Archive for 2025:

20 years of YouTube: In 2016, some videos were more important than others

In February 2025, YouTube turned 20. The video site has gone through a lot over the past two decades, including an acquisition, an earnings glow-up, and multiple generations of star creators. In our 20 Years of YouTube series, we’ll examine the uploads, trends, and influencers that have defined the world’s favorite video site — one year at a time. Click here for a full archive of the series.


Last week, we told the story of an Elder Millennial who paved the way for a new class of Gen Z vloggers. The next year, that generational swing took hold, and a compendium of silly videos exemplified it better than anything else.

Compared to the other creators we’ve featured in this series, Eddie Jolton is a relative unknown. At the end of 2015, Jolton used his eljolto YouTube channel to host a playlist of short, funny clips. In his words, these were “important videos” — and that description soon took on a life of its own.

A year after its inception, the important videos collection reached 142 million views — and that was just on the main playlist page. Many of the included videos have rolled up massive view counts of their own. The first upload on the list, which bears the simple and self-descriptive title “yee,” has accrued more than 100 million views on its own.

In some ways, the important videos playlist was antiquated from the moment it arrived. By 2016, YouTube’s viral video era was long gone, having been supplanted by an eclectic mix of creator content. The popularity of eljolto’s offbeat, delightful archive suggested that the web video pendulum was swinging back in the direction of short and sweet uploads.

The generational shift occurring online was the driving force behind that shift. Vine, which had exploded onto the scene in the early 2010s, had introduced viewers to a new cohort of creators. Rising stars like Jake Paul (born 1997), Lele Pons (1996), Liza Koshy (1996), and Shawn Mendes (1998) had all been under ten years old when YouTube originally debuted, but the rise of Vine gave them the canvas they needed to usher in a new era of entertainment.

Because Vines could only be six seconds long, Gen Z’s approach to creator content had to be punchy and to the point. Iconic videos earned legendary status thanks to individual moments of brilliance rather than drawn-out storytelling. Within the confines of that truncated format, Gen Z grew up online. Is it any wonder that, nearly ten years later, short-form pithiness still reigns supreme on platforms like TikTok and Instagram Reels?

That wasn’t always a foregone conclusion. Twitter’s shocking decision to shut down Vine rattled the creator community, but YouTube fare like the important videos playlist filled in the gap. With its endless supply of quotable moments (“I didn’t dog the shot!“), eljolto’s playlist formed a bridge between Vine and TikTok.

Videos like “yee” showed us that YouTube content was becoming more efficient and hyperactive to meet the needs of the generation that had grown up on Vine. “‘Yee’ is a masterpiece of minimalist cinema,” reads a contemporaneous review of the important videos playlist. “The three shots set up a scene, deliver a punchline, and show us a reaction. It has the structure of a classic pratfall. We have no idea who these dinosaurs are, or what history has transpired between them, but in the space of just ten seconds the clip introduces us to a new world and new characters, sketches out their relationship, and tells a short story. It is a work of genius.”

Though “important videos” Google search traffic peaked in 2017, the playlist’s cultural legacy can still be felt today. The silly dinosaurs and quippy billiards sharks ushered in a “vibey” era of Gen Z-fueled entertainment. Whereas a video like “Keyboard Cat” offered an overt, slapstick form of comedy, more recent fare like “cats with threatening auras” or “Vines I think about every day” evokes a certain mood or feeling. Those compilations might not make you laugh out loud the way Keyboard Cat did, but they are always good for a knowing, relatable chuckle.

Meanwhile, the overall strangeness of the important videos playlist had its own cultural reverberations. Gen Z culture is generally vibey, but Gen Alpha is taking the conversation in an absurdist direction. You can draw a link between some of the more ridiculous entries in the important videos canon and the current rash of brainrot videos that are dominating YouTube Shorts.

What made important videos so, uh, important is that it served as an archive that didn’t exist in the same way for previous generations. For Gen Z and Gen Alpha short-form creators, some of these important videos have earned a biblical level of reverence. These are the clips that have launched a thousand memes (or should I say a thousand yees?)

That extremely online sense of shared nostalgia came into focus thanks to Millennial relics like End of Ze World and Homestar Runner. With help from resources like the important videos playlist, Gen Z heightened those feelings. Or, in other words, once a communal foundation of meme-able content established itself, the emotions stirred by vibey uploads became more accessible.

The funniest part of important videos isn’t its memorable Vines or its cringiest pieces of user-generated content. What tickles me about the playlist is that it became a cultural touchstone by accident. Eljolto never planned to pass the internet comedy torch from Millennials to Gen Z; he was just trying to laugh.

“I just [put] all of the short videos and memes that I would send my friends in one place,” he told The BBC amidst his 15 minutes of fame. “I didn’t think it was gonna be as big as it was.”

