Archive for February, 2017:

Mike Tyson Is Getting His Own Web Series On YouTube

The latest aging celebrity to come to YouTube is Mike Tyson. The one-time heavyweight champion of the world will star in a web series that will see release on his YouTube channel and will be produced by the team at Shots Studios.

The goal, as noted in a Variety article, is to produce at least two videos for Tyson’s channel each month. Shots is galvanized by the success the former boxer has seen on YouTube in 2017. In January, he starred alongside another Shots client, ex-Vine standout Rudy Mancuso, in a video that received more than 2.1 million views. Four days later, the first video on Tyson’s channel, in which he performed a dis rap while other performers lip synced along to the words, also cracked two million hits.

Since retiring from boxing in 2006, Tyson has managed to establish himself as an entertainer thanks to a few memorable roles. He famously appeared in a cameo in The Hangover, and he currently stars in Mike Tyson Mysteries, a cult hit on Adult Swim. Based on his acting chops, Shots believes the 50-year-old Tyson can appeal to the young audience that flocks to YouTube. “Mike’s a very funny guy, on camera and in real life,” said Shots CEO John Shahidi. “We’ll introduce him to a whole new audience, and we’ll introduce our audience to Mike.”

New videos will roll out on Tyson’s channel in March. They’ll have to be awfully good to become the best Mike Tyson videos currently available on YouTube.

Netflix Adds Stand-Up Specials From Tracy Morgan, Louis C.K. To Growing Comedy Roster

Netflix is continuing its onslaught in the stand-up comedy sphere. The streaming giant is set to premiere a comedy special starring Tracy Morgan globally on May 16. Titled Staying Alive, it was filmed in New Jersey at the Count Basie Theatre.

Staying Alive will explore Morgan’s fresh take on life, career, and mortality, reports Deadline, in the wake of a near-fatal accident back in 2014 in which a car Morgan was riding in was struck by a tractor trailer operated by Walmart. The collision led to the death of Morgan’s friend and collaborator, James McNair. Morgan subsequently underwent surgery and extensive physical rehab in order to learn to walk again, as well as cognitive therapies for a traumatic brain injury.

News of Morgan’s special arrives just two days after Netflix announced that Louis C.K. was filming two stand-up specials for the platform — the first of which is set to premiere on April 4. C.K.’s first special is titled 2017 and was filmed in Washington, D.C. Details for the second special have yet to be announced.

“Louis has been one of the most innovative comedy voices in this new era of stand up,” Netflix’s chief content officer, Ted Sarandos, said in a statement. “He has also been a thought leader in the business of comedy.”

Netflix has announced a slew of stand-up specials from other A-List comedians in recent weeks, including Sarah Silverman, Jerry Seinfeld (as part of a deal in which it also snatched Comedians In Cars Getting Coffee away from Crackle), Amy Schumer, Dave Chappelle, and Chris Rock.

In YouTube’s ‘Grand Theft Auto’ Community, Video Ideas Flow Up The Food Chain

No YouTube sub-community engenders drama quite like the gamers, and the latest source of controversy is Grand Theft Auto V. A Kotaku report has detailed a predatory ecosystem in which some creators with millions of subscribers blatantly copy ideas first shared by smaller channels.

The story pays particular attention to a smaller creator, RZED, as well as two larger ones, Sernandoe, and NoughtPointFourLive. RZED has about 37,000 subscribers, while Sernandoe and NoughtPointFour combine to attract more than three million fans. How have the latter two channels pulled in so many viewers? In part, by lifting RZED’s ideas without crediting him. In one case, Sernandoe copied a video concept from RZED and posted his own version without even bothering to alter the title. In another, NoughtPointFour made only slight alterations to a video thumbnail while swiping RZED’s idea for a yacht-related stunt within GTA V.

As RZED notes in the Kotaku article, fighting for proper credit can be difficult because larger creators can weaponize their fan bases to push around smaller operations. “These types of channels have contacts that can auto flag videos to take smaller YouTubers down,” RZED said.

