on two Instagram Live posts, one recorded from Los Angeles in his final night in the United States and the other recorded the following day from Panama City, the first stop in a journey that will eventually take him and his dog Gerald to Boquette.

That’s where they’re going to settle down — “for now,” Louganis said on Instagram.

“I don’t know how permanent, or, you know, I don’t know how long it’s gonna be,” he said. “I’m just embracing the ‘I don’t know,’ and also staying open for discovery. I think that’s what this part of my life is about, being open to discover what’s next and really, really, really do my best at being present in every place I go with every person I meet.”

About a year ago, Louganis said, he was in a bad place mentally, feeling “really, really alone and isolated.”

“It was really, really severe, real bad depression,” Louganis said. “And now I’m realizing, I have things to offer. So what that is and what that looks like, I haven’t figured it out. And I think that that’s what this is kind of about, is recalibration and figuring out what is next. … and just discover who I am too. I mean, that’s a big question.”

U.S. diver Greg Louganis spreads his arms and bends at the waist while in mid-dive during a springboard diving competition.

(Sadayuki Mikami / Associated Press)

Louganis says part of the process has been letting go of many of the items he didn’t realize were weighing him down. Last month, he received more than $430,000 at auction for three of his Olympic medals ($201,314 for his 1988 gold medal in 10-meter platform, $199,301 for his 1984 gold medal in 3-meter sprinboard and $30,250 for his 1976 silver medal in 10-meter platform).

“I needed the money,” Louganis wrote on Facebook. “While many people may have built businesses and sold them for a profit, I had my medals, which I am grateful for. If I had proper management, I might not have been in that position, but what is done is done; live and learn.”

Louganis has not mentioned what, if anything, happened with his other two gold medals, won in 1984 for 3-meter springboard and in 1988 for 10-meter platform.

Also on his posts, Louganis mentions that he sold his home last week. Public records list Louganis as the owner of a residence in Topanga. According to Zillow, a house at that address sold on Aug. 28 for $750,000.

As for most of his other belongings, Louganis wrote, “I decided to donate, sell what can be sold, give gifts, and give where things might be needed or appreciated. … A thought occurred to me, I had many friends, people I was close to, lost everything in the Woolsey Fire, and then the Palisades Fire just this year.

“I know I am choosing to do this, but their resilience is an inspiration for me to start anew, with an open heart and an open door. Opening up to possibilities.”

On Instagram, Louganis described the experience as “freeing.”

“The memories will always be in here,” Louganis said, placing his hand over his heart. “And so the other things are just stuff, you know? We don’t realize how much we hang on to, and what I’m also learning now in this process is how oftentimes we don’t realize they weigh us down. You know, like the shipping, the storage, all of that stuff.

“Actually, I was kind of discussing that with Michael Phelps, because he heard that I auctioned my medals. He said, ‘How was that?’ I said, ‘You know what it was? It was a relief, you know, because then it was like it was a weight off my shoulders.’”

Walmart will soon expand its streaming offerings to its subscription members, with the retail giant announcing a new partnership with NBCUniversal’s Peacock on Monday.

Starting Sept. 15, Walmart+ subscribers can choose to receive ad-supported versions of Peacock Premium or Paramount+ as part of their membership. Every 90 days, Walmart+ members can switch between the two services.

“The additional option of Peacock Premium adds even more value and more choice to our membership, without raising the price,” said Deepak Maini, senior vice president of Walmart+, in a statement. “This is just one of the many ways we’re evolving Walmart+ to meet the needs and wants of today’s consumer.”

The move could appeal to consumers who feel overwhelmed by the different streaming choices and give them a chance to sample what each platform offers without dealing with additional cost.

Walmart+, which charges $98 for an annual plan, includes free shipping, free same-day delivery on groceries and prescriptions, gas discounts and other benefits. Adding more streaming content could help Bentonville, Ark.-based Walmart compete with Amazon Prime, though Walmart does not invest in original content, unlike the Seattle e-commerce behemoth.

Walmart declined to say how many people subscribe to Walmart+.

In 2020, Walmart launched Walmart+, which competes with Amazon’s $139 annual Prime membership. Prime offers perks such as free shipping and streaming series such as “The Summer I Turned Pretty” and “Reacher,” action movie “The Pickup” and NFL football games.

Last week, Amazon announced that Peacock Premium Plus, the streaming service’s ad-free version, would be available on Prime Video for an additional fee, along with 100 other subscription options in the U.S. Amazon also said it had a multiyear deal for the Peacock app to be available on its Fire TV in the U.S.

Walmart has had a spotty track record on its own streaming efforts and currently does not have its own streaming service or produce its own originals. In 2010, Walmart purchased video-on-demand service Vudu and in 2018 partnered with MGM to create original programming for the platform. The retailer later sold Vudu to Fandango in 2020.

Before that, Walmart launched a web store to sell movie and TV show downloads but shut it down in less than a year after its partner, Hewlett-Packard Co., discontinued the technology for the site after it underperformed.

Aug. 28 (UPI) — Typepad will cease to exist on Oct. 1, and so will all content that it contains, which might affect many websites.

Access to Typepad, including account management, blogs and all related content, no longer will be available after Sept. 30, Typepad officials announced in an online post on Wednesday.

“Please note that after this date, your content will no longer be accessible to you and will not be available for export,” Typepad officials said.

“Your account and all related services will be permanently deactivated” after Sept. 30, they added.

The service no longer will charge for services after Sunday and will provide prorated refunds for those who have paid for services into September and beyond.

Typepad was one of the most used sites in 2006, along with MySpace and other former online platforms that were very popular but have either ceased to exist or have experienced significant drops in use.

Many publications used Typepad to produce content for their respective websites as of 2008, but WordPress surpassed Typepad in popularity, engadget reported.

Typepad officials only recently decided to close the platform, and those who have content on the site can use Movable Type Import Format to export their data through Sept. 30.

Many former Typepad account holders moved to other platforms after Typepad stopped accepting new accounts in 2020, according to ars Technica.

French prosecutors have opened an investigation into the Australian video platform Kick over the death of a content creator during a livestream.

