YouTube Aligns with Australia’s Under-16 Social Media Ban; Lemon8 Implements Access Restrictions

YouTube will fall under the federal government’s ban on social media for users under 16, but its parent company Google has stated that the law “fails to ensure teens’ safety online” and “misunderstands” the way young people engage with the internet.

Communications Minister Annika Wells responded by emphasizing that YouTube must maintain a safe platform, describing Google’s concerns as “absolutely bizarre.”

In a related development, Guardian Australia has reported that Lemon8, a recently popular social media app not affected by the ban, will implement a restriction of users to those over 16 starting next week. The eSafety Commissioner has previously indicated that the app will be closely scrutinized for any potential bans.


Before Mr. Wells’ address at the National Press Club on Wednesday, Google announced it would start signing out minor users from its platform on December 10. However, the company cautioned that this might result in children and their parents losing access to safety features.

Initially, Google opposed the inclusion of YouTube, which had been omitted from the framework, in the ban and hinted it might pursue legal action. Nevertheless, the statement released on Wednesday did not provide further details on that front, and Google officials did not offer any comments.

Rachel Lord, Google’s senior manager of Australian public policy, stated in a blog post that users under 16 could view YouTube videos while logged out, but they would lose access to features that require signed-in accounts, such as “subscriptions, playlists, likes,” and standard health settings like “breaks” and bedtime reminders.

Additionally, the company warned that parents “will no longer be able to manage their teens’ or children’s accounts on YouTube,” including blocking certain channels in content settings.

Mr. Lord commented, “This rushed regulation misunderstands our platform and how young Australians use it. Most importantly, this law does not fulfill its promise of making children safer online; rather, it will render Australian children less safe on YouTube.”

While Lord did not address potential legal actions, they expressed commitment to finding more effective methods to safeguard children online.

Wells mentioned at the National Press Club that parents could adjust controls and safety settings on YouTube Kids, which is not included in the ban.

“It seems odd that YouTube frequently reminds us how unsafe the platform is when logged out. If YouTube asserts that its content is unsuitable for age-restricted users, it must address that issue,” she remarked.




Annika Wells will address the National Press Club on Wednesday. Photo: Mick Tsikas/AAP

Mr. Wells also acknowledged that the implementation of the government’s under-16 social media ban could take “days or even weeks” to properly enforce.

“While we understand it won’t be perfect immediately, we are committed to refining our platform,” Wells stated.

Wells commended the advocacy of families affected by online bullying or mental health crises, asserting that the amendments would “shield Generation Alpha from the peril of predatory algorithms.” She suggested that social media platforms intentionally target teens to maximize engagement and profits.

“These companies hold significant power, and we are prepared to reclaim that authority for the welfare of young Australians beginning December 10,” asserted Mr. Wells.

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Meta has informed users of Facebook, Instagram, and Threads, along with Snapchat, about forthcoming changes. Upon reaching out to Guardian Australia, a Reddit spokesperson mentioned that they had no new information. Meanwhile, X, TikTok, YouTube, and Kick have not publicly clarified their compliance with the law nor responded to inquiries.

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Platforms that do not take appropriate measures to exclude users under 16 may incur fines of up to $50 million. Concerns have been raised about the timing and execution of the ban, including questions about the age verification process, and at least one legal challenge is in progress.


The government believes it is essential to signal to parents and children the importance of avoiding social media, even if some minors may manage to bypass the restrictions.

Wells explained that it would take time to impose $50 million fines on tech companies, noting that the e-safety commissioner will request information from platforms about their efforts to exclude underage users starting December 11, and will scrutinize data on a monthly basis.

At a press conference in Adelaide on Tuesday, Mr. Wells anticipated that additional platforms would be included in the under-16 ban if children were to migrate to sites not currently on the list.

She advised the media to “stay tuned” for updates regarding the Instagram-like app Lemon8, which is not subject to the ban. Guardian Australia understands that the eSafety Commission has communicated with Lemon8, owned by TikTok’s parent company, ByteDance, indicating that the platform will be monitored for potential future inclusion once the plan is enacted.

Guardian Australia can confirm that Lemon8 will restrict its user base to those over 16 starting December 10.

“If platforms like LinkedIn become hubs of online bullying, targeting 13- to 16-year-olds and affecting their mental and physical health, we will address that issue,” Wells stated on Tuesday.

“That’s why all platforms are paying attention. We need to be prompt and flexible.”