As commenters on Kotaku’s article have noted, popular artists cribbing from their less-successful peers is something that goes back a long time, and there’s no easy way to stop a top creator from pulling ideas from those below him on the food chain. All we can really do is acknowledge that this sort of plagiarism does exist and urge creators to always give due credit to the channels that inspire their videos, no matter how big those channels may be.

Roku Reportedly Raising $200 Million Funding Round At $1.5 Billion Valuation

Set-top box manufacturer Roku is reportedly in the process of raising $200 million in venture funding at a valuation of $1.5 billion. The round will reportedly be led by U.S.-based investors, per Fortune, which broke news of the round, but “not standard Silicon Valley venture firms.”

The round could even exceed $200 million, per Fortune, given that it may include secondary sales of shares by existing investors. Roku, which was founded in 2002 by the entrepreneur and inventor Anthony Wood, has raised a total of $211 million thus far from the likes of News Corp., Fox Networks Group, Hearst, Netflix, Sky, and Viacom.

Last December, Roku said that its devices accounted for 13% of all U.S. smart TV sales — or one in every eight purchases. The company also said it has more than 13 million monthly active accounts who streamed a total of 9 billion hours of video and music last year from its catalog of 450,000 total movies and series. The devices are available in 10 countries. This year, Roku expects to increase its total number of devices offered in North American from 100 to 150.

Roku’s competitors in the increasingly crowded connected TV market include Apple, Amazon, Google, and others.

Parody Master Bart Baker To Embark On First-Ever Live Tour With Mills Entertainment

Bart Baker, who has amassed roughly 9 million subscribers and 2.6 billion lifetime views on his YouTube channel thanks to his parody music videos, is teaming up with live events company Mills Entertainment to embark on his first-ever tour. Dubbed Bart Baker: The Celebritease Tour, Baker will perform his favorite parodies in addition to original music. (In November, Baker released his first non-parody single, Drake — which is the debut single off his first original album, also called Celebritease, bowing in March).

“I’m coming at you in real life this April with a super lit show you’ve got to see to believe,” the 30-year-old said in a statement. “We’ve got your favorite parodies, we’ve got original music, we’ve got water — cause you’re gonna get thirsty from all the dancing!”

Only five West Coast tour dates have been announced thus far, and The Celebritease Tour will kick off in Seattle on April 11. Tickets, beginning at $35, as well as VIP packages — which include meet-and-greets and photo opps — are on sale now at www.bartbakerlive.com. Check out Baker’s uber-enthusiastic announcement video below:

“Bart’s amazing ability to capture the essence of pop culture in his parody videos is second-to-none, and we are thrilled to help bring his vision to the live stage,” Mills Entertainment CEO Michael Mills said in a statement.

Baker, who writes, directs, sings, edits, and acts in his own parodies, is represented by Creative Artists Agency (CAA), 26MGMT, and Maker Studios. Other notable influencer-centric live events produced by Mills Entertainment include Camp17, the Roman vs. Fousey tour, the Dolan Twins4OU Tour.

ABC News Contributor Dan Abrams Launches Online Video Network For Court Coverage

Recently, the legal battle over President Donald Trump’s proposed immigration ban became a viral hit thanks to the 9th Circuit Court’s decision to share its proceedings on its YouTube channel. Based on that phenomenon, as well as the general popularity of the “true crime” genre, a notable legal correspondent thinks it’s time for the court world to get its own online video network. Dan Abrams, who has experience at ABC, NBC, and Court TV, plans to launch a digital destination for trial live streams and coverage.

The platform will be an expansion of Abrams’ LawNewz, which currently offers live streams of notable trials. Beyond court footage, the new LawNewz network will also offer studio analysis from a team of legal correspondents, columnists, and attorneys, with coverage initially expected to run between the hours of 9 AM and 5 PM.

Abrams, who has hosted ABC’s Nightline and also founded the publication Mediaite, wants to use his experience at Court TV (which is now known as TruTV and no longer features a legal focus) and apply it to a digital destination that appeals to a niche community. Court TV was rebranded due to waning interest in trial coverage, but a recent surge in true crime content, led by podcasts like Serial and TV shows like Making A Murderer, has captivated viewers. “We have been seeing a real interest in trial streams,” said Abrams. “I’m amazed we will be first to do this to some degree.”

