What’s the difference betweenYouTubeand TV? Two decades ago, that would have been a very easy question to answer. TV was the stuff that was on – you guessed it – television, with its budgets, scripts, multiple camera angles and lights. The first video ever uploaded to YouTube, meanwhile, could never have been mistaken for it. “All right, so here we are in front of the, uh, elephants,” a pixelated young man told the camera. “The cool thing about these guys is that … is that they have really, really, really long, um, trunks.” The video was uploaded on 23 April 2005 and marked the true launch of the video-sharing site.This February, YouTube CEO Neal Mohan declared: “YouTube is the new television.” He was referring to the fact that more and more people watch YouTube videos on the big screen: apparently, users play 1bn hours of YouTube on their smart TVs a day. But at the same time, more and more people are watching TV on YouTube: Disney uploaded the first three episodes of its Star Wars spin-offAndorto the site in March, while ITV has been sharing its shows on YouTube since December.Today, TV is on YouTube and YouTube is on TV – some YouTubers have even struck deals with streamers, creating their own shows for the box.Beast Games, a reality competition created by the world’s most-subscribed YouTuber, MrBeast, debuted on Prime Video last December and quickly became the platform’s most-watched unscripted series of all time, generating $100m in profit. So what’s the difference between YouTube and TV? Increasingly, less and less. How did we get here? And where are we going to end up?“I woke up to a cold email from an employee at Netflix, and then woke up to another cold email from another streaming platform, and then they kind of started trickling in,” says Victor Bengtsson, managing director of Sidemen Entertainment. The Sidemen are seven YouTubers who have accumulated 146 million subscribers with their skits, challenges and reaction videos over various channels. In 2024, they created their own reality competition on YouTube, Inside, earning more than 50m views – that year, the finale of Love Island All Stars attracted just 1.3 million viewers. No wonder, then, that Netflix acquired season two of Inside, which premiered on the platform in March.View image in fullscreenBro money … The Sidemen.Photograph: PRThis is far from the first collaboration between YouTubers and the mainstream media, even if it did take traditional broadcasters almost a decade to notice the appeal of online celebs. In 2015, the BBC invited beauty vlogger Zoella to take part in The Great Comic Relief Bake Off, while her brother Joe Sugg starred in Strictly Come Dancing three years later. Meanwhile, across the pond, YouTubers were offered their very own shows. In 2016, Netflix releasedHaters Back Off,a series created by online musical comedian Colleen Ballinger. NBC gave Canadian YouTuber Lilly Singh a short-lived talkshow in 2019, though she herself joked about its unappealing 1.30am slot before it was cancelled two years later.The trouble with some of these shows is that you can’t just copy and paste a YouTuber and expect them to fit inside a different box; guerrilla content can lose its appeal when it’s moulded into telly’s pre-existing formats. But at a time of crisis in television – senior producers are nowtaking shelf-stacking jobsdue to lack of work – it seems broadcasters are more and more willing to yield to YouTubers’ ways. Bengtsson says the Sidemen feel “respected” by Netflix and is encouraged that “they’re not trying to change what we do. They’re not trying to change who we are.”Inside’s first season was shot over seven days, edited in nine, and debuted a day later. Working with Netflix for season two meant the team had a lot more breathing room and Bengtsson believes the final product was more polished, but still creatively free. “You put people from their platform in the same room as us and it’s like two worlds colliding, it’s two tsunami waves just crashing in,” he says.One issue that arose was the length of the content – the first episode of Inside season one was two hours long, while Netflix told Bengtsson its reality shows typically last 45 minutes. As a compromise, Inside season two has hour-long episodes. Netflix also agreed to drop new episodes daily – like Sidemen viewers were used to – instead of all at once. “This super-successful streaming platform and the Sidemen are merged into one, trying to get what the future of reality TV could look like.”View image in fullscreenA seat at the table … YouTuber turned NBC talkshow host Lilly Singh.Photograph: NBC/NBCU Photo Bank/Getty ImagesBut are execs conceding too much to YouTube talent, who are often used to working with fewer constraints? Beast Games has been branded a “dystopian nightmare” – five of its contestants