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Fans will be forced to declare their loyalty once and for all, by picking one event over the other. Additionally, prices at Amity Fest are way higher, and traditional meet-and-greets aren't part of the He said that Gleam did it, as they “can make more money alone”. Bryce Hall, Mikey Barone & Michael Weist. Bethany Mota fans have been counting down the days until the launch of her if you are a fan who lives nearby, make plans to be there and share her special day ! Meet Bethany Mota at the Westfield Mall in San Jose February 16, In Tanacon a timeline of how a great idea became a nightmare. We thrive on meet & greets, online friendships & making memories. . 11 Retweets; Likes; xana · Mark Darmafall · Phoebe · Michael · emily · nidia⚠ · Gabbie's Tour CAN U DO IT ALREADY AND NOT ASK YALL GIVE US A BETHANY MOTA TOUR . jordan | TODAY @brittscole 1 Sep

As I mentioned, she knows and is friends with some of the most popular YouTubers and social media stars out there and to show their support, they, one by one, agreed to be part of TanaCon. Tana often confessed that she was young and inexperienced in planning events. She only had a month to plan and execute the event. Shane even tweeted that if fans saw him walking around they could ask him for a picture. We arrived at the hosting hotel Anaheim Marriott Suites. We noticed that the entire event was being set up in one hallway of the small hotel.

For perspective, Vidcon takes place at the Anaheim convention center. Many activities happen in the area outside as well. A quick google search shows that this venue can accommodate about 1, guests for events. The ballroom holds about and the little rooms hold people. We spoke to the hotel representative who expressed surprise that the event was targeted to fans of creators who had millions of followers.

We were told that TanaCon hire a security company and the hotel hired their own. As we drove around we saw tents and barricades set up. The hotel rep said they expected 5, and that fans would be lining up between am. We arrived at 6 am and about fans were already lined up in the queue.

The first fans went through getting badges at 8: They then waited in another queue outside the doors. More fans arrived and soon the gift bags ran out. At at one point Tana came out to take pictures with some fans but it was far away from the tents and where most fans were waiting, At 10 am fans were allowed in to the venue.

I watched from the lobby as fans walked by the booths and ballroom, meet up rooms and expected to experience the promised amazing TanaCon up ahead. They thought the guards were mistaken and showed their badges. At about 12 there was a panel and about 1 Tana officiated a wedding. The space was so small and hundreds of fans were outside.

Security wanted fans who had come in at 10 to leave and go back around to the parking lot. Some favs were getting frustrated and jumping barriers, pushing against the door, pushing, etc. YouTube had the same resources as Netlfix and Hulu and Amazon, it just spent them in all the wrong places.

But creators had a number of complaints with MCNs, most notably that the networks only invested in the top two to five percent of its creators, leaving everyone else with minimal support.

The company gave the top five percent of channels in each category preferential treatment in representation on its advertising networks and algorithms. But this quantitative perspective on cultural development entirely misses the value of narrative series for branding a network. Instead, networks develop series to get attention from specific, passionate communities, critics, and the industry as well.

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But unlike those bro-y viral videos, Awkward Black Girl has heart and sophistication. Especially in the context of the rise of white supremacy in the United States, the show is still incredibly valuable to our culture.

Rae got meetings in Hollywood after Awkward Black Girl took off and even scored a development deal at ABC for another show with Shonda Rhimes executive producing a couple years after.

Nowhere was this dynamic more visible than YouTube. They griped YouTube had become more focused on raising revenue from the fruits of their labor than investing in those who supply the platform with content.

By aggregating videos from millions of producers, YouTube profited from their labor without having to invest in it. Creators continually labored for views. Things can be dying and soaring and going sideways throughout their ecosystem, but as long as they have a ton of traffic and control the relationships with advertisers, they win.

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YouTube was interested in growing the network and showcased work from indie creators without large subscriber bases. He spoke of YouTube as actively nurturing connections between new TV producers and fans: Realizing they had forsaken smaller, diverse creators, YouTube started mentoring and production programs for black- and woman-identified creators in These institutions control how a HUGE number of dollars are spent so there is less incentive to create niche content.

He publicly criticized YouTube for adjusting how it counts subscribers and openly advocated for creators to stop relying on advertising and pursue direct fan sponsorship. Creator discontent with YouTube grew. InGreen started the Internet Creators Guild as a nonprofit to advocate for web producers. The Vlogbrothers even started an off-YouTube platform called Subbable, offering fans the chance to directly support creators it eventually sold to its bigger competitor Patreon.

That year YouTube, for its part, started offering paid channels for fans to support channels monthly, but only to select, corporate users at first. The early results of this premium strategy were mixed, with a number of partners publicly expressing their disappointment at fan adoption of individual subscriptions.

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As it worked to consolidate, YouTube fractured, first losing creators to rival aggregators like Vessel, Vimeo, social media platforms, and most significantly to new start-ups in multichannel networks. Multichannel networks stepped into the online video market to do what YouTube avoided: MCNs pursued scale by aggregating independent producers and their fans.

Denise Mann shows how this pursuit of scale exploited independents to attract Silicon Valley and Hollywood investors. Creators like Hank Green decried this escalation of investment as losing sight of the independent spirit that attracted fans and independent producers to YouTube in the first place. As pay-off for their labor, YouTubers grew their subscriber bases as MCNs rose to power to aggregate their fans; byanalytics company VidStatsX estimated at least 2, channels had over one million subscribers.

Ultimately, though, distributors had the upper hand by aggregating creators and their fans, but fan loyalty rested with creators first, so both YouTube and the MCNs needed to support these sincere connections to continue to profit from their labor.

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This tension fueled controversies as producers and distributors pursued capital in a constantly changing market.

Johnson held the spot throughoutgrowing his channel to six million subscribers. Even as his popularity grew, competitors were angling for his spot. Competition and the need for production support led Johnson to sign with Maker Studios two years earlier. Maker offered marketing support, audience development, and talent management.

Eager to find a new backer for his work, Johnson entered a partnership with independent network Blip, itself transitioning away from curating independent web series to promoting creators with bigger fan bases and cheaper productions. How did Maker, a studio with less name recognition, beat indie heavyweight Johnson in attracting fans? Like Machinima before them, Maker built their network on signing up as many creators as possible, leveraging scale to increase their chances of finding a hit.

At the time of the Disney acquisition, Maker Studios reported 5. By contrast, Johnson built his fan base by covering independent YouTube productions. Competition in the genre was stiff, but fans for offbeat YouTube videos were plenty. Both Johnson and SMOSH benefited from starting their channels on YouTube when the site had fewer professionally produced videos and did not invest in multichannel networks. Early on, YouTube incentivized original production, starting with the partner program.


Originally invitation-only, the partner program allowed creators the option of putting ads on their videos for a majority cut of the display and video advertising revenue, split with YouTube. It was not until that YouTube opened the partner program to all YouTube creators.

Digital advertising rates were low, so partners needed to attract millions of views to make a living. By the time anyone could join, partners had a small suite of advertising technologies with different ways to view ads pre-roll, post-roll, skippable, or banner with different price points for each one. Creators who worked assiduously to populate their channels with original programming could attract enough fan attention and generate six-figure incomes from their attention to ads.

Most creators made negligible amounts. Multichannel networks stepped in, offering creators better rates and more program development support.