Raphaël Graven – also known as Jean Pormanove – was found dead in a residence near the city of Nice last week.

He was known for videos in which he endured apparent violence and humiliation.

The Paris prosecutor said the investigation would look into whether Kick knowingly broadcast “videos of deliberate attacks on personal integrity”.

The BBC has approached Kick for comment. A spokesperson for the platform previously said the company was “urgently reviewing” the circumstances around Mr Graven’s death.

The prosecutor’s investigation will also seek to determine whether Kick complied with the European Union’s Digital Services Act, and the obligation on platforms to notify the authorities if the life or safety of individuals is in question.

In a separate announcement, France’s minister for digital affairs, Clara Chappaz, said the government would sue the platform for “negligence” over its failure to block “dangerous content”, according to the AFP news agency.

Mr Graven was found dead on 18 August.

Local media reported the 46-year-old had been subject to bouts of violence and sleep deprivation during streams, and died in his sleep during a live broadcast.

In a post on X the next day Chappaz, described his death as an “absolute horror”, and said he had been humiliated and mistreated on the platform for months.

A postmortem carried out later that week revealed Mr Graven’s death was not the result of trauma or the actions of a third party.

Local police have seized videos and interviewed a number of people they say were present when he died.

They also disclosed Mr Graven had previously been spoken to by detectives and had “firmly denied” being a victim of violence, saying the acts he was involved in were staged to “create a buzz” and make money.

Kick is a platform similar to Twitch on which users can broadcast content and interact with other users in real time.

“We are deeply saddened by the loss of Jean Pormanove and extend our condolences to his family, friends and community,” said Kick in its previous statement.

The platform’s community guidelines were “designed to protect creators” and Kick was “committed to upholding these standards across our platform”, its spokesperson added.

The new account comes as Trump has three times delayed implementing a ‘sell or ban’ law for the Chinese-owned app.

The White House has launched an official TikTok account, even as the future of the Chinese-owned social media app in the United States remains uncertain due to legislation passed by the US Congress last year.

The official White House account’s first post on Tuesday was a 27-second video featuring a voiceover from President Donald Trump, saying: “Every day I wake up determined to deliver a better life for the People all across this nation. I am your voice.”

The account’s description read: “Welcome to the Golden Age of America”.

TikTok, which remains owned by Chinese technology company ByteDance, is popular among young people, and has an estimated 170 million users in the US.

Trump has so far delayed the implementation of a 2024 law that ordered TikTok to either to sell to non-Chinese buyers or be banned in the US, with three 90-day extensions.

The US House of Representatives voted 352 to 65 in favour of the “sell or ban” bill in March 2024, with widespread support from both Republicans and Democrats.

The latest extension delaying the ban is due to expire in early September.

“My Administration has been working very hard on a Deal to SAVE TIKTOK, and we have made tremendous progress,” Trump posted on the Truth Social network, which he owns, in April.

Few representatives questioned the bill to ban TikTok at the time it was passed, although then-Democratic representative Barbara Lee asked why only one company was being singled out in an attempt to address problems that relate to social media companies more broadly.

“Rather than target one company in a rushed and secretive process, Congress should pass comprehensive data privacy protections and do a better job of informing the public of the threats these companies may pose to national security,” Lee had posted on the social media platform X.

Although the vast majority of both Democratic and Republican representatives supported the “sell or ban” bill, many members of both parties have used the TikTok platform for campaigning and official communications.

Both Democratic nominee Kamala Harris and Republican nominee Trump used the app to campaign in the 2024 Presidential election.

On Tuesday, the US state of Minnesota joined a wave of states suing TikTok, alleging the social media giant preys on young people with addictive algorithms that trap them into becoming compulsive consumers of its short videos.

Minnesota is also among dozens of US states that have sued Meta Platforms for allegedly building features into Instagram and Facebook that addict people. The messaging service Snapchat and the gaming platform Roblox are also facing lawsuits by some other states alleging harm to children.

Rupert Murdoch’s Fox Corp. has largely stayed on the sidelines of the streaming wars.

That ends next week.

Fox, which owns the most-watched cable news channel Fox News and has TV rights to major sporting events such as the NFL and MLB post-season baseball, has remained committed to the declining pay TV business.

But with 65 million households no longer hooked up to cable or satellite services, the company making its channels available to non-pay TV customers for the first time with Fox One, a new streaming platform that will launch Aug. 21.

“There is a growing audience outside of cable,” said Pete Distad, chief executive of direct-to-consumer for Fox Corp., who previewed the service Thursday at a press briefing at the company’s New York headquarters. “We need to give to give those cord-cutters and cord-nevers access to our content.”

For $19.99 a month, Fox One will provide subscribers with their local Fox TV affiliate that carries a package of NFL games, plus two Fox Sports cable channels. A full year subscription will cost $199.

Fox One will also carry Fox News Media’s channels, which include Fox News, Fox Weather and Fox Business. It will provide replays of Fox programming on demand, with access to current seasons of entertainment programs and DVR capabilities with unlimited storage.

But the main selling point of Fox One will be the company’s array of live events, which include next year’s FIFA World Cup. The service will be promoted with the marketing tag line, “We Live For Live.”

Fox Sports’ Kevin Burkhardt talks with NFL broadcast partner Tom Brady before a 2024 preseason game at So-Fi Stadium.

(Gina Ferazzi / Los Angeles Times)

Sports is the driver for the service. Fox Corp. and Walt Disney Co. have already agreed to offer a package deal for Fox One and the upcoming ESPN direct-to-consumer service also launching next week, for $39.99 a month, a savings of $10. ESPN will charge subscribers $29.99 on its own.

Distad said his company will look at more opportunities to bundle Fox One with other streaming services.

Until now, Fox’s biggest investment in streaming was the acquisition of Tubi, an ad-supported free streaming service that has grown to capture 1% of all U.S. TV viewing according to Nielsen.

Fox Corp. sold its TV and movie studio assets to Disney in 2019, partly because the company did not believe it could compete with deep-pocketed tech firms such as Amazon and Apple, which have spent freely on producing content for their streaming platforms.