Not all courts allow video cameras, but LawNewz has already lined up a few intriguing cases for its upcoming coverage. It will analyze the rape and assault trial of MMA fighter War Machine on February 27th and will follow that up with a look at the latest murder trial for former NFL star Aaron Hernandez on March 1st.

Facebook Has Started Testing Ad Breaks (AKA “Mid-Roll Ads”) In Videos And Streams

The ad format that could soon become a big part of the monetization model on Facebook is beginning to show up. The social media platform is testing its “mid-roll” ad formats, which include ad breaks in both on-demand videos and live streams.

Facebook has reportedly be working on its mid-roll ads for a few months, though no official details about them had emerged until now. The prevailing understanding was that CEO Mark Zuckerberg is a fan of mid-rolls, believing them to be less disruptive than the pre-roll ads utilized across the online video industry, most notably by YouTube. Mid-rolls have the added benefit of promoting long-form video, which Facebook is looking to do as it builds a library of TV-quality original programming.

The latest development comes from Facebook itself, which, after previously staying quiet on the subject of mid-rolls, offered a statement reported by Variety and others. “Whether on Facebook or off, we’re committed to continuing to work with our partners to develop new monetization products and ad formats for digital video,” said Facebook VP of partnerships Nick Grudin.

The mid-rolls are expected to run for up to 15 seconds each. Publishers will be able to add the ads into new videos while also retroactively applying them to existing on-demand content.

For live streams, ad breaks will become available after the four-minute mark of any particular broadcast, with additional breaks allowed in five-minute intervals beyond that. To employ these ads, users must have at least 2000 followers and must have received 300 concurrent viewers on a recent stream.

A specific launch date for mid-roll ad breaks hasn’t been revealed, though Facebook said it plans to use the next few months “to analyze, learn and iterate on the early version of this feature.”

Google Debuts ‘Immerse VR’ Series Investigating Race, Identity, And Diversity

Google has just released the first episode in a new virtual reality series titled Google Immerse VR, which will investigate race, diversity, and identity. The five-minute-long pilot episode, as noted by Engadget, follows Dezzie Dimbitsara, a user experience designer at Google in Paris, who talks about how race has impacted her and her family.

“The thing is,” Dimbitsara says at the top of the video, “when you talk about racial identity, you have to talk about racism.” She also discusses insensitive comments made by acquaintances growing up about the texture of her hair, as well as her experiences raising biracial children. Published yesterday, the video already counts roughly 30,000 views.

Check it out right here:

Google launched Daydream, a virtual reality platform baked into the latest generation of Android — as well as the $79 Daydream View VR headset — last year. Subsequently, YouTube launched a standalone virtual reality app last November on Daydream, with immersive content from top creators including Meredith Foster and Rooster Teeth.

And Google has received high praise for its original VR works. Pearl, for instance, s 360-degree short film that is part of the company’s Spotlight Stories initiative, received an Oscar nomination this year for Best Animated Short Film.

The Age Of Crossover Talent

Hollywood is a notoriously difficult place for young, on-screen talent to find success. Actors fight to get the best agents, pass around head shots, and rush to cattle-call auditions filled with similar-looking folks characterized by age, gender, hair color, build, and so-on. Success is often defined by booking a few gigs, getting to know key casting agents, staging a one-person play, landing a recurring role – ultimately getting recognized for the breakout performance that launches them to stardom.

While there are many success stories from this path, it is remarkably difficult for people to stand out, much less for studios and filmmakers to identify transcendent talent in a sea of sameness. This, is the old model.

Enter YouTube.

The media giant who over the past decade has been rapidly evolving and driving new forms of storytelling and viewing behavior. Thanks to YouTube, there is more content available than ever before, and while that should make it more difficult to stand out, it allows anyone with a camera and computer the chance to create, publish, and gain a following. Given this, a solution has formed that no one expected – neither talent, nor studio – for both becoming and identifying the stars of tomorrow. Talent can be assessed in self-produced three-minute videos, risk-measured through followers, and concepts tested through engagement.