are suing MrBeast for allegedly “unsafe” conditions during filming. Even if you ignore the lawsuit, the show’s contents have proved troubling. The Guardian’s own Stuart Heritage wrote, “There is a cruel ruthlessness to Beast Games that is truly unpalatable … There is endless pleading and crying and full-blown adult tantrums.” Are broadcasters in a race to the bottom?MrBeast’s degrading game show is a dystopian nightmare – perfect for America in 2025Read more“We have a key rule here: it’s not art, it’s entertainment,” says Bengtsson. “Don’t disrespect the format of easy-to-engage content … There is incredible pride in being able to create something that is funny, clever and commercialised.” He adds that the money the Sidemen generate for streamers could “be redistributed to real artists who have real projects”. Of course, the terms “YouTuber” and “artist” are not mutually exclusive: comedian Bo Burnham got his start on YouTube and won three Emmys for his 2021 Covid-themed Netflix special.While broadcasters increasingly attract YouTubers, YouTube is also increasingly attracting broadcasters – the relationship seems to be more symbiotic than ever before. “There are a lot of platforms that can help you with awareness and reach, but I think YouTube is relatively uniquely positioned in being able to generate revenue,” says Neil Price, a UK partner manager at YouTube who helps traditional broadcasters understand how their content can work on the site. Like any other YouTuber, broadcasters can earn money from ads that are displayed around their content.Price says that in recent years, broadcasters have gone from posting small clips of their shows on YouTube to episodes wholesale, as well as creating new content for digital audiences. Between 2023 and 2024, Channel 4 tripled its YouTube views by uploading long-standing shows such as Hollyoaks to its “Channel 4.0” while also launching new online-only prank series and gameshows. “It’ll be interesting to see how production entities continue to evolve their thinking,” Price says. “I think the entire industry deserves real credit for what can feel uncomfortable … for being open to the possibility of exploring new things.”View image in fullscreenA safe bête … MrBeast AKA Jimmy Donaldson.Photograph: Image Press Agency/NurPhoto/Rex/ShutterstockBut is YouTube having its cake and eating it – competing with broadcasters by hosting their content, not creating its own? Between 2016 and 2022, the site did try its hand at becoming a more traditional media company, launching YouTube Originals, a division that created new shows and films for paying subscribers. Entertainment executive Susanne Daniels was brought on to head the initiative – she previously helped develop shows such as Dawson’s Creek and Buffy the Vampire Slayer.“Original content allows a company to have a voice,” Daniels says – she is especially proud of an Emmy-winning YouTube special she helped create, Recipe for Change: Standing Up to Antisemitism. But does YouTube want a voice? Ultimately, the company chose to be a platform rather than a publisher; CEO Mohan said the Originals division shut because YouTubers were already producing successful content, “so that eliminated the need for us to do anything.” Daniels left the company in 2022. “YouTube is run by engineers and product executives like Neil Mohan who are focused primarily on their distribution capabilities and have little appreciation for the power of premium content,” she says.In the US, more people now watch YouTube on their TVs than watch Disney+, Prime Video and Netflix. No wonder Netflix is rumoured to currently be in talks with YouTubers Dude Perfect and Mark Rober, and Disney is apparently searching for family-friendly creators. But Daniels believes that while “YouTube is definitely a competitor in terms of watch time and eyeballs”, it isn’t a competitor in quality. “Is YouTube the democratisation of content? Yes, arguably it is, in that everyone can make their own YouTube show, but everyone can’t make The Crown or The Sopranos.”Even before they had their own Netflix show, the Sidemen were being watched on TV: more than 45% of the group’s watch time comes from smart TVs. Between 2020 and 2023, the number of YouTube views on TV screens increased more than 130%. This means that while YouTubers may not be making The Sopranos, YouTube videos are becoming more televisual – with bigger budgets, longer watch times and greater production values to fit the big screen. A single MrBeast YouTube video can now cost £3m to make.Viewers would be forgiven for not being able to tell the difference between YouTube and traditional TV. YouTube is becoming more like TV, while TV is becoming more like YouTube. The differences between the two mediums are eroding, and it is unlikely they will ever be distinct again.