Australian crisis support services lifeline is available at 13 11 14. In the UK and Ireland, you can reach Samaritan via freephone 116 123 or by email at jo@samaritans.org or jo@samaritans.ie. In the US, contact the 988 Lifeline for suicide and crisis at 988 or via chat at 988lifeline.org. For further international helplines, visit: befrienders.org




Source: www.theguardian.com

Guide #218: For Gen Z, YouTube is More Than an App—It’s the Background of Our Everyday Lives

BMonths pass with minimal updates on streaming platforms surpassing traditional television. YouTube remains the leader with 2.5 billion viewers monthly. For those of us around 28 and younger, YouTube is less of an application and more of a response to the omnipresent background noise of today’s life. While my mother fills the house with Radio 4 or has BBC News flickering in the background, I’m engrossed in a video essay on Japan’s innovative urban planning. It’s not that I entirely avoid traditional TV (though I primarily access it through various streaming services), but after a long day, the thought of enduring another hour of intense programming feels overwhelming. More often than not, I gravitate towards YouTube, meaning it’s improbable that we’re viewing the same content.

When Google acquired the platform for $1.65 billion in 2006, the amount seemed outrageous. Many critics doubted whether any video platform could justify such a valuation. The reasoning was straightforward: Unless YouTube could eclipse television, it would never attain that worth. Fast forward nearly two decades, and that perspective significantly underestimates YouTube’s evolution. It hasn’t merely replaced TV; it has also pioneered entirely new content formats, such as vodcasts, vlogs, video essays, reaction videos, ASMR, and its controversial counterpart, mukbang. The platform has effortlessly adapted to emerging trends, establishing an alternate ‘online mainstream’. Long before podcasters, TikTokers, substack writers, or influencers emerged, there were YouTubers.

I began my YouTube Premium subscription during the COVID-19 lockdown when I found myself with ample time, no commute, and extra cash. Currently, it’s the only subscription I don’t question in terms of value; instead, I contemplate whether it significantly impacts my personal growth. Regrettably, my gym membership doesn’t match this criteria.

The standout advantage of a premium subscription is the absence of ads. Additionally, the smart downloads feature, which automatically curates episodes for your queue based on viewing habits, has been invaluable during lengthy subway rides. I rarely experience boredom nowadays. On my daily commute instead of staring vacantly out the window, I enjoy sports highlights or listen to podcasts. I find myself immersed in YouTube without a second thought.

Donald Trump (right) appears on Joe Rogan’s podcast on YouTube. Photo: https://www.youtube.com/watch?v=hBMoPUAeLnY

I feel a bit sheepish admitting that a random burst of short stories about guitar instructors and teenage garage bands reignited my passion for playing. It’s akin to confessing you met your significant other on Hinge. Yet, that’s precisely the point. YouTube has democratized expertise in a manner that traditional media never achieved. Moreover, it aligns with the social norms around media consumption on mobile devices. I wouldn’t dare watch a Spielberg or Scorsese film on a 6-inch screen; it feels disrespectful to the artistry. However, behind-the-scenes footage and promotional tour clips? That’s the ideal use for YouTube.

I indulge in a mix of homegrown YouTube creators, such as Amelia DiMoldenburg’s Chicken Shop Date, XXSyHighroller for NBA analysis, Tifo Football for tactical breakdowns, and Happy Sad Confused for film interviews. Additionally, I consume a steady stream of content initially designed for television and print but now reaches vast audiences through YouTube, including shows like Graham Norton, Saturday Night Live, and fellow journalists like Owen Jones and Mark Kermode. Sports highlights also thrive on the platform, providing an unparalleled convenience that traditional broadcasters struggle to offer, especially regarding paywalled sports like cricket and the NFL, which demand significant financial and temporal investment to access live.

Nevertheless, this convenience isn’t without its challenges. YouTube’s intensely personalized algorithms ensure that everyone’s viewing experience is unique. While previous generations could bond over the question, “Did you catch that last night?” now people are entrenched in their individual algorithmic bubbles. Despite the abundance of choices, we’ve lost the shared cultural experience. Even YouTube’s significant moments are splintered in a way that Saturday night television never was. When far-right politicians lament societal divisions, their focus might be better directed toward our viewing behaviors instead of immigration concerns. My enjoyment of algorithms might be more aligned with a 28-year-old in Bangalore than with the 45-year-old neighbor next door.