The democratization of content has led to a new age of celebrity. In the past year, we have seen it break a new trend where this burgeoning talent made its way into traditional platforms. Issa Rae, for example, started sharing her unique point of view through her self-produced web series – The Misadventures of Awkward Black Girl, which took off in 2011. Fast forward today and Issa has cemented her status as a bonafide star with her hit HBO show, Insecure – an adaptation of Awkward Black Girl, about a quirky young African American woman navigating relationships and life in Los Angeles. HBO, a network not known for wasting dollars on heavy pilot loads, is able to safely launch a new property with the same accolades it has come to expect from stars such as Larry David, John Oliver, and Julia Louis Dreyfus.

Netflix took this trend even further in its deal with Colleen Ballinger, a.k.a. Miranda Sings. Colleen’s oddball character gained a massive YouTube following by singing popular songs with a notable and tongue-in-cheek lack of talent. Their new series, Haters Back Off (taken from Miranda’s famous catch phrase she throws at internet trolls) is a half-hour comedy about Miranda’s quest to become famous on YouTube. It is also a first in that it takes a popular character we are used to viewing in the YouTube influencer format and dives deeper into her life offline. We can see what goes on before she hits record – a level of self-reflection that not only shines a light on the line between persona and reality, but also makes a smooth transition between one platform to another.

Issa Rae and Colleen Ballinger are just a couple of cases of social influencers crossing over from self-produced social content, to large, more traditional media – but they are not alone. Steven Spielberg’s Amblin Entertainment bought rights to influencer Zach King’s debut novel, My Magical Life” and two subsequent two novels, while YouTube star Tyler Oakley now has his own segment on Ellen DeGeneres. This proves the trajectory to the big screen is no longer limited for influencers. Their unique content and followings have created new paths that can take them further than they imagined possible for themselves.

For a company like Netflix, that spent $5 Billion on content in 2016 and is increasing that budget to $6 Billion in 2017, the idea of looking to YouTube for new talent makes a whole lot of sense. Content acquisition takes a tremendous amount of vision, and risk, and YouTube stars come with a large, incredibly dedicated audience who are sure to follow their favorite YouTuber’s journey to the big screen. The sheer volume of compelling stories, characters and personalities available on YouTube today is a wealth of opportunity for studios looking to discover the next big hit.

This same rationale applies to brands looking to connect with exciting properties and personalities. YouTubers have proven valuable assets to brands looking to launch new products, drive promotions, or target new customers. But connecting with a star on the rise can pay dividends for brands looking to build affinity with their fans. The same level of vision and risk applies to any brand’s marketing mix, particularly when it comes to an entertainment strategy.

Talent is all around us. As such, brands and studios need to look no further than their smartphones to discover the next rising star. Perhaps for brands looking to build a lasting relationship with their audiences, starting the search for talent or ideas on the smaller screen is in their best interest, as that is where success is being redefined.

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Michael Bertolina serves as Vice President of Client Development at Branded Entertainment Network (BEN), where he and his team focus on developing new relationships with both brands and influencers. Prior to this role, he worked to execute best-in-class integration campaigns on behalf of clients such as Microsoft, General Motors, Heineken, Zillow and Dyson, as Head of Brand Integrations at BEN. Michael is an industry veteran, with twenty years of experience working directly with countless productions. He is passionate about storytelling and thrives on connecting his clients with the best voices Hollywood has to offer.

comScore Will Now Provide Mobile Viewership Stats To YouTube Partner Channels

Measurement company comScore announced that it will finally provide mobile video metrics for YouTube‘s Partner channels. While the company, which is one of YouTube’s third-party measurement partners, previously provided stats for desktop viewership, it says that 70% of YouTube viewing is now happening on mobile devices.