From weird elephant videos to revolutionising TV: 20 years of Youtube
TruthLens AI Suggested Headline:
"YouTube's Evolution: Blurring the Lines Between Online Content and Traditional Television"
The Guardian
7.6
TruthLens AI Summary
Over the past two decades, YouTube has evolved from a platform for casual, amateur videos to a dominant force in the entertainment landscape, increasingly blurring the lines between traditional television and online content. The site, which launched with a simple video of a young man at a zoo in 2005, has grown to capture audiences who now spend about one billion hours daily watching YouTube on smart TVs. As noted by YouTube CEO Neal Mohan, this shift signifies that YouTube is becoming the new television. Major media companies have recognized this trend, with platforms like Disney and ITV distributing their content on YouTube, while YouTubers are creating original programming for streaming services. The success of shows like MrBeast's 'Beast Games,' which became Amazon Prime Video's most-watched unscripted series, highlights the increasing collaboration between YouTube creators and traditional media outlets, demonstrating that the two realms are merging in unprecedented ways.
As the relationship between YouTube and traditional broadcasters continues to evolve, both sides are learning from each other. YouTube creators, such as the Sidemen, have garnered immense popularity, prompting platforms like Netflix to pursue collaborations that respect their unique content styles. The Sidemen’s reality competition, 'Inside,' showcases how YouTube's rapid production cycles and viewer engagement can translate into successful television formats. However, this convergence raises questions about content quality and the pressures of mainstream media. Some critics argue that the integration of YouTubers into traditional formats can dilute their appeal, while others see this as a necessary evolution in entertainment. The ongoing dialogue between these two worlds suggests that the boundaries are increasingly irrelevant, with YouTube not just competing for viewership but also redefining what television can be in the digital age.
TruthLens AI Analysis
The article reflects on the evolution of YouTube over the past two decades, emphasizing its transformation from a platform for amateur videos to a cornerstone of contemporary entertainment, rivaling traditional television. It highlights the changing viewing habits of audiences and the blending of content between YouTube and TV networks, indicating a significant shift in how media is consumed today.
Cultural Shift in Media Consumption
The discussion about YouTube's ascent as "the new television" illustrates a cultural shift in media consumption. With billions of hours viewed daily on smart TVs and traditional content being shared on YouTube, the distinction between these two forms of media is increasingly blurred. This raises questions about the future of television as we know it and the role of platforms like YouTube in shaping entertainment preferences.
Economic Implications
The financial success of YouTube creators, such as MrBeast, who have transitioned to creating content for major streaming services, points to a new economic model in the entertainment industry. The mention of significant profits generated from these ventures indicates that YouTube is not just a platform for content distribution but also a lucrative business opportunity for creators, challenging traditional media revenue streams.
Manipulative Aspects
While the article predominantly presents facts about YouTube's growth and influence, there may be underlying motives aimed at promoting YouTube as a superior platform. The language used, which praises YouTube's success and relevance, could be seen as an attempt to bolster its image while downplaying the value of traditional television. This could create a perception that YouTube is the future of entertainment, potentially influencing public opinion in favor of the platform.
Connection to Broader Narratives
In the context of broader media narratives, this article aligns with ongoing discussions about the decline of traditional media and the rise of digital platforms. It may serve to position YouTube as a leader in this transition, appealing to younger audiences who are more likely to consume content online rather than through conventional television.
Potential Impact on Various Sectors
The implications of this shift could extend beyond entertainment, affecting advertising strategies, media production, and even the stock market. Companies involved in traditional media may face challenges as audiences increasingly favor digital content. Investors in media stocks might need to reassess their portfolios in light of these trends, particularly for companies that have not adapted to the digital landscape.
Specific Audience Engagement
The article likely resonates with younger demographics and content creators who are active on social media platforms. These groups may see themselves reflected in the narrative of YouTube's evolution, reinforcing their engagement with the platform and its community.
Global Power Dynamics
The rise of YouTube also has implications for global power dynamics in media. As more people turn to online platforms for news and entertainment, traditional media's influence may wane, reshaping how information is disseminated and consumed worldwide. The article presents a largely accurate portrayal of YouTube’s evolution and its current status in the media landscape. However, the potential biases in favor of YouTube's dominance and the implications for traditional media should be considered when evaluating its reliability.