ByteDance is challenging Meta in the virtual reality of wearable tech

ByteDance has reportedly laid out a two-year roadmap for its eventual entry into the VR headset market. According to a report in The Information, the parent company of TikTok is developing reality-shifting goggles that could arrive as soon as 2027.

The effort to develop VR goggles is the latest mission for Pico, ByteDance’s mixed reality hardware division. The Information noted that Pico’s primary line of headsets has suffered from poor sales, leading to the cancellation of the planned Pico 5 device and the pivot to a sleeker, updated design.

These days, wearable tech mostly falls into two categories: There are bigger, more powerful devices, such as Meta‘s Quest headsets, that sacrifice aesthetic qualities in favor of an immersive, full-featured experience. On the other end of the spectrum, entries like Meta’s Orion glasses (which emerged from a partnership with Ray-Ban) offer sleek, stylish designs that are more basic in terms of their functionality.

ByteDance’s next-gen wearable seems as if it will land in the middle of those two categories. The goggle-shaped design will make the device more appealing to consumers who want to try out AR and VR experiences without looking completely dweeby or struggling with a heavy, unwieldy headset.

Though the upcoming Pico device won’t be as heavy-duty as a Meta Quest headset, it will offer some strong performance updates compared to similar smart glasses. A paired “puck” will be able to fit in the user’s pocket, thus powering the goggles while still keeping them lightweight. The specific dimensions of the goggles haven’t yet been made public.

ByteDance achieved a breakthrough in the world of social media thanks to the revolutionary power of TikTok’s recommendation algorithm, and the planned Pico device could also use technological enhancements to encourage consumer adoption. The Information reported that ByteDance is developing specialized chips that will reduce lag and other latency issues for Pico users who engage in AR experiences.

The effort to develop Pico goggles is separate from TikTok, but ByteDance could theoretically benefit by synergizing its wearables division and its popular social video app. For Meta, Quest headsets have served as a gateway into the world of creator-developed experiences, which are currently flourishing thanks to sandbox titles like Roblox. Is ByteDance interested in snagging some of those Roblox dollars by using smart goggles to introduce TikTokers to the metaverse?

If so, the technological innovations offered by the Pico goggles would be a crucial feature. The weird look shared by many metaverse worlds has turned off potential players. If ByteDance can offer that level of immersion while cutting down on lag and making the physical apparatus less cumbersome, Pico could finally have a hit on its hands.

Amid money troubles, Scholastic is seeking its next chapter on YouTube

If you went to middle school in the United States in the 80s to early 2000s and are somewhat of a nerd, the name Scholastic probably evokes fond memories of towering wire shelves stocked with glossy new books. There were few things more exciting to our 10-year-old selves than getting a fresh new Scholastic Book Club order form, or coming into the classroom and seeing a box of delivered books waiting to be unwrapped.

But that was decades ago, in an age where people bought books from sellers other than Amazon.

Now, Scholastic–who’s not one of publishing’s Big Five, but is perhaps the most prominent publisher of children’s and YA books–is undergoing a major restrategizing. Despite publishing prominent IPs like Harry Potter and The Hunger Games, its stock has dropped 40% over the past year, and its cash resources are slimming, the Wall Street Journal reports.

Scholastic’s plan to drag itself back includes typical moves like layoffs and cutting down on brick-and-mortar assets.

It also includes YouTube.

As part of the restructuring, and amid all these money troubles, Scholastic is taking a gamble: spending $182 million to acquire 9 Story Media Group, a Toronto-based animation studio it hopes can help turn its most popular books into view-raking YouTube content.

Peter Warwick, Scholastic’s CEO and President, described the acquisition as a “key turning point” for the company’s future.

Scholastic already has a YouTube channel, but it doesn’t post frequently and its video library is populated mostly with book trailers. Its traffic pales in comparison to digital native animated kids’ IPs like Cocomelon, with around ~220,000 subscribers and 2.5 million views per month.

It’s clearly hoping to revamp the channel with 9 Story Media Group’s animated content, meeting Gen Z and Gen Alpha readers where they hang out most–but that won’t be easy. On YouTube, there is an enormous amount of competition for kids’ attention. Companies like Moonbug and Pinkfong are well-oiled machines with years of experience in pumping out loud, bright videos kids can’t help but watch.

One thing this initiative does have going for it is the tie to beloved stories. Scholastic publishes some of the world’s top children’s and YA books, and if its new subsidiary can make attractive content that adapts or adds to these IPs, it could find fresh revenue on YouTube.

At least Amazon, which has gutted the bookselling industry, doesn’t seem interested in dominating kids’ animated content.

Yet.

Roblox’s new initiative gives creators the legal A-OK to make games based on major IPs like Twilight, Saw, Squid Game, and Stranger Things

Big news for Roblox game developers: If they’ve ever wanted to make games based on blockbuster IPs like Squid Game, Stranger Things, Twilight, and Saw (and not worry about entertainment lawyers breathing down their necks with cease & desists…), they now have their chance, thanks to Roblox’s new IP licensing platform.