While this reality can be unsettling, there’s a noteworthy exception. Although YouTube intensifies viewing discrepancies across many demographics, it has forged a near-monoculture among younger audiences. Figures like Joe Rogan, Theo Von, Rex Fridman, and a revolving group of intellectuals, including podcasters aligned with President Trump and the late Charlie Kirk, have fostered a pervasive and relaxed dialogue among men in my age group. Although YouTube has democratized access to long-form discussions in enriching ways, it has also facilitated a pipeline for increasingly detrimental content. The platform’s algorithms not only highlight what piques your interest but also what captures your attention longer, which aren’t always the same. This phenomenon tends to elevate extreme viewpoints and fringe theories, leading viewers on a gradual journey from innocuous to genuinely harmful misinformation without them realizing it. Furthermore, it’s challenging for communities to self-regulate since everyone within a demographic shares a similar experience.

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Recent statistics show that YouTube users consume over 1 billion hours of content daily around the globe. For better or worse, YouTube has emerged victorious, and I’m mostly okay with that. You might want to consult your outdated TV guide to figure out what’s on BBC Two at 9 PM. However, perhaps we should reassess the balance—not only between YouTube and competing platforms but also between YouTube and everything else. I’m uncertain about the solution…but I’m fairly confident there’s a video essay that can tell me what I should think.

If you’d like to read the full edition of this newsletter, subscribe to receive the guide in your inbox every Friday.

Source: www.theguardian.com

AI Slop: The Soap Opera of Space-Trapped Kittens Set to Conquer YouTube

Welcome to YouTube in the era of AI-generated videos: featuring a baby stranded in space, a zombie football star, and a cat drama set among the stars.

Currently, one in ten of the fastest-growing YouTube channels globally is dedicated entirely to AI-generated content, highlighting advances in technology that have led to an influx of artificial media.

According to an analysis by the Guardian, which utilized data from analytics firms like Playboard, nine of the top 100 fastest-growing channels this July featured solely AI-generated content.

These channels offer bizarre narratives, such as babies aboard pre-launch rockets, an undead Cristiano Ronaldo, and melodramas starring anthropomorphized cats. The surge in AI video creation is propelled by powerful new tools like Google’s VEO 3 and Elon Musk’s Grok Imagine.

One channel has garnered 1.6 million views and 3.9 million subscribers, called Space Chain, while the Super Cat League features a human-like cat in surreal scenarios, including a scene where it confronts an eagle.

Many of these videos are labeled “AI Slop,” indicating their low quality and mass production. Despite this, some offer a rudimentary plot, signaling advances in the sophistication of AI-generated content.

YouTube has attempted to manage this influx of low-quality AI content by implementing a policy to block advertising revenue sharing from channels that primarily post repetitive or “fraudulent” content.

A YouTube spokesperson emphasized that all uploaded content must adhere to Community Guidelines.

After the Guardian inquired about certain channels from June’s fastest-growing list, YouTube confirmed the removal of three such channels and the blocking of two others, though they did not disclose specifics.

Experts indicate that AI-generated videos signal a new phase of internet “Enshittification,” a term coined by Doctorow in 2022 to describe the decline in online user experiences as platforms prioritize their own gains over quality content delivery.

“AI Slop is flooding the platform with content that is essentially worthless,” noted Dr. Akhil Bhardwaj, an associate professor at Bath University. “This enshittification has damaged the quality of the Pinterest community and overwhelmed YouTube with subpar content aimed solely at revenue generation.”

“One way social media companies could regulate AI Slop is by ensuring it remains unmonetizable.”

Ryan Broderick, who writes the popular Garbage Day Newsletter on internet culture, described YouTube last week as a “dumping ground for AI shorts utterly devoid of substance.”

Other platforms like Instagram also showcase a plethora of AI-generated content. For instance, one popular video features a blend of celebrity heads and animal bodies, such as “rophant” (Dwayne Johnson paired with an elephant) and “Emira” (Eminem as a gorilla), attracting 3.7 million views here.

On TikTok, numerous AI-generated videos are going viral, including one titled “Abraham Lincoln Blogging”, showcasing his unfortunate trip to the opera, and another with cats in Olympic diving events. These videos capture the playful, quirky spirit characteristic of the internet.

Instagram and TikTok have announced that all realistic AI content should be labeled. Videos suspected of being AI-generated from these platforms are cross-verified with the DeepFake Detection Service provider Real Defender.

Here are the channels showcasing AI videos for July:


Source: www.theguardian.com

One Progressive Takes on Twenty Far-Right Conservatives: Medi Hasan Reflects | YouTube

mEhdi Hasan was acutely aware of his viral status. The broadcaster and author watched the views surge on YouTube, with his phone buzzing incessantly. However, it truly hit him when, at an event in Washington, someone approached him in Urdu, saying, “I saw you in 20 insanity.”