But Amazon and Netflix — which acquired NFL rights in recent years — have shown that they can draw large audiences for live sports events, an area where Fox Corp. is already deeply entrenched.

The real test for the new streaming product will be the appetite for Fox News. The conservative-leaning news channel dominates its competitors in the TV ratings. Whether consumers who have cut the cable cord will be willing to pay to stream the channel’s live feed is an open question.

“Nobody knows how many news fans are outside of the pay TV universe,” Distad said.

Distad is encouraged by the reach of Fox News content online after it airs live on the TV network. Fox News scored 1.5 billion views on YouTube and 3.7 billion views on social media platforms in the last quarter.

Fox News Media’s existing streaming channel, Fox Nation, will be offered as a $5 add-on for Fox One for a total of $24.99 a month. The service has documentaries, true crime shows and movies that appeal to the Fox News audience.

Bret Baier, anchor of “Special Report” on Fox News.

(Fox News)

Fox Corp. executives are keeping their expectations low. It’s priced high enough so that the consumer who is currently happy with their current cable TV subscription is not likely to cancel.

But Distad said profit projections are “aggressive” as the platform will not spend money to create original programming. All of the content is being provided from its existing networks.

Investment in original programming has been the main obstacle to profitability for the streaming services that have proliferated in recent years.

Distad said the company is considering putting podcasts on the Fox One platform. Fox Corp. company recently acquired Red Seat Ventures, a media company that specializes in providing business support and technical services for right-leaning podcasts.

Thirty years ago, the coming-of-age romantic comedy “Clueless” opened in movie theaters and went on to become an enduring American pop culture touchstone.

“I’m thrilled that people love it and continue to love it,” the movie’s star, Alicia Silverstone, said in a recent conversation in New York. “Young people. Old people. It’s really gone on and on, and obviously that’s lovely.”

AMC Networks is counting on Silverstone’s multigenerational appeal to help boost the New York-based media company’s streaming service Acorn TV, which specializes in British dramas and other programs from overseas.

Silverstone is the lead in the new Acorn original series “Irish Blood,” which premiered Monday. She plays hard-bitten Los Angeles divorce lawyer Fiona Sharpe, who heads to Ireland to resolve a mystery involving the father who abandoned her as a child.

AMC has also signed the imperishable Brooke Shields to star in another Acorn project titled “You’re Killing Me.” She portrays a mystery novelist who teams with a young wannabe writer and influencer to investigate murders in a small New England town. The series starts shooting this summer and is set to premiere in 2026.

Why put two iconic American actors on a streaming platform with a well-defined niche of providing viewers with international locations and accents that at times require closed-captioning even when the language is English?

Even the small players in streaming have to get bigger.

AMC does not have the deep pockets to compete with the likes of Netflix, Prime Video and Disney+. The company has blazed its own digital path by serving dedicated audiences who will pay for an additional streaming service that caters to their passions, such as Shudder for horror fans and HIDIVE for anime lovers.

The company’s suite of streaming services has around 10.4 million customers. Even with that modest figure, AMC Networks’ streaming revenue has steadily grown to the point where it will soon surpass what the company earns from its traditional TV channels such as AMC, BBC America, Sundance TV and WE, which continue to see subscriber declines because of cord-cutting.

AMC has found that the strong fan bases for its niche services are willing to absorb price increases and are less likely to cancel. The company has managed to keep its streaming platforms priced at less than $10 a month.

Brooke Shields is set to star next year in “You’re Killing Me,” a new small-town mystery from Acorn TV.

(Evelyn Freja / For The Times)

Now AMC Networks is looking to accelerate its subscriber growth and Acorn — the most popular and profitable of its standalone offerings — is seen as the platform best suited to the task.

“It’s a service we really believe in,” Courtney Thomasma, executive vice president for streaming and content strategy at AMC Networks, told The Times in a recent interview. “Over the last year, we’ve been really focused on looking for ways to continue to raise awareness of the brand and invite new viewers in who we know would also love it. We’re doing that with a focus on investing in the brand and inviting bigger talent that’s more familiar to North American audiences.”

Many fans of Acorn — which started out as a direct marketer of British TV series on home video and was acquired by AMC in 2018 — are what Thomasma calls “armchair travelers” who want to take in a French vineyard or the cobblestone streets of Chelsea. But AMC believes aligning Acorn more closely to the mystery genre will widen its appeal.

A monthlong promotional campaign under the banner of Murder Mystery May — which featured a number of season premieres — drove Acorn TV subscription sign-ups to a four-year high. The 20 million hours watched during the month was the best ever for the service, according to AMC.

The emphasis on mystery provides Acorn the latitude to cast Silverstone and Shields. One way AMC attracts star talent is the opportunity to put their own creative stamp on their programs. “They become as invested in the success of the projects as we are,” Thomasma said.

Silverstone came on to “Irish Blood” as executive producer and became involved in the development of the series. She was involved in the hiring of key positions in the production and worked with the writers. She’s happy with the result.

“I thought it was quirky and also an emotionally deep drama,” Silverstone said. “There’s a lot for me to do.”

Shields and writer Robin Bernheim pitched the generation gap tandem at the center of “You’re Killing Me” to AMC, and the actor remains deeply involved in the process as shooting begins. “This is the first time I’ve ever had this much creative control as an executive producer,” Shields said in an interview. “I feel lucky that they entrusted me to do what we’re doing.”

Silverstone, left, with Ruth Codd in “Irish Blood.”

(Szymon Lazewski / Acorn TV)

Acorn teams with production partners around the world and generates revenue from selling some of its series for second runs on international broadcasters and PBS. AMC spends in the range of $1 million per episode for its cost-efficient series, which are heavy on dialogue and largely car-chase free. The audience is older — they are avid readers who are likely to subscribe to newspapers, watch cable news and PBS, and enjoy solving puzzles.

And though Acorn is hoping to attract more younger subscribers, the service won’t be losing its British accent.

Acorn recently launched “Art Detectives” with Stephen Moyer, who also is an executive producer. The series, about a Heritage Crime Unit that solves murders connected to art and antiques, had the strongest premiere in the streamer’s history.