We just wrote about how Blue Lock: Rivals, a fanmade soccer Roblox game based on the hit manga/anime, was acquired for $3 million by DoBig Studios. To be clear, we don’t know whether Rivals‘ original teenage developer had an agreement with Blue Lock‘s IP owner, but what we do know is there are plenty of other Roblox games classed as “Fandom,” where they’re based on established IPs. And it’s unlikely they all have agreements with IP owners, because securing said agreements is tough and time-consuming, especially for solo developers.

Those games should count as transformative works, and are therefore protected under U.S. copyright law. When transformative works are free, they tend to be left alone. But there are fandom games on Roblox making millions of dollars a month, and Rivals is one of them. With that sort of money crossing the table, IP owners that would normally look the other way for fanmade merch might start feeling a little litigious.

This platform will let both IP owners and fans mitigate concerns over content ownership and monetization.

“Our vision is to empower all creators to easily partner with the franchises they love and bring the franchises’ licensed IP into their experiences,” Roblox said in an announcement. “To achieve this, we’re simplifying how IP owners manage and license their IP at scale so that creators can use that IP on Roblox.”

Basically, an IP owner can list their property on the platform, set rules for which creators can use it and how, and then will automatically collect monetization shares if/when a dev makes a game based on their IP.

Owners can also add their IP to the platform retroactively, after a fanmade game has already been published on Roblox’s systems. In fact, Kodansha, the owner of Blue Lock, is adding that IP to this platform next month, meaning Blue Lock: Rivals will officially be in the clear.

This option is an important one, because it means if a fanmade game does start making millions, the IP owner has an option other than nuking it from existence. Now, a rightsholder can choose to work with the creator, leave the game up, and simply share in the revenue being raked in.

“Until now, licensing IP was a complex and time-consuming process. Potential licensees had to negotiate with a variety of stakeholders and submit to regular reviews, and the process could take months,” Roblox said. “Not only did rights holders struggle to discover interested creators, but the nature of the process meant that only a select group of larger studios were able to benefit.”

Through its new platform, “What used to be a months-long process, often limited to a select few, now allows all eligible creators and rights holders to secure licensed use of an IP in just days or hours,” it added.

Roblox’s platform is launching with seven IPs: the aforementioned Squid Game, Stranger Things, Twilight, Saw, and Blue Lock, plus Divergent, Now You See Me, the video game Like a Dragon (aka the Yakuza series), and That Time I Got Reincarnated as a Slime.

This could prove to be a great thing for fan game developers. As for rightsholders, Jenefer Brown, EVP and Head of Global Products and Experiences at Lionsgate, told Variety this “expands our ability to reach and engage our fan community directly on Roblox in the deepest way possible.”

“This is the first time creators will get the chance to impact our experiences in the platform, building on our successful Roblox experiences for the latest The Hunger Games and Saw films and the MovieStore activation we created for Twilight,” she went on. “By giving creators and fans access to our top IP, we hope to inspire them to develop new Roblox experiences centered around Lionsgate content. We expect this tool will make it easy and efficient for creators to share their interest and develop great experiences for fans.”

Brazil’s favorite soccer YouTuber will broadcast every match of the 2026 FIFA World Cup

A YouTube star from Brazil has pulled off a major coup in the realm of sports broadcasting. When the FIFA World Cup returns for its next tournament, Casemiro Miguel‘s CazéTV will have the broadcast rights for all 104 matches.

CazéTV, operated by Miguel alongside agency LiveMode, will give Brazilians free access to the 2026 edition of soccer’s biggest stage (which will be hosted across the United States, Canada, and Mexico). Miguel will host the proceedings himself, with a parade of ex-players, creators, and pundits joining his broadcasts. Coverage of the matches will be supported by behind-the-scenes content and post-match wrap-ups.

The YouTube-based broadcasts will not supplant traditional rights holders. In Brazil, TV Globo will continue to air the World Cup, as it has done every four years since 1970. The arrangement is similar to the one that applied to the 2022 World Cup, when TV Globo covered all the games and CazéTV streamed a handful of matchups.

Miguel’s 2026 coverage will be more similar to the alternative broadcasts that have become popular in sports like (American) football. Personalities as varied as Dude Perfect, the Manning brothers, and Patrick Star have offered NFL commentary that runs adjacent to traditional broadcasts. Jesser has brought a similar phenomenon to the world of basketball, and Alex Cooper got her crack at the alternative broadcast format during the 2024 Summer Olympics.

