To an adult, the appeal of ChuChu videos is not totally obvious. On the one hand, the songs are catchy, the colors are bright, and the characters are cute. On the other, the animation is two-dimensional and kind of choppy, a throwback to the era before Pixar. And there is a lot of movement; sometimes every pixel of the screen seems to be in motion. Krishnan and Chandar believe that any given shot needs to include many different things a child could notice: A bird flying in the background. Something wiggling. These things hold kids’ attention.
ChuChu’s founders aren’t blind to the power of new-media platforms, or the undertow of crappy YouTube producers, or the addictive power of devices, but the magnitude and improbability of their success more than balance the scales. They don’t quite seem to know why (or how, exactly) they’ve been given this opportunity to speak to millions from an office in South India, but they’re not going to throw away the chance. After all, there are so many stories to tell.
Fifty years ago, the most influential children’s-television studio of the 20th century, Children’s Television Workshop, came into being, thanks to funding from the Ford Foundation, the Carnegie Corporation of New York, and the United States government. It created an unprecedented thing—Sesame Street—with help from a bevy of education experts and Jim Henson, the creator of the Muppets. The cast was integrated. The setting was urban. The show was ultimately broadcast on public television across America, defining a multicultural ideal at a time of racial strife. It was the preschool-media embodiment of the War on Poverty, a national government solution to the problems of America’s cities.
All that money is providing Google with more financial firepower to buy the rights to stream cable networks' shows on YouTube, too, which is likely to reel in even more viewers. It also is helping finance Alphabet's investments in projects such as self-driving cars and Internet-beaming balloons. That segment, known as Other Bets, lost $865 million during the July-September period, narrowing from a $980-million setback last year as Alphabet imposed more expense controls.
It's worth noting here that even Twitter (TWTR) , which is seeing minuscule monthly user and ad revenue growth, is valued at more than seven times its 2018 revenue consensus. And Snap (SNAP) , which (though seeing strong revenue growth) is contending with slowing user growth and faces big questions about its long-term profitability, is worth over 11 times its 2018 revenue consensus.
This is partly because he was a creature of his era, born in the 1920s and active in an age when the whole argot was different. But he lived until 2011, well into the age of LGBTQ. He had plenty of time to make peace with the term, but his friends say he abjured it. “My recollection is LGBT or its derivatives were expressly disliked by Frank,” one of them told me. “He would use gay to cover the full range; or gay and lesbian.” Another said: “Frank was quite indignant about the alphabet soup. When it started in the ’80s with gay and lesbian, he correctly predicted that there would be no end of it.”
In December 2012, two billion views were removed from the view counts of Universal and Sony music videos on YouTube, prompting a claim by The Daily Dot that the views had been deleted due to a violation of the site's terms of service, which ban the use of automated processes to inflate view counts. This was disputed by Billboard, which said that the two billion views had been moved to Vevo, since the videos were no longer active on YouTube. On August 5, 2015, YouTube removed the feature which caused a video's view count to freeze at "301" (later "301+") until the actual count was verified to prevent view count fraud. YouTube view counts once again updated in real time.
The Death Note review that PewDiePie cited uses a racial slur to refer to one of the characters in the movie. The video also contains a reference to a false white nationalist conspiracy theory that Heather Heyer, the protester who was murdered at the white supremacist Unite the Right rally in Charlottesville, Virginia, in 2017 — and whose killer was recently convicted and sentenced to life in prison — actually died of a heart attack.
The way advertising works with YouTube is probably one of the most complicated things that comes with trying to make money off of YouTube. The real estimate comes out to about $7.50 per 1,000 impressions. The difficult part is actually defining the word ‘impressions.’ The only time you make money on YouTube is when someone interacts with your ad or when it leaves an ‘impression’ on them.
YouTube is one of the most popular websites on the planet, receiving billions of views a year and paying out millions to the content creators that it hosts. Money earned through YouTube is generated by advertisements. Content creators who host ads on their videos receive about half of the ad revenue those ads generate, while YouTube takes the rest. Anyone can monetize their videos, as long as their videos do not break copyright law.
Both private individuals and large production companies have used YouTube to grow audiences. Independent content creators have built grassroots followings numbering in the thousands at very little cost or effort, while mass retail and radio promotion proved problematic. Concurrently, old media celebrities moved into the website at the invitation of a YouTube management that witnessed early content creators accruing substantial followings, and perceived audience sizes potentially larger than that attainable by television. While YouTube's revenue-sharing "Partner Program" made it possible to earn a substantial living as a video producer—its top five hundred partners each earning more than $100,000 annually and its ten highest-earning channels grossing from $2.5 million to $12 million—in 2012 CMU business editor characterized YouTube as "a free-to-use ... promotional platform for the music labels". In 2013 Forbes' Katheryn Thayer asserted that digital-era artists' work must not only be of high quality, but must elicit reactions on the YouTube platform and social media. Videos of the 2.5% of artists categorized as "mega", "mainstream" and "mid-sized" received 90.3% of the relevant views on YouTube and Vevo in that year. By early 2013 Billboard had announced that it was factoring YouTube streaming data into calculation of the Billboard Hot 100 and related genre charts.
YouTube also has a more democratic appeal. Unlike Instagram, where the biggest influencers are mainstream megastars in their own right (Selena Gomez, Ariana Grande, Beyoncé), YouTube is dominated by homegrown celebrities, such as Jenna Mourey (a.k.a. Jenna Marbles), Mariand Castrejón Castañeda (a.k.a. Yuya, a Mexican beauty vlogger), and a bunch of gamers that I’ve never heard of but have millions of fans. The world’s highest-paid YouTube star is Daniel Middleton, a British 26-year-old who goes by “DanTDM” and gained his fortune (an estimated annual income of $16.5 million, per Forbes) by posting videos of himself playing Minecraft. Last year, he did an international tour that included four sold-out nights at the Sydney Opera House.
YouTube allows users to upload, view, rate, share, add to favorites, report, comment on videos, and subscribe to other users. It offers a wide variety of user-generated and corporate media videos. Available content includes video clips, TV show clips, music videos, short and documentary films, audio recordings, movie trailers, live streams, and other content such as video blogging, short original videos, and educational videos. Most of the content on YouTube is uploaded by individuals, but media corporations including CBS, the BBC, Vevo, and Hulu offer some of their material via YouTube as part of the YouTube partnership program. Unregistered users can only watch videos on the site, while registered users are permitted to upload an unlimited number of videos and add comments to videos. Videos deemed potentially inappropriate are available only to registered users affirming themselves to be at least 18 years old.