Later this year, it will offer a new six-episode series starring Matthew Lewis, known for his Neville Longbottom role in the Harry Potter films. Based on the series of Canon Clements mystery novels by the Rev. Richard Coles, “Murder Before Evensong” is a co-production with British broadcaster Channel 5.

“We pride ourselves on being a boutique neighborhood store, the kind that you walk in, you know the owner [and] the owner knows you,” Thomasma said. “We have deep connection to our audience.”

In a major early move under new ownership, Paramount acquired the media rights to UFC’s mixed martial arts events in the U.S., the company said Monday.

Paramount signed a seven-year deal with TKO Group Holdings that will put 13 marquee events and 30 fight nights on streaming platform Paramount+. Some of the matches will air on broadcast TV network CBS.

Paramount is paying an average of $1.1 billion a year, totaling $7.7 billion, more than double the amount under TKO’s current pact with ESPN, which expires at the end of 2025.

The deal is a signal that Paramount intends to be aggressive in its pursuit of properties that will make its streaming platform attractive to consumers as it battles with Netflix, Amazon and other competitors.

David Ellison, who became chief executive of Paramount last week after his company Skydance completed an $8-billion merger with the media company, has been seen at recent UFC fights speaking with President Trump. Ellison had been awaiting regulatory approval of the Paramount-Skydance merger.

The major promotions presented throughout the year by TKO and WWE are seen as powerful tools to keep streaming subscribers signed up.

Under the new pact, UFC will no longer use pay-per-view to distribute its offerings, in a significant shift. All fights will be available with a Paramount + subscription. TKO produces 43 live events a year, providing 350 hours of live programming.

“This is a milestone moment and trademark deal for UFC, solidifying its position as a preeminent sports asset,” said Ari Emanuel, executive chair of TKO.

The Walt Disney Co.’s ESPN will remain in business with TKO, having recently signed a new five-year $1.6-billion deal to carry its WWE events. ESPN will offer WWE events such as WrestleMania and SummerSlam to subscribers of its direct-to-consumer platform, which launches later this month.

In an age of changing media consumption (and work-from-home) habits, the phrase “watercooler television” may be something of an anachronism. But as anyone following shows like “The White Lotus” can tell you, discussing, dissecting and debating hit series never goes out of style.

And of all networks, HBO knows how best to capitalize on such buzzed-about moments: The network’s “Inside the Episode” programs have long offered viewers the chance to process shocking plot twists and jaw-dropping deaths. That’s where viewers of Season 3 got to hear creator Mike White break down everything from Saxon and Lochlan’s drunken exploits to Chelsea and Rick’s doomed ending.

“Shows like this are the new watercooler moment,” says Emmy nominee Natalia Echeverria, a creative director at HBO and an executive producer of “The White Lotus: Unpacking The Episode.” “We try to anticipate what beats from the episode people will be talking about and then we dive in, giving audiences an inside peek only we can provide.”

Owing a debt to post-episode talk shows like “The Talking Dead” and podcasts like “Private Joke: The Official How I Met Your Mother Podcast” and “The Good Place: The Podcast,” such companion series, now commonplace across platforms, have risen in popularity in the last decade. This year, in fact, they make up the entirety of the short form nonfiction or reality series Emmy category.

Projects like “Making of: The Last of Us” and “Adolescence: The Making of Adolescence” (also nominated) necessarily straddle the line between creative and marketing. They’re meant to bridge the gap between a show and its fandom. But, in borrowing the familiar format of making-of documentaries, DVD bonus featurettes, even episodic reviews or recaps, they insist on a vision of television as an art worthy of discussion and dissection.

“I think of these pieces like the movie theater parking lot after a film,” says Badger Denehy, an Emmy-nominated executive producer of “Making of: The Last Of Us” and an HBO creative director. “They remind me of that moment when you turn to your friend and dive into all the biggest moments you just watched. It’s my favorite type of project because we get to create something for fans as huge fans of the programming ourselves.”

For Shannon Ryan, president of marketing for Disney Entertainment Television and an Emmy nominee for “Only Murders in the Building: Unlocking the Mystery,” the decision to produce the show was driven by a desire to better serve fans of the hit Hulu comedy.

“These short-form series offer fans a peek behind the curtain to hear directly from the talented people that bring the show to life,” she says. “And for our creators, this is a meaningful way to share more with the fans, give insight into their work, share some entertaining — and often hilarious — behind-the-scenes stories, and also spotlight some of the critical crew members that make every episode of the show so special.”

To “The Last of Us” viewers, there was likely no bigger moment this season than “Through the Valley,” the jaw-dropping second episode. Fans looking for insights on how that action-packed tragic set piece was orchestrated had to look no further than “Inside Episode 2,” where director Mark Mylod, co-creator Craig Mazin and star Pedro Pascal spoke about shooting Joel’s untimely and quite gruesome death.

Boasting more than 710,000 views on YouTube alone, that featurette showcased both the artistry behind such a high-octane hour of television (with talk of prosthetics and wintry shooting conditions) and candid reflections from cast members about the emotional fallout the episode would undoubtedly create.

The history of this Emmy category alone tracks the increased investment from streamers and networks in this kind of programming. Past nominees have included behind-the-scenes series tied to everything from “30 Rock” and “American Horror Story” to “RuPaul’s Drag Race” and “Pose.” And the last two winners (“Succession: Controlling the Narrative” and “Shōgun — The Making of Shōgun”) prove that the industry is similarly invested in (and impressed with) them, in turn.

John Wilhelmy, Emmy-nominated creative director of “Hacks: Bit by Bit,” notes that short-form projects now must be produced so they can exist across different platforms. “Certain stories within the conversation lend themselves well to TikTok and [Instagram] Reels, so we’ll pick those out and optimize them editorially,” he says. “They’re often funny outtakes or quick stories that we’ll post on those platforms alongside the full-length episodes hitting HBO Max and YouTube.”

In an era where fan-driven episode recaps, YouTube reaction videos and TikTok explainers contribute greatly to a show’s success in an increasingly fractured media ecosystem, these projects suggest a way to positively harness that engagement in a way that still puts TV creators front and center.