The soccer world is ripe for that sort of disruption. Creator-powered spectacles on the pitch have become more popular than many professional matches, the biggest stars of the game have hunted viewership on YouTube, and digital-native stars have rubbed shoulders with footballing legends. During the recently concluded FIFA Club World Cup in the United States, participating Italian outfit Juventus F.C. added more weekly subscribers than all but eight YouTube channels around the globe. CazéTV, which teamed up with DAZN to broadcast the Club World Cup on YouTube, finished right above Juve in that ranking.

Even in an era flush with alternative sports broadcasts, the scope of the latest CazéTV deal is telling. In the world’s most soccer-obsessed nation, where “la joga bonita” is gospel, eyeballs are shifting to creator-led coverage. If that trend is powerful enough to disrupt Brazilian soccer, then it’s powerful enough to dominate any sport anywhere on the planet.

After another shutout, do creators need the Emmys?

Well, it happened again.

For months, YouTube has lobbied on behalf of its biggest stars, arguing that standouts like Michelle Khare, Sean Evans, and Rhett & Link deserve nominations at the Emmy Awards. It’s not the first time YouTube has submitted hit channels for Emmy consideration, but the latest campaign ended up with the same result as previous pushes: YouTubers got shut out of the Emmys once more.

Khare’s show Challenge Accepted was vying for a nomination in the Outstanding Hosted Nonfiction Series or Special category, but she missed out as Hollywood notables like Conan O’Brien, Stanley Tucci, and David Letterman earned nods. Rhett & Link failed to get Good Mythical Morning into the Outstanding Short Form Comedy, Drama, or Variety Series category, where the usual complement of web companions for unscripted TV shows took up all the available spots.

In the Outstanding Talk Show category, where the Evans-hosted Hot Ones hoped to earn recognition, the Television Academy didn’t even bother filling out a full complement of nominees. Three familiar late-night hosts — Kimmel, Colbert, and Stewart — are the only ones in the running.

All of this is so familiar. YouTubers have been trying to break into the Emmys for nearly a decade, but the TV Academy has made clear that it would rather fete traditional productions than take a chance on a popular creator-led show. That’s what happened in 2024, it happened again this year, and nothing short of voter upheaval will change the narrative in 2026.

Creators have been shunned so thoroughly from the Emmys that it’s worth asking a simple question: What’s the point? If the TV Academy is so hellbent on ignoring the cultural wellspring bubbling up on the internet, why not let it? What is the purpose of all the campaigning and stumping, not to mention the literal cost of these FYC pushes, only for the powers that be to decide they like The Daily Show: Desi Lydic Foxsplains more than the most beloved morning show on the internet?

Some of the creators who sought nominations would argue that Emmy consideration is powerful enough to open doors. Khare said that she hoped to use an Emmy nod to help book high-profile guests on Challenge Accepted, and there’s evidence to suggest that major award nominations give the honored entertainers more prestige (even if potential financial gains attributable to those noms are unclear).

From my vantage point, Khare doesn’t need the TV Academy’s help. She’s already prestigious enough to book collabs with YouTube’s biggest stars, and Challenge Accepted episodes featuring the likes of Wendover Productions and GothamChess seem to perform just as well as any other installment of the show. The list of the most-watched Hot Ones videos shows that Evans and his producers have no trouble booking Hollywood big shots.

Sure, creators may need Emmys if they want to gain the respect of entertainment industry power players, but YouTube is already supplanting Hollywood. That’s why so many creators are becoming feature film directors, and a few others are becoming the biggest things on streaming. Hollywood needs creators, not the other way around — so why are the creators the ones pining for awards season recognition?

Truthfully, the Emmys push for creators is mainly a YouTube thing. CEO Neal Mohan wants creators to win Emmys because that would solidify the narrative that YouTubers are the future of entertainment, thus bringing more media dollars to the platform’s shores. But again — even without any significant Emmys cred to speak of, YouTube is still generating massive amounts of revenue. It’s getting more TV viewership than any cable network or streaming hub, and it’s outpacing traditional platforms in terms of ad spend, too.

The TV Academy has made its priorities clear: Creators who go from YouTube to traditional networks can win Emmys, and those who stay on YouTube cannot. That’s why Khare is still being shut out while her former BuzzFeed colleague Quinta Brunson hauls in Emmy wins for ABC’s Abbott Elementary (which is up for six more trophies this year).

If those are going to be the rules of engagement, creators need not play. The Michelle Khares and Sean Evanses of the world would make a stronger statement by giving the TV Academy the cold shoulder rather than seeking its validation. That attitude would be a confident reminder that voters with outdated ideas can’t stop creator-led fare from becoming the next big thing, no matter how many talk show companions they nominate.

The fight against “unoriginal” content (including AI slop) is coming to Facebook

Meta is joining YouTube in the fight against repetitive, reposted videos — including the ones generated by AI models. The company formerly known as Facebook has announced a crackdown on its namesake platform that will deny monetization for producers of “spammy content.”