Adding in mobile stats — including both smartphone and tablet viewing on apps as well as the mobile web — presents a much clearer (and more impressive) picture, comScore says, and could therefore enable creators to improve monetization opportunities. In December, for instance, the top 50 YouTube channels increased their audiences by a staggering 218% when factoring in mobile consumption on top of desktop viewership. And total viewing time increased by 380%.

“Accounting for the huge share of viewing on mobile advances major measurement gaps,” Fullscreen‘s general manager, Pete Stein, said in a statement. Added Roberto Santos, director of audience research at Vevo: “We know that mobile devices are the first and only screens used among a majority of our audience.”

“We’re happy to continue to partner with comScore to ensure that YouTube is included in their digital reports,” a YouTube rep told Variety. YouTube works with other third-party measurement partners including Nielsen, according to the outlet, which has measured desktop and mobile viewership since last September.

And YouTube said earlier this week that the data it sends to several of its third-party measurement partners — including Moat, Integral Ad Science, and DoubleVerify — will undergo an independent audit in order to ensure marketers that its figures are accurate.

Insights: Will Investors Snap Up Snapchat’s IPO? Yes. Should They? Let’s Chat.

Insights is a new weekly series featuring entertainment industry veteran David Bloom. It represents an experiment of sorts in digital-age journalism and audience engagement with a focus on the intersection of entertainment and technology, an area that David has written about and thought about and been part of in various career incarnations for much of the past 25 years. David welcomes your thoughts, perspectives, calumnies, and kudos at david@tubefilter.com, or on Twitter @DavidBloom.


I’ve been marinating the past few weeks in a cascade of stories about the imminent initial public offering of shares in Snap, the parent company of Gen Z’s favorite opaque mobile app, Snapchat.

As a Los Angeles lover, I’m delighted to see the local kids hit it big. Reports suggest the company hopes to raise $3.7 billion on a market valuation of up to $22 billion, on shares priced at up to $16. That would make Snap’s debut one of the biggest tech launches ever.

I fully expect an oversubscribed offering as boatloads of investors jump aboard Snap, in part because Snapchat is a Really Big Thing for the emerging generation of teens and tweens who will drive our cultural paroxysms this next decade or so. That could be a big deal.

I expect that some investors, certainly insiders connected to investment banks and others handling the IPO, will profit handsomely. The company’s pre-IPO investors and executives also will do great, only fair given the hundreds of millions of dollars they’ve lost to get here. And the landlords of L.A.’s Venice area, buoyed by Snapchat and Google’s renting of every available corner of the neighborhood, will be even happier (as one tech exec told me area rents there have quadrupled the past four years).

But boy, does this deal ever make me uncomfortable for most of the rest of us.

I’ve been using Snapchat for many months now, fiddling with obscure settings to uncover a quite powerful set of tools. I follow some of the platform’s budding influencers. I send text messages and silly, fun, annotated photos and videos to a few family and friends. I build collections of those photos and videos into Stories. And I poke around Discover, monitoring how old-line media companies are reaching young audiences that otherwise wouldn’t know they exist.

The company’s fans include smart people I respect a lot, like Mike Vorhaus, the anything-but-Gen Z CEO of Frank N. Magid Associates. Last summer, Vorhaus called Snapchat the next important media platform, and continues to champion it. He may be right, though Snap doesn’t call itself a media platform. More on that in a bit.

Snapchat has 158 million daily users. I estimate, wildly, that at least 157.5 million of them are less than 20 years old. Even many Millennials, those voracious technology adopters, are befuddled by the app’s willfully opaque interface. But owning Gen Z is a very good place for an app to be, given the generation’s size and lack of lock-in with other apps. And those kids love Snapchat’s disappearing images and in-the-moment nature, and the way the app zaps the kinds of digital breadcrumbs that can be so problematic when found by college admissions executives, employers and parents.

And yet.

Snap reported $400 million in revenue in 2016. It also reported $515 million in losses. I’m not a mathematician, but that seems like a very bad combination of numbers.