Echeverria puts it more simply: “Fan-made content has a huge place, but there’s nothing like seeing how the sauce is made from the chefs themselves.”

NBC News correspondent Jacob Soboroff will join MSNBC full time once the progressive cable channel is spun off into a new company, which will be called Versant.

Later this year, MSNBC is heading to Versant, which will be the new stand-alone home for current parent company Comcast’s cable networks.

As a result, MSNBC will no longer have the resources of NBC News and is putting together its own editorial operation. The stylized NBC peacock will also disappear from the MSNBC logo.

NBC News correspondents who moved seamlessly between NBC’s broadcast programs and MSNBC will no longer appear on both platforms once the spin-off is complete. (The one exception is expected to be Willie Geist, who has anchor roles on MSNBC’s “Morning Joe” and NBC’s “Sunday Today.”)

Soboroff, a Los Angeles native who earlier this year reported on how his childhood home was lost in the Palisades fire, is the highest profile talent so far to leave NBC News in the split. He will remain based on the West Coast.

Jacob Soboroff is joining MSNBC after the network spun off from Comcast.

(Patrick Randak)

Soboroff, 42, was hired as an MSNBC correspondent in 2015. He was later named an NBC News correspondent and in recent years has frequently appeared as a fill-in co-host on the network’s morning franchise “Today.”

NBC News employees who worked both on the broadcast and cable sides have been asked to choose which entity they will join. Most NBC News staffers are choosing to stick with the network. Steve Kornacki, the number-crunching star of MSNBC’s election nights, chose the broadcast network over cable as he also works for NBC Sports.

But a number of NBC News correspondents, producers and executives are choosing to go to the cable side. The migration to MSNBC is surprising, considering the business environment.

Comcast is spinning off the cable networks because it believes the mature outlets face a bleak future due to pay TV cord-cutting and are an albatross weighing down its stock price. MSNBC, the second most watched cable news channel behind leader Fox News, is seen its reach into pay TV homes decline by 33% over the last 10 years.

That has not kept some significant names from giving the start-up a shot. Earlier this week, Versant announced that “NBC Nightly News” executive producer Meghan Rafferty is joining the company as vice president of news standards.

NBC News correspondents moving to the cable side include Ken Dilanian, who covers the Justice Department. Vaughn Hillyard is moving over to become senior White House correspondent, and David Noriega will be a national correspondent based in Los Angeles.

The new company has also attracted talent and executives from CNN, Politico and the New York Times.

TV news agents say privately that many NBC News staffers are expecting layoffs in the division over the next year as ratings and advertising revenue for broadcast TV decline. (The division has not announced any such plans).

While the channels going to Versant, which include CNBC, Golf Channel and USA Network, face similar challenges, the spinoff group is aggressively hiring and promises substantial investment in the channels that still turn a profit.

Correspondents are also attracted to the platform that a 24-hour cable network provides.

Soboroff, the son of Los Angeles civic leader Steve Soboroff, has focused on issues that appeal to the MSNBC audience.

He aggressively covered the family separation crisis at the southern border in 2018, which earned a Cronkite Award. He wrote a book on the topic and executive produced an Emmy-nominated documentary in 2024.

Most recently in June 2025, Soboroff led MSNBC’s coverage of the U.S. Immigration and Customs Enforcement raids in Los Angeles and the resulting protests. His upcoming book, “Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster,” will be released in January.

“The Summer I Turned Pretty” is the second series in as many months to directly warn its audience about cyberbullying. Posting on its official social media accounts, the Prime Video series issued a “PSA for the Summer community”: “We have a ZERO tolerance policy for bullying and hate speech. If you engage in any of the following you will be banned.” Fans were cautioned against “hate speech or bullying,” “targeting our cast or crew” and “harassing or doxxing members of the community.”

This comes on the heels of “Love Island USA” releasing similar warnings. Last month, host Ariana Madix called out “fan” behavior on the series’ recap show, “Aftersun.” “Don’t be contacting people’s families. Don’t be doxxing people. Don’t be going on Islanders’ pages and saying rude things,” she said. The show’s social accounts subsequently followed up with the message: “Please just remember they’re real people — so let’s be kind and spread the love!”

So this is where we are. Online discourse has become so toxic that television series are forced to address it in their publicity campaigns. It’s difficult to know whether to applaud or weep. Maybe both.

Certainly having television creators, and their social media teams, address a decades-long problem directly and proactively is far preferable to the more traditional entertainment industry approach. You know, waiting until some unfortunate actor or contestant is buried under an avalanche of hate speech before appearing shocked and horrified that such a thing could happen among (fill in the blank) fan base. (We will never forget, Kelly Marie Tran!)

Whether these warnings will be duplicated or prove effective remains to be seen. Studies suggest that cyberbullies who have their posts removed are less likely to repost and perhaps being called out by shows they watch will give some “fans” pause before they vent their spleen online.

It is still maddening that after years of research on the prevalence and dangers of cyberbullying, we are apparently relying on “Love Island” and “The Summer I Turned Pretty” as a first line of defense against behavior that has been proved to cause suicide, self-harm and a host of mental illnesses.

Obviously, something is very wrong. With the medium and its message.

When the internet became widely available, it promised to be an endless library of art and information. Instead, its most popular feature was easy (and often quite unintentional) access to porn.

So should we have been surprised when fan sites and social media platforms, built to allow free, unfettered and quite often anonymous discourse, became equally at risk for humanity’s less sterling qualities? Should it have been a revelation that certain film and television fans would behave badly when something occurred in their beloved universe that they did not like?

Have you ever been to Dodger Stadium?

Nothing about the impulses or language of cyberbullying is new. Hate mail has existed since writing was invented —poison pen letters caused a criminal crisis in the early 20th century — and celebrities have always been in danger of the “build ‘em up and tear ‘em down” fan flex.

What’s new (or new-ish) are the platforms that encourage such things. Poison pen letters are illegal. Poisonous posts are part of the social media business plan.

Yes, those who hate-post should take personal responsibility and our culture, like our politics, has grown more divisive and, frankly, mean. Social media at best allows and at worst encourages us to post things we might never say to a person standing in front of us. Commentary as blood sport.