Details about Meta’s new policy can be found in a post published on the official Facebook blog. “Too often the same meme or video pops up repeatedly ‑ sometimes from accounts pretending to be the creator and other times from different spammy accounts,” reads the post. “It dulls the experience for all and makes it harder for fresh voices to break through. To improve your Feed, we’re introducing stronger measures to reduce unoriginal content on Facebook and ultimately protect and elevate creators sharing original content.”

The post explained that offending accounts will lose access to monetization and will “receive reduced distribution” for future uploads. Those policies are reminiscent of changes YouTube recently introduced; at the start of July, Google’s video hub announced new rules governing the repetitive, reposted videos that are currently running amok on YouTube Shorts.

Though YouTube users initially speculated that the new policy could nix monetization for certain types of creator content (such as reaction videos), a more recent update clarified that the rules update is targeting the sort of “inauthentic” fare produced by generative AI programs. Facebook has recently been riddled with posts of that nature, leading to a wide-ranging initiative that looks to address the “unfortunate reality” of generative AI spam.

Even before Meta updated its rules, it had already kicked off its fight against AI slop. The latest Facebook blog post notes that 500,000 channels engaged in “spammy behavior” have received sanctions since the start of 2025. Meta also eighty-sixed 10 million profiles that impersonated notable content creators.

Those steps, when combined with the monetization update, are welcome changes for the creators who have long complained about freebooted content on Facebook. But not everyone is happy with Meta’s moderation practices. Earlier this year, a rash of mistaken account deactivations led to the launch of a petition that asks Meta to stop issuing takedowns without offering human customer support. More than 30,000 people have co-signed that measure.

The crackdown on AI slop will naturally lead to more moderator action against offending accounts. That has a lot of potential for good, but Meta will need to cut down the number of false positives if it wants its new policy to please Facebook users.

Top 5 Branded Videos of the Week: Chicken Shorts and Kill Tony, with bonus Prime Day

Welcome to our rundown of the most-watched branded YouTube videos of the week.

We’re publishing this snippet of a larger Gospel Stats Weekly Brand Report in order to analyze sponsorship trends in the creator economy. Any video launched in tandem with an official brand partner is eligible for the ranking.

And – as the name up above would imply – all the data comes from Gospel Stats. If you’re interested in learning more about Gospel – and which brands are sponsoring what creators on YouTube – click here.


After three straight weeks of Dave Ramsey dominance, he’s no longer in our top 5…but that doesn’t mean he’s not getting sponsors. Just like in previous weeks, Ramsey posted around ~30 sponsored videos across his channels, generating brand income on top of millions of views’ worth of passive income. Seems like a smart financial decision to us.

What did make our top 5 this week is a mix, from chicken Shorts to Kill Tony. Check ’em all out here:

#1 Nothing Phone (3) – What have you done!?
Channel: Mrwhosetheboss
Brand: Incogni
Views: 4,523,945

When it comes to phones these days, most consumers go with iOS or Android, and those operating systems have in some ways become synonymous with major phone producers like Apple and Samsung. But there are other options out there, and one of them is Nothing. Launched in 2020, the company’s main selling point seems to be “We’re different.” It started with transparent wireless earbuds, and then got into smartphones. The latest model? Nothing 3, which costs a cheeky $800. And, according to Mrwhosetheboss, it’s probably not worth that price. (Oh, btw, this video isn’t sponsored by Nothing; it’s a plug for personal data protection service Incogni, which sponsored around ~50 videos this week.)

#2 #ad Bacon Wrapped Chicken Lollipops @SandersonFarmsTV
Channel: Foodwithbearhands
Brand: Sanderson Farms
Views: 3,169,671

It’s rare that we see smaller channels make our top 5. It takes millions of views to top all the other sponsored content on YouTube, and for most channels under a few hundred thousand subscriber, that view count isn’t achievable. But, well, Foodwithbearhands broke the standard this week. He’s at spot #2 with 146,000 subscribers and over 3 million views for this video about honey BBQ-drenched chicken lollipops. So why did this video go viral? Don’t get us wrong–the dish here looks delicious. But if you glance through its comments, you’ll start to see why it’s getting so much attention. That chicken Foodwithbearhands is using came from his video sponsor Sanderson Farms, which has faced lawsuits over numerous allegations: use of antibiotics and treatment of chickens, putting out misleading advertising, suppressing worker pay and engaging in “deceptive abuses” against farmers, and price-fixing. Yikes.

#3 KT #725 – MATT RIFE + TONY CARUSO (ADAM RAY)
Channel: Kill Tony
Brand: Tecovas
Views: 3,326,920

Matt Rife has made a standup career out of his prettyboy glowup, and after going megaviral on TikTok has received what seems to be the stamp of approval for right-wing-bait comedy: a guest spot on Kill Tony. What’s more, he shares top billing this episode with a more historic megastar, Tony Caruso. If you’re thinking Wait, am I hallucinating that Tony Caruso died on April 4, 2003, in Brentwood, Los Angeles? no, you’re not. Caruso is no longer with us, but is embodied Saturday Night Live-style by Adam Ray. And, given Caruso’s tour de force in midcentury Western films, it’s appropriate that this show is sponsored by cowboy outfitter Tecovas.