The individual referenced Hasan’s appearance in the British-American commentator segment. It’s surrounded the gladiators’ web series “1-Many Debate” hosted by Jubilee Media on YouTube. In the episode “1 Progressive vs 20 Far Right Conservatives,” Hasan was questioned about his “ethnic background” by a man whose Guardian was not masking as the organizer of two violent far-right protests. Laughter erupted in the debate when another participant concurred that he was a fascist.

“I saw the vast audience engaged with the youth. I thought it was a good platform,” says Hasan, who launched his own alternative news outlet, Zeteo, last year. “But it was really intense, something I hadn’t anticipated. It was extraordinary, for both positive and negative reasons.”


Hasan’s nearly two-hour discussion, which has been edited and repackaged for continuous redistribution, propelled Jubilee Media into the forefront of mainstream awareness, igniting dialogues about the political and social ramifications of new media formats, alongside various existential uncertainties.

The quickly expanding entertainment company, launched in 2017, captured the attention of youth by transforming Trump’s contentious debates into highly engaging content. Besides debates, it has also developed games and dating shows, yet is facing challenges. Its standout format pits one expert against another on a single chair to debate pressing political issues.

Few raised concerns about traditional broadcasters’ encroachment, with titles like “Flat Earth and Scientists: Can You Trust Science?” (31 million views) and “Can 25 Liberal College Students Betray One Conservative? (feat. Charlie Kirk)” (30 million views). The 2024 Video with Ben Shapiro, featuring a trans man confronting right-wing critics in Four minutes of outrage, was the fifth most viewed election-related content on YouTube.

Founder and CEO Jason Yi Lee established Jubilee in 2010 as a nonprofit after his video Basking for Charity went viral. He mentioned to Variety that the organization “aims to illustrate what discourse appears like and should look like.” He envisioned it as potentially “Disney for empathy.” But how does the combative nature of those performances align with the goal of “encouraging understanding and building human connections”?

Spencer Colnharbor, who comments on Atlantic popular culture, perceives idealism as genuine but fueled by ambition. “In Jubilee’s context, empathy defends voyeurism and a curiosity about others,” Colnharbor reflects. “Lee didn’t aspire to be the new UN. He aims to be Disney, a prominently recognized for-profit entertainment entity known for its capacity to commercialize anything and spawn franchises.”

Julia Alexander, a media correspondent for Puck News, noted Jubilee’s advantage from the rise of free speech absolutism and the internet’s shift toward social and video platforms. Yet, she asserts that while it may have initially aimed to alter negativity in discussions, the platform has succumbed to “the hateful vitriol that defines many social media.” She claims they have little hope against “the trivial yet understood currency of the Internet.” Essentially, contentious and alarming content generates more interaction than constructive dialogue.

“I hope they choose to concentrate on generating positive internet content. We surely need it,” she remarks. “Yet, I worry as they are compelled to scale continuously and surpass previous performances, leading to a tendency to produce even more extreme content.”


Hasan, also a contributor to the Guardian, recognizes the allure of the more extreme videos produced by Jubilee. He authored “Win Every Argument,” a book on the art of debate, arguing that traditional media has vacated the battlefield, allowing platforms like YouTube to fill that void.

“Mainstream media performed poorly in facilitating discussion and debate. They gave a voice to those with unorthodox perspectives,” he comments. “But I believe there is a balance between extremes. There are no standards when it comes to censorship versus narrowing opinions. There are no guardrails; as long as you’re clicking, you can post whatever you want on YouTube.”

He acknowledges some criticisms he has received for his engagements, even agreeing with aspects of them. Author and disability rights advocate Imani Barbarin pointed out that Hasan’s takedown clips of far-right militants were shared by progressives celebrating his “victories,” while equally substantial numbers were shared as proof of his failures. “We live in a memetic culture of politics,” Barbarin stated in a post on x. “These moments are literally extracted from space and time. […] The surrounding context of that moment becomes irrelevant.”

Hasan expressed that if he has any regrets, it would be not knowing more about the individuals he faced and failing to recognize the presence of extremists among them. As for overall regret regarding his participation, he contemplates.

“I stand by what I said. I believe I performed adequately in the debate,” he reflects. “The broader question remains: is the format itself problematic? Are these arguments worth making? And I’m uncertain of the answer. Ask me again in five years.”