The company – like Facebook and some others – will have its shares structured in such a way that all the new investors will have very little control over how that $3.7 billion is spent. How much you like that may depend on how much you trust the leadership skills of secretive 26-year-old CEO Evan Spiegel.

In its IPO filings, the company acknowledged that it may never become profitable. That caveat is appropriate, given the uncertainties. And it may be daunting for those with a taste for tech history: Twitter said the same thing in its prescient IPO filing.

Snap is right, however, to dodge comparisons to Facebook, Twitter and other social-media platforms. While Snap’s user base is admirable for such a young company, growth has flattened. This is attributed to the extensive, ruthless, even immoral photocopying of key Snapchat features by several Facebook-owned platforms, most recently this week by WhatsApp.

To avoid such invidious, if obvious, comparisons, Snapchat redefined itself in its IPO paperwork as a “camera company.” “Camera company” is decidedly not the Snap self-description one might expect. I personally was looking for something such as “social-media platform” or “digital-media company” or “beloved playtoy of the next mass of entitled digital natives” or, well, any of a lot of other things.

Making the case as a camera company isn’t so easy either. Snap’s only current camera thingy is Spectacles, the $129 eyewear that takes 10-second videos and then automagically posts them to Snapchat on your phone. Until a few days ago, Spectacles were available only through roving vending machines whose daily locations were unveiled through a clever online marketing campaign. A great way to build buzz, if not profits.

Company executives say Snap plans to build the best possible camera platform, then use that to drive audience engagement, and then use THAT to sell lots of mobile advertising.

Snap also has invested heavily in talent and technologies that eventually may add more powerful capabilities, such as even better facial recognition (have to auto-find the nose so you can put a dog’s face on it), object recognition (navigate the world as your camera figures out what things are and do), and augmented/mixed reality (annotated dog faces on everybody!).

Snap even partnered with R/GA and Interpublic to create an incubator focused on “mobile and social platforms related to artificial intelligence, content creation and analytics.” And of course, Facebook launched an incubator, too.

But calling itself a camera company also puts Snap in some complicated places. Yes, it’s distancing itself from monster Facebook (1.8 billion users worldwide) and Facebook subsidiaries Instagram (600 million monthly users), WhatsApp (1.2 billion), and Messenger (1 billion).

Instagram even has 150 million daily users of its Snapchat knockoff, Instagram Stories, so Snap really doesn’t want to go there. And yes, there’s anecdotal evidence that Snapchat’s young users won’t use Instagram Stories because they think Mark Zuckerberg pulled a jerky move while showing zero innovation.

But investors care that there’s also plenty of evidence suggesting Facebook’s various copycat efforts have fenced off Snap’s formerly formidable growth rates and will hobble its long-term prospects.

Also, investors may not value Snap as highly when it’s a camera vendor, given how the market treats hardware companies, which often have terrible margins. The stumbling GoPro is a fine, if painful, example of the challenges of living in Hardware-ville. Spectacles, by the way, aren’t even selling well enough to merit mention as a material contributor to company revenues.

Snapchat continues to have issues servicing the brands and marketers who’ll bring in the revenue the company needs. And one of the fellows brought in a year ago to fix all that, Sriram Krishnan, just left. That’s not encouraging to advertisers frustrated they can’t track and analyze their expensive Snap influencer campaigns, nor to investors who care about long-term revenue generation.

The app itself isn’t exactly queued up for world domination, even as it owns the eyeballs of America’s youth. WhatsApp’s launch of its Status capability means its 1.2 billion international users get a subset of Snapchat-like capabilities in their daily messaging app. And Snapchat doesn’t work on the low-end phones common overseas. It’s not even very reliable on Android and other non-iOS smartphones. WhatsApp, by contrast, works on pretty much everything more powerful than two tin cans and some string.

Spiegel has said he doesn’t want to dilute his app’s user experience so it can run on lesser phones. Fair enough. And Snap wants to focus on North America and Europe. That’s reasonable too, except only about a quarter of all Internet users live in North America and Europe. If you’re an investor hoping for globe-girdling growth the next few years, ignoring the other three quarters of the world may be an issue.