#4 Most Viral Food Hacks
Channel: Blatant Reviews
Brand: EZ Bombs
Views: 2,795,179

Anyone else getting hungry? For our second top 5 Short this week, Blatant Reviews gives his honest opinion on viral food hacks. Some suck, some are great, and he got 2.7 million views for just over a minute of content. That’s 2.7 million eyes (or, well, 5.4 million, we suppose) for EZ Bombs. Why is that sponsor great for this video? Because they make birria bombs, and birria has been one of the most viral foods over the last couple years, leading to birria tacos on every menu from Taco Bell to decades-old family joints in NYC.

BONUS #1,133 Criminally Fast Filmmaking w/ Smallrig’s Prime Day Deals
Channel: Standard Story Company
Brand: SmallRig
Views: 62,095

Prime Day is already over (sorry), but in the leadup, brands were splashing on YouTube advertising, hoping their products would get snapped up in the three-day shopathon. In this case, film equipment company SmallRig paid Kent Lamm of Standard Storytelling Company–a YouTube channel about improving narrative strength in movies–to show how its vast catalog of products can help aspiring filmmakers quickly turn their story ideas into full-fledged films. Lamm was the only creator SmallRig sponsored this week, and with Prime Day 2025 racking up an estimated $24 billion, we’re curious how much his traffic helped the brand capture.


…and there’s a lot more data where that came from. If you’re interested in learning more about Gospel – and which brands are sponsoring what creators on YouTube – click here.

Top 50 Most Viewed YouTube Channels Worldwide • Week Of 07/13/2025

[Editor’s Note: Tubefilter Charts is a weekly rankings column from Tubefilter with data provided by GospelStats. It’s exactly what it sounds like; a top number ranking of YouTube channels based on statistics collected within a given time frame. Check out all of our Tubefilter Charts with new installments every week right here.]

Scroll down for this week’s Tubefilter Chart. 👇


Australia’s favorite couple channel has risen to pole position in our Global Top 50 ranking. Double Date, which features collabs between coupled pairs Cadel and Mia and Jasmin and James, is #1 in our viewership chart thanks to its 1.6 billion weekly views.

The highest spots in our Global Top 50 are filled with couple channels, family-oriented hubs, and entertainment destinations based in India and East Asia. When you get further down in the ranking, the status of included channels becomes murkier — and, in some cases, AI-generated videos prove perplexing.

The less AI “news” I see, the better

On YouTube Shorts, generative AI is often used to parrot major trends. If Italian brainrot is the hottest meme of the moment, for example, why not remake its signature characters with the speed and efficiency of an LLM?

If you’re looking for a reason to decry that trend, look no further than Daily Paw News. On the surface, the channel looks like any other generative AI hub that drafts off the wind generated by short-form trends.

Consider the channel’s name. Animals have been a big deal on YouTube forever (just ask Tillman the skateboarding dog), and the advent of Shorts only heightened that viewer preference. Channels like Ohio Cat Bombastic have hauled in billions of views by adding animals to content that would otherwise be unremarkable.

Kraftovie offers a more recent example of that trend. The Russian channel’s formula basically boils down to catlike behaviors + human ingenuity, and that combination is paying off. Kraftovie recently jumped to its highest weekly viewership since April, when YouTube rejiggered the methodology it applies to Shorts views.

Data via Gospel Stats

So Daily Paw News is just adding more silly cat videos to the internet — nothing wrong with that, right? But the other video category referenced in the channel’s title makes Daily Paw News inherently problematic.

Viewership of news content on YouTube has been steadily rising for years, and 2025 events like the conflict between India and Pakistan have turned YouTube-based news coverage into a full-blown phenomenon. Daily Paw News’ handle suggests that it is looking to ride the coattails of the YouTube news surge, but there’s just one problem: The “news” reported by this channel never happened.

When channels like this can get 523.6 million weekly views with AI-generated “news” reports, YouTube-set regulations become critical. The platform recently changed its monetization policy to prevent unoriginal, repetitive channels from turning their slop into a veritable revenue stream.

That’s all well and good, but channels like Daily Paw News are getting massive viewership regardless. We’ll see if these AI channels are still showing up in the Global Top 50 when YouTube’s new rules go into effect next week.

Channel Distribution

Here’s a breakdown of the Top 50 Most Viewed channels this week in terms of their countries of origin:

  • United States: 13
  • India: 12
  • Hong Kong: 5
  • Australia, Russia, and Taiwan: 2
  • Argentina, Belgium, Canada, China, France, Germany, Jordan, Kazakhstan, Peru, South Korea, Spain, Tanzania, Ukraine, and Vietnam: 1

This week, 41 channels in the Top 50 are primarily active on YouTube Shorts.