Looking back, there was such heartbreaking optimism about the role social media would play in art, particularly television. Creators could actively engage with fans in real time and deepen audience commitment. A viral video or a clever Twitter campaign could save marketing departments millions. And celebrities could post their own “in real life” pictures, potentially thwarting the paparazzi, as well as stories, statements and confessionals, thereby avoiding the need for interviews over which they had far less control.

DIY publicity and deeply personal fan engagement — what could go wrong?

DIY publicity and deeply personal fan engagement, that’s what.

Say what you will about the old days when artists had to rely on legacy media for publicity — if readers had something bad to say, they shared it with the publication, which had standards about what letters would be made public. Direct contact with public figures was quite difficult — even fan mail was read and sorted by publicity departments and secretaries.

Now most everyone is accessible on one platform or another and there are very few standards.

Having leveraged the unpaid labor of millions to create profitable platforms, social media owners are not interested in providing basic consumer protection. Using the most facile definition of free speech — which is the right to voice opinions without government interference or punishment, not the right to post any hateful or incendiary thought you have — Mark Zuckerberg, Elon Musk and other platform owners have consistently refused or pushed back against any demands of meaningful regulation.

Instead they rely on other users. The self-policing of social media is real and often effective, but it is far too arbitrary to act as a substitute for media regulation and mob rule is not something we should embrace.

The simple answer is “don’t look” — avoid the comments section or get off social media altogether. Which would be great advice if it were not so patently ridiculous. Intentionally or not, we have made social media a powerful force in this country. Particularly in the entertainment industry, where careers are made on YouTube, TikTok influencers are cultural arbiters and the number of one’s Instagram followers can determine whether they get the job or not.

It’s easy to say “ignore the haters” and virtually impossible for most of us to do. More importantly, it puts the responsibility on the wrong people, like telling a woman to just ignore a boss or colleague who makes crude comments about her appearance.

It’s been decades since Facebook, X, Instagram, TikTok and all the other platforms could be viewed as simply fun forums on which to share vacation snaps. They deliver the news, shape our politics, market our businesses and create our culture. They are not public spaces; they belong to media companies that are owned and controlled by individuals just like any other media company.

So yeah, it’s great that “Love Island” and “The Summer I Turned Pretty” have taken steps to try to prevent online hate. But their warnings only illuminate the elephant in the room. A billion-dollar industry is failing to protect the very people who built it in the first place.

Toni Gray’s phone is blowing up these days.

The head of production at Dhar Mann Studios, which makes shows for YouTube and other online platforms, said entertainment industry friends in Los Angeles had once held out before seeking work in the digital realm.

But now, with jobs few and far between at the legacy studios, they are reaching out “all the time” looking for opportunities at the Burbank-based studio, known for posting family-friendly dramas addressing topics like bullying.

Seeing some of her peers now flock to be a part of production companies built for distribution on YouTube and other online platforms is exciting for Gray, who worked in traditional television for more than a decade and joined Dhar Mann Studios in February.

“It’s giving people hope that they can get back to work again,” she said. “And it’s not just monetary hope for their house and their kids. It actually is giving their own being life again to bring their creative element.”

Pave Studios founder Max Cutler.

(Christina House / Los Angeles Times)

In Hollywood’s TV and film industries, droves of workers are competing for jobs at a time when many companies are consolidating and laying off hundreds of people at a time. But one segment of the entertainment industry has emerged as a bright spot — the economy made up of people creating video for YouTube and social media.

That part of the industry, once dominated by amateurs making funny viral videos with smartphones has blossomed into a formidable entertainment force, where video creators are setting up real businesses with large studios in Southern California funded through advertising by major brands.

Dhar Mann Studios plans to add 15 positions to its staff of about 75 full-time employees. In Sherman Oaks, Pave Studios, which produces wellness- and true-crime-related shows, is adding 16 full-time workers to its staff of 67 contractors and employees.

Nationwide, there were more than 490,000 jobs supported by YouTube’s creative ecosystem last year, according to the Google-owned video platform, citing data from Oxford Economics. That’s roughly 60,000 more jobs than in 2023, YouTube said.

“It’s beginning to mature into creators really building businesses,” said Thomas Kim, YouTube’s director of product management for creator monetization. “We see more and more of that, and that also means that the number of employees and help that they need to sustain their business has grown over time.”

Sean Atkins, chief executive of Dhar Mann Studios, called it a big growth opportunity in the market. YouTube is a major player in streaming, representing 12.5% of U.S. TV viewing in May, according to Nielsen, more than streaming services including Netflix and Amazon Prime Video.

“Everything is so new and nascent,” said Atkins, a former president at MTV. “I imagine, particularly when you walk around our studio … that this is what it looked like in the ‘20s when MGM and Disney and Warner [Bros.] were [founded]. Just this enthusiastic chaos where everyone’s trying to figure out what this environment is.”

The growth in Southern California influencer businesses is a boon to the local production economy that is otherwise struggling. L.A. County saw a 27% decline to 108,564 employees from 2022 to 2024 in the motion picture and sound recording industries, according to data from the U.S. Bureau of Labor Statistics.

Many Hollywood workers have struggled to find roles, as studios cut down on their programming after the 2023 actor and writer strikes and after overspending during the streaming wars. For years, productions have fled the area to take advantage of lucrative financial incentives out of state and abroad. Production in L.A. County also took a hit following devastating wildfires in January.

Meanwhile, the amount of employment in the creator economy is trending up, according to the Los Angeles County Economic Development Corp. Total workers in the L.A. County creator economy, composed of businesses such as media streaming distribution services and social networks, as well as independent artists, writers and performers, increased 5% to 70,012 from 2022 to 2024, LAEDC said. Companies in the creator economy space also increased 5% to 46,425 businesses during the same time period, according to LAEDC.

The bleak job market has caused more people who have worked in traditional studio and TV networks to apply for jobs at digital media companies that produce content for platforms such as YouTube or work with influencers who are growing their staffs.

The migration reflects changing realities in the business. Consumers’ habits have shifted, where more people are watching YouTube on TV screens these days instead of on smartphones in the U.S., eating into territory held by broadcast and cable television. Video creators have adapted, building production teams and expanding into podcasts, merchandise and sometimes scoring streaming deals.