Goodwater Capital, which invests in consumer-facing technologies, estimates that Snap will turn its first profit in 2020, on the presumption that it will keep booking huge increases in ad revenues year over year until then. Whether Snap can do that will help determine its share price in 2018 and 2019.

I would point to a new Gartner study, which suggests we’re rapidly approaching a “post-app” world in mobile computing. All those huge messaging services now offer so many other functions that they’re beginning to “eat” other apps. Why leave WeChat or WhatsApp or Messenger if they already allow you to send money, book a ride, watch the news, make a reservation, or even shoot and share a silly video?

A McKinsey study outlines the looming shifts in how smartphones are used. It points to 2.5 billion digital tech users who are less than 25 years old. They spend about triple the time online each day of those over 25. In the U.S., 41% of of those 18 to 32 are on Snapchat up to 30 minutes per day.

And this week, I saw Robert Scoble and Shel Israel, authors of “The Fourth Transformation” among much else, predict that phones are going to matter much less very soon, as augmented- or mixed-reality devices begin to arrive from Apple, Huawei, Microsoft, and almost certainly Facebook and Snap.

“They’re clearly going to bring out products,” likely a more sophisticated Spectacles among other possibilities, Scoble said of Snap. “There’s going to be a full-out war in this industry.”

The questions facing investors, then, are a couple:

  • First, how fast will the massive Gen Z digital audience shift to mixed-reality devices possibly driven by our gaze or voice?
  • Second, where will these  messaging apps sit in this next platform? Will they become mini-operating systems within your device’s operating system, providing more and more of what users want? Will Snap, the upstart “camera company,” become the Messaging and More app for its own generation of users? Will they be accessing Snap tools on Snap devices? Or will Snap get “eaten” too over the next few years?

Snap may indeed be, yes, the next Facebook. Facebook, you may recall, went public at an aggressive price, then saw its shares drop by half after some initial stumbles. Shares recovered when Facebook figured out a winning mobile ad strategy, and now are more than three times their opening price. And the 70-something Israel says Facebook will be to this new generation as his grandfather’s ‘49 Ford was to him growing up: that is, not very.

Snap could figure out its own set of mobile/messaging/hardware/visual intelligence strategies that attract oodles of users and advertiser cash. But here’s the thing: unlike Facebook making its way after its IPO five years ago, Snap has to deal with Facebook while figuring out the same complicated issues. All this will be happening on a transformative new platform with new rules.

Making all that work, and pay, will be a Snap, right?

Court Throws Out $10 Million Defamation Case Against YouTube Critic Jim Sterling

A year-long legal battle has ended in favor of a YouTube video game critic. A court has dismissed developer Digital Homicide’s case against YouTuber Jim Sterling, thus defending Sterling’s 2014 panning of Digital Homicide’s game Slaughtering Grounds.

The details of the case reveal Digital Homicide as a studio with a penchant for frivolous litigation. After Sterling gave Slaughtering Grounds a poor review, calling it a contender for the worst game of the year, Digital Homicide claimed the video constituted an improper use of copyrighted material, stating for all intents and purposes that Sterling did not give the game a fair shake. After a battle in the DMCA arena proved fruitless for Digital Homicide, the studio sued Sterling, asking for $10 million.

Sterling, in a recent statement, called the suit a “waste of time and money,” and the court seemed to agree. As part of the decision to dismiss the case, Digital Homicide had to agree “to refrain from taking action against Defendant’s business” without first considering Sterling’s right to fair use.

The ultimate decision seems to please Sterling, though the critic and other YouTubers have lamented that such an unnecessary lawsuit was able to put a significant tax on Sterling’s finances thanks to the legal fees he had to pay. “That it got as far as it did, went on for as long as it did, is atrocious,” said Sterling, who has dealt with his fair share of fair use-related disputes in the past, “especially when this is a case that amounts to a game developer wanting to silence a game critic.”

More context is available in a recent video from Philip DeFranco, who provided an overview of Sterling’s case and urged YouTubers to band together when a member of the community finds him or herself under legal fire.