As always, keep up to speed with the latest Tubefilter Charts and all our news by subscribing to our newsletter. You’re going to love it. 👉  Newsletter.Tubefilter.com.

Indie game creators are making millions selling their Roblox worlds

In May, we wrote about how consolidation has come to the multibillion-dollar king of the metaverse, Roblox.

Now, thanks to Bloomberg, we know more. In the last six months, midsize game development companies focused on the platform, like DoBig Studios and Voldex, have been acquiring top-performing games from independent (and often anonymous) developers for millions of dollars apiece. These companies are effectively becoming the Electronic Arts of Roblox: They snap up games that are already fleshed out with functionalities and flush with users, then build future updates for those games using bigger in-house teams.

Just as we’ve seen with video creators on platforms like YouTube, TikTok, and Twitch, if an independent Roblox developer’s game goes viral, it can rake in life-changing amounts of cash. Blue Lock: Rivals, a soccer game with sports anime aesthetics, released in June 2024, and currently has around ~50,000 live players at any given time.

As Bloomberg reports, it was made by an anonymous 19-year-old who produced it in just three months. When it took off, attracting, at times, over 1 million concurrent players, and generating $5 million/month in in-game purchases, he received an offer from DoBig Studios: $3 million in exchange for ownership.

The financial terms of most Roblox acquisitions are not made public, but we get the sense this is not an unusual figure for top games. Grow a Garden sold to DoBig in May, and had 21 million concurrent players–so you can guess what the offer was like, based on that figure vs Blue Lock‘s 1 million players.

Voldex, meanwhile, has acquired two major Roblox games: Welcome to Bloxburg and Brookhaven RP. It didn’t release financial figures for either, but said it paid more for Brookhaven than Bloxburg.

Even without the specifics of certain deals, we can say–based on the figures that have been released–individual developers are getting multimillion-dollar deals for their Roblox games. And one other thing is certain: These midsize developers are increasingly buying up titles, setting up a pipeline for successful indie devs to make some cash off their ideas, and setting up a portfolio for themselves. This is leading to a future where we’ll likely see just a handful of companies running most major Roblox games–sort of like the Big Five in book publishing.

As for why more acquisitions are happening now, there’s two reasons. The first is that Roblox has hit a natural growth stage (again, like YouTube) where it’s gone mainstream, with big brands paying for ads there and more non-gamers/non-online people becoming aware of its existence. The handful of companies that are already established and savvy in this space see opportunity to grab acquisitions while they can, before the normies get wise and start making offers of their own.

The other reason is more technical. Before December 2024, it was against Roblox’s TOS to sell a game. Sure, sales still happened; Bloxburg and Brookhaven, for example, were both sold prior to that change. But they weren’t really allowed, so there was always a risk that a developer could spend hundreds of thousands or millions on a game, and then Roblox could decide to ban that game because it was sold. (We’re guessing it didn’t do that because Bloxburg and Brookhaven both generate cash for it.)

In December, though, Roblox added a function within its platform that lets developers transfer ownership of games, effectively giving the go-ahead for these sales. It told Bloomberg it’s not participating in said sales–but we know it still benefits, since under their new and bigger owners, top-earning games can make it even more money.

What does all this mean? Well, over the next year+, we expect to see this EA-esque pipeline become further established, with more indie devs choosing to sell their Roblox games to mid- and large-size game companies, and walk away with millions.

Top 50 Most Subscribed YouTube Channels • Week Of 07/13/2025

[Editor’s Note: Tubefilter Charts is a weekly rankings column from Tubefilter with data provided by GospelStats. It’s exactly what it sounds like; a top number ranking of YouTube channels based on statistics collected within a given time frame. Check out all of our Tubefilter Charts with new installments every week right here.]

Scroll down for this week’s Tubefilter Chart. 👇


Last week, the “Argentine MrBeast” surpassed the original MrBeast to take the #1 spot in our Global Sub Top 50. Fast forward seven days, and Alejo Igoa is still getting more weekly subs than anyone else, but the gap is tightening.

During the second week of July, Igoa added 2.4 million new subs, bringing his lifetime total above 78 million. MrBeast was right behind his Argentine counterpart thanks to 2 million weekly subs, but he still dwarfs the competition in terms of lifetime totals. The North Carolina-based creator leads YouTube with 413 million subscribers.

Speed is accelerating

According to a classic meme, the entire world is made up of Ohio. That may have started off as a joke, but Ohio native iShowSpeed is trying to turn memes into reality.

The amateur rapper, celebrity soccer player, and star streamer — whose real name is Darren Watkins — might be the biggest thing on the internet right now. Speed was already enjoying a YouTube uptick thanks to the start of the summer season, when sports content (like Speed’s Cristiano Ronaldo fan videos) gets its moment in the sun.