For example, one of YouTube’s top creators, Jimmy Donaldson, known as MrBeast, has a reality competition show on Amazon Prime Video, sells products such as Feastables chocolates and has brand partnerships and sponsorships. His North Carolina holding company, Beast Industries, employs more than 500 people.

Kyle Hjelmeseth, chief executive of talent representation firm G&B Digital Management, said he is receiving more calls from people coming with traditional media backgrounds seeking collaborations with influencers.

“Five years ago, it would have been very different,” he said. “Anytime that somebody from Hollywood or the entertainment complex talked about creators, it was with such a different lens … a little bit like nose in the air.”

His company, which has 25 contractors, part-time and full time employees, added four people last month with plans to hire more.

“All the pressures of what’s happening in Hollywood and the growth of the creator economy [are] crashing into each other in this moment, and that’s why we’re having a conversation about jobs, because there’s such a shift in the energy, and we’re certainly feeling it,” he said.

Morgan Absher, left, and Kaelyn Moore, right, record “Clues” podcast at Pave Studios.

(Christina House / Los Angeles Times)

Pave Studios launched last year with fewer than 10 employees and now has grown to 67 contractors and employees. Part of that growth is fueled by the increasing audience for its videos and podcasts available on platforms including YouTube, Spotify and Apple Podcasts. The company is hiring for roles including executive producers, with a pay range of $95,000 to $145,000, depending on the show, said founder Max Cutler.

“As we grow and as the business becomes more complicated, you need more specialists and more people,” Cutler said. “Video is definitely a leading growth area for us.”

Jen Passovoy joined Pave Studios in January as a producer, after working for 10 years at Paramount on competition series such as “RuPaul’s Drag Race” and “Ink Master.”

“Coming from a traditional TV background, I was drawn to how nimble and audience-focused the company is,” Passovoy said in an email. “There’s less red tape and more room to actually create. You get the energy of a startup with the same high-quality content you’d expect from a major studio.”

Passovoy, 34, said the job market for traditional studio and TV network workers is really tough right now.

“I know more people out of work right now than working, which says a lot,” she said. “The traditional TV model just doesn’t exist in the same way anymore. Budgets are shrinking and the jobs that used to be steady aren’t there. There have been so many layoffs across the industry, and it’s forced a lot of incredibly talented people to rethink how and where they create.”

Skills that people develop in traditional studio and TV roles can translate to digital-first roles, including video editors for influencers and digital media companies, industry observers said.

The creator economy also has more specialized roles, such as thumbnail designers — people who create the images used to tease videos on sites including YouTube. Those jobs can pay six figures annually, as they can be instrumental for getting audiences to click on those videos.

Roster, a hiring platform that lists job postings in the creator space, said the number of employers signing up to hire on the site has increased by nearly 80% from January to June 2025. Based on a sampling of 1,430 creator job posts in 2025, Roster said the most popular open position was video editor (representing 42.5%), followed by thumbnail designer (16.1%) and producer (10.6%).

There are downsides. Not all jobs are full-time. Many creators opt to hire freelancers.

“Their production needs need to expand and shrink like an accordion,” said Sherry Wong, CEO of Roster. “That’s why we see a lot of creators, even if they’re really big established creators, they are hiring freelancers, contractors, and being able to keep it as lean as possible.”

With so many people looking for work, there‘s intense competition for those jobs, and the ways to apply can be creative and involved.

Miami-based creator Jenny Hoyos found freelancers through a hiring challenge she hosted on Roster. Applicants were given 10 minutes of raw video footage and instructed to edit it down to a video short, roughly 30 to 60 seconds long.

Hoyos, 20, requested that applicants create a final product that was engaging, cohesive and matched her specific style. She received more than 100 submissions.

While there were strong contenders from California, the winners ended up being from Brazil and India. They became her two go-to freelancers, who she said are essentially working an amount equivalent to full-time editors.

This method of seeking talent was Hoyos’ way of making sure the people she brought on to her team were willing to go the extra mile, she said. Those hoping to break into the digital media world don’t necessarily have to have grown up with YouTube and social media like she did, but they do have to “commit to being addicted to watching” content, she said.

Not everyone who works for YouTube creators gets paid.

Screenwriter Natalie Badillo isn’t earning a salary while she tries to build up an audience on YouTube. Badillo, who sold a self-titled project to HBO Max a few years ago, said she was looking for a way to “not wait 8 billion years for a TV show to get picked up,” and creating a YouTube channel, “Great Job Nat,” was a way to get her material out into the world.

“Why wait for somebody to throw you a party when you can just throw your own party?” she said.

Badillo draws on her connections with folks from the traditional film and TV world to produce the YouTube videos. While the channel is getting up and running, collaborators work for low pay or simply for the fun of it and to gain experience. Still, her ambitions are big. “I want to be the Jon Stewart of the West,” she said.

The pay disparities can be an issue for people from traditional media industries looking for jobs. While some programs featuring influencers and vertical excerpts of TV shows and movies are covered by union agreements, other projects don’t have those protections.

“With temporary hiring, it’s like everything else in Hollywood — you either need to have another job that balances things out or you need to get to a critical mass of enough work on enough different projects,” said Kevin Klowden, executive director at Milken Institute Finance. “The number of sustainable Hollywood jobs has shrunk.”

But as the two worlds collide, traditional media companies are already paying attention to the popularity of creator shows and are trying to find ways to partner with influencers. Amazon earlier this year announced more seasons of MrBeast’s reality competition series “Beast Games,” and digital media companies are adding people with traditional media backgrounds to their staffs.

“It’s still a lot more tiptoeing,” Hjelmeseth said. “Everybody’s kind of like looking at each other from across the room, like, ‘Should we dance?’”

When it became clear that the couple beneath the bedclothes were indeed having sexual intercourse, the West Hollywood crowd that had come to watch cheered loudly and with the exultant delight that one imagines might erupt from courtiers overseeing a royal post-nuptial bedding. Or, in a more contemporary context, from soccer fans after a final-minute, high-left-corner soccer goal.