The latest stop on Speed’s worldwide tour sent his viewership numbers soaring even higher. During his stream from Turkey, the 20-year-old Cincinnati native briefly topped the live viewership charts on both Twitch and YouTube. And thanks to his robust clipping operation, Speed is also bringing his tour to YouTube Shorts. One recent clip from his visit to Turkey already has more than 22 million YouTube views.

Bolstered by his multiplatform success, Speed has shot up the Global Sub Top 50 chart. He added 600,000 new subscribers during the second week of July, which was good for an 11th-place finish in the corresponding ranking. His official YouTube channel now reaches 42 million subscribers in total.

You don’t even have to be Speed to reap the fruits of his success. Channels that reference him are trending up, even when their libraries are filled with unrelated AI slop. In particular, I’m talking about Ronalspeed, a bizarre channel that finished seventh in the Global Sub Top 50 after collecting 660,000 weekly subs. Thanks to the star power of its two titular figures, Ronalspeed has been on a roll since April.

Data via Gospel Stats

The wildest thing about all this is that Speed’s rapid rise may not be complete. His multiple worldwide swings have been record-setting affairs so far, and he has much travel yet to come. When you factor in the upcoming Fortnite tournament he’s hosting alongside Jynxzi, it’s not hard to imagine that Speed will soon supplant Alejo Igoa and sit atop the Global Sub Top 50.

Channel Distribution

Here’s a breakdown of the Top 50 Most Viewed channels this week in terms of their countries of origin:

  • United States: 14
  • India: 10
  • Brazil and Spain: 3
  • Australia, Bangladesh, Hong Kong, Indonesia, and Mexico: 2
  • Argentina, Belarus, China, Greece, Japan, South Korea, United Kingdom, Uzbekistan, and Vietnam: 1

This week, 37 channels in the Top 50 are primarily active on YouTube Shorts.

As always, keep up to speed with the latest Tubefilter Charts and all our news by subscribing to our newsletter. You’re going to love it. 👉  Newsletter.Tubefilter.com.

The creator economy is still growing year-over-year, but a monetization gap is emerging

By some measures, the creator economy is more lucrative than ever before, but a deep dive into those numbers reveals persistent inequalities that slow progress for many online video professionals. That’s one of the key conclusions from the latest Creator Earnings Report, a sweeping survey published by the influencer marketing agency NeoReach.

To compile its report, NeoReach gathered earnings info from more than 3,000 creators, who collectively reach more than 1.1 billion followers. Taken together, those creators are having a good year so far. The creator economy has grown about 19% since the start of 2025, NeoReach reported, and the total number of active creators is now north of 127 million.

Despite those healthy topline numbers, NeoReach pointed to some concerning trends in the overall data. “After years of surveying and analyzing the creator economy, we propose a new theory,” reads the report. “Many creators are hitting a monetization ceiling.”

The evidence supporting that theory can be found at both ends of the earnings distribution. More than half of the surveyed creators are making under $15,000 per year, and that percentage is increasing; meanwhile, the cohort of creators taking in more than $200,000 annually now includes just 5% of the survey respondents.

Some of the factors informing the perceived gap are perfectly logical. More participants in the creator economy means more creators who are just starting out, and as you would expect, those newcomers earn less than their veteran counterparts. For creators with less than one year of experience, the average annual earnings came in under $20,000. Creators with at least four years of experience collectively quintupled that haul, taking in more than $100,000 per year on average. The percentage of surveyed creators with fewer than 100,000 followers (about 44%) is similar to the percentage of creators who earn under $15,000.

Other causes of income inequality, however, can be chalked up to platform policies. NeoReach noted that creators who work in labor-intensive content categories struggle to keep up with the demands of platform algorithms. That’s one reason why, on NeoReach’s list of genres ranked by relative revenue generation, art content wound up close to the bottom. The lowest-ranking genre on that list is news and political content; in that niche, platform policies can tamp down creator earnings.

NeoReach argued that creators can begin to close the monetization gap once they start making more than $15,000 per year. Making it past that “turning point” is difficult, but creators who surpass it see their earnings accelerate, NeoReach said. Factors like agency representation and entrepreneurship contribute to that acceleration. Creators under management make three times more than creators who lack representation, and creators who own a brand (45% of respondents) take in twice as much as those who don’t.

Though the streets of the creator economy are still paved with gold, NeoReach’s report shows just how uneven the playing field is. Female creators and Black creators have long claimed to earn less than their white, male counterparts, and those demographic disparities still exist. NeoReach surveyed an equal number of men and women, but the average male creator is making about $8500 more per year than the average female creator. In order to address these persistent problems, creator economy operatives need to be aware of the growing monetization gap — and must start pushing against it.