But no. This was a “Love Island USA” watch party presented by Reality Bar at Roosterfish Tuesday night, one of hundreds of similar gatherings at bars all over the country. After living in the shadow of its wildly popular U.K. progenitor, “Love Island USA” became a hit last year with a genuinely love-filled Season 6. This year, the series has seen more scandal than romance — two contestants have been removed following outcry over their past use of racial slurs in social media posts.

But if the proliferation of watch parties is any indication, those scandals have only increased audience interest.

“I never really understood sports bars before,” my 25-year-old daughter told me. “Now I do.”

For a watch-party neophyte, it was more than a little strange to see tables full of people set aside their watermelon margaritas and mozzarella sticks to applaud the sexual consummation of strangers. But under those sheets cavorted current fan-favorite Amaya “Papaya” Espinal with her current partner Bryan Arenales, which explains the crowd’s voyeuristic joy. On “Love Island,” the couple perceived as the strongest wins the $100,000 prize (and, presumably, romantic bliss).

So the approving roar was, in part, driven by relief and hope for a team Amaya Papaya win.

Amaya “Papaya” Espinal and Bryan Arenales in Tuesday’s episode of “Love Island USA.”

(Peacock)

It was also the sound of the latest attempt to revive the smoldering embers of the electronic hearth and save linear television.

You don’t have to love “Love Island,” with its appalling candy-colored villa in Fiji, unapologetic emphasis on “hotness” and endless dramatic pauses to appreciate the fact that in the increasingly fractured and isolated viewership experience of modern television, it is drawing people together, physically, and in real time.

The platform may be NBCUniversal‘s streaming service Peacock, but “Love Island” is returning TV to its roots.

Frankly, that’s much more startling than the sight and sound of people devouring the messy drama of competitive intercourse along with their happy-hour priced drinks and bites.

Twenty years ago, reality television was viewed by many as a threat to traditional TV. Yes, there had always been daytime game shows, but after “American Idol” and “Survivor” became prime-time hits and the Kardashians began their empire building, the reality craze spread like kudzu through broadcast and cable. Cheap to make, reality series didn’t need huge audiences to be successful. Network executives couldn’t green-light them fast enough, and for a few years, it seemed that scripted programming would become the exception, found mostly on subscription-based platforms like HBO and Showtime.

That isn’t what happened, of course. Beginning with AMC, a wide variety of cable networks began producing original scripted series, followed closely by Netflix, Prime Video and other streamers. Reality TV remained popular, but there was a new cultural phenomenon in town — the prestige dramas and comedies of what some called the new Golden Age of television. For a few glorious years, highly produced scripted series were watched, and then discussed, together and in real time. A thousand recap blogs bloomed, and whether it was “Breaking Bad” or “Downton Abbey,” all anyone talked about was television.

Alas, as is so often the case, bust followed boom. The proliferation of platforms and shows splintered the audience and ad revenues. Streaming, with its binge model and personal-device availability, made viewing increasingly less about a family or group of friends gathering around a flat-screen and more about everyone balancing their laptop on their stomachs or hunching over their phones. Since no one knew who was watching what and when, watercooler chat and even many recap blogs spluttered out.

But reality TV, quietly chugging along as the number of scripted series swelled to unsustainable proportions, has always been a spectator’s sport. Sure you can binge past seasons of “The Great British Baking Show,” but when it comes to “The Bachelor,” “Love Is Blind” or “The Traitors,” it’s much more rewarding to watch and to comment in real time.

While the rise in interest in “Love Island USA” has been attributed to the Season 6 casting that led to several genuine couples, the show has also upped its social media presence and emphasized the fact that episodes air little more than a day after they are shot, making it as close to a live viewing experience as an edited series can get.

So it’s not surprising that the crowd watching at Roosterfish would act as if they were part of a live audience — groaning when one of the men suggests that his partner is “worthy,” or shouting out opinions to Huda Mustafa when she asks if she or her partner is to blame for that day’s miscommunication (according to the women at the next table, it is definitely her).

Chris Seeley and Huda Mustafa in “Love Island USA.”

(Ben Symons / Peacock)

Here is where I confess that, after watching several seasons, including 6 and 7, for the purposes of this column, I am not a fan of “Love Island USA,” and considering my aged demographic, I cannot imagine the good folks at ITV America or Peacock care at all.

I find all the blindfolded kissing troubling, the close-ups of those waiting to be voted safe or dumped gratuitously painful and the endless shots of contestant-grooming tedious. (Except when the guys are ironing — that’s my favorite part.) As a mother, I worry that between the “islanders’” sleep deprivation, complete lack of privacy and requisite emotional manipulation, whatever partnerships emerge are likely to be trauma-bonds, which is just not healthy. Mostly though, I think it’s boring — for every three minutes of “action,” the audience is expected to endure 30 minutes of analysis, mostly by people who overuse the words “queen” and “bro.” Also, I think the villa is hideous and the most fake moments are when everyone has to pretend it’s not.

But…

I did have a lot of fun at the watch party. The audience reaction, whether it was cheering or a collective cringe, amplified the drama while also making it right-sized — the show is ridiculous; that’s precisely why so many people love it.

As any theatergoer or stage actor will tell you — often ad nauseam — the audience is always part of the performance; the story is not just occurring in front of you, it’s all around you. The laughter and groans, the suspenseful silence of those watching play as big a part as whatever is happening on stage.

The same is true for television, and we are in grave danger of forgetting this. More than any other art form, television was created to be communal — to allow a large group of people to share something simultaneously.

Very few of us would give up our modern ability to watch what we want whenever we feel like it, but wholly surrendering the joys of old-fashioned, vying-for-the-best-seat, “what-did-he-say?” television is too high a price to pay for the ability to binge. The power of an audience is not limited to voting people out of the villa or determining a series’ success — it’s an energy source in itself.

Gathering with friends and family, or a group of strangers, to regularly enjoy a certain show together doesn’t just lift the spirit, it makes the show more than just something to watch.

If “Love Island USA” manages to remind us of that in a meaningful way, well, I may never like it much, but I will be a fan for life.