Source: www.theguardian.com

I strongly suggest checking out the edgy videos on YouTube.

Feedback delivers the latest in science and technology news, providing insights into what captivates readers. Email Feedback@newscientist.com to share items you think might intrigue our audience.

Cleaning Chronicles

While at times seemingly unproductive, Feedback finds a way to engage with what may appear as idleness. Recently, we spent more time than expected watching online videos, and here’s what we gleaned.

Diving into the depths of YouTube, we ventured down a path filled with carpet and rug cleaning videos. This might sound dull, yet one company’s use of the R2-Clean2 and Dirt Reynolds intrigued us.

Strangely enough, we found a soothing pleasure in watching dirt layers being lifted and the rug’s patterns emerge once again. Time faded away. The stress dissipated. Feedback embraced a Zen-like state; our minds were clear and receptive. There was no demand, no stress, just the simple act of cleaning a rug.

Once we snapped back to reality, we observed the fascinating interplay between humans and technology. Amidst the myriad cleaning YouTubers, there’s an army dedicated to capturing the messiest rugs in the most dramatic ways possible. After all, if your rug-cleaning video doesn’t attract millions of views, the revenue won’t match the effort.

Consequently, it’s tough to find a video that merely shows a dirty rug. A typical cleaning video appears as if a rug was pulled from a muddy abyss, taken over by fungi, and processed through the digestive system of a stray animal. Sometimes, maggots make an appearance. One can watch hours of labor spent with buckets and sprays to restore cleanliness.

This quaint subculture reflects our society: even mundane tasks like rug cleaning become exaggerated to the extreme, driven not by their inherent value but by the quest for attention and profit.

Enough philosophy. I certainly don’t plan on watching someone speedrun Super Mario Odyssey.

Rumblings

Alongside many readers, Feedback grapples with the ongoing controversies surrounding bestselling author Raynor Winn. Her book Salt Path and other works on extensive walking journeys faced scrutiny after Observer published accusations that she misled the public regarding her and her husband’s period of homelessness, as well as his health during their trekking on England’s southwest coast. Winn denies any wrongdoing.

This revelation surfaced shortly after the film adaptation of Salt Path caused embarrassment for all parties involved, but in the realm of Feedback, the most shocking realization was that Winn’s real name is Sally Walker.

Literary Innovations

In July, Feedback addressed the potential applications of generative AI tools like ChatGPT to simplify challenging literary texts. I’ve observed soft rewrites of renowned opening lines that retain their essence. This resonated with many of you.

Eric Bignell highlighted Macbeth’s poignant soliloquy from Act 5, scene 5: “Tomorrow and tomorrow, tomorrow / creeping up at a daily pace from day to day / to the final syllable of recorded time. I’m stupid now, full of sound and rage / meaning nothing.” Eric simplified it through ChatGPT to: “Life is short, meaningless and full of noise.”

Numerous readers contributed their suggestions on how AI might reinterpret famous passages. For instance, consider George Orwell’s foreboding opener in 1984: “It was a bright, cold day in April, and the clock struck thirteen.” David Aldred aptly proposed, “It was a well-defined afternoon on a bright, cold April day.” Nothing essential was lost!

The favorite rewrites included the opening line of Charles Dickens’ A Tale of Two Cities: “It was the best of times, it was the worst of times…” Ian Glendon comically suggested a literal version: “When I bought it, the watch was fine, but it doesn’t work anymore.” However, Simon Byrd, David Strachan, and Rod Newberry each proposed a variation with the same essence: “On average, it was fine.”

Simon even came up with an alternative to Edward Bulwer-Lytton’s infamous first line from Paul Clifford: “It was a dark and stormy night,” suggesting the creative twist: “Welcome to Scotland.”

Ultimately, Stuart Bell concluded with a bold suggestion to loosen AI’s constraints when engaging with James Joyce’s famously perplexing text Ulysses. Not due to enhancement, but rather because the work should “break AI, or at the very least, induce a headache.”

Have thoughts on Feedback?

Feel free to reach out by emailing feedback@newscientist.com. Remember to include your home address. You can find this week’s feedback and past editions on our website.

Source: www.newscientist.com

Share Your Thoughts: Family YouTube Habits We Hope Never Happen

What role does YouTube play in the lives of Australian families with children? As the federal government considers extending bans on social media accounts for minors under 16 to include YouTube, readers of the Guardian shared insights about their kids’ engagement with the platform and their opinions on the proposed ban.

Here’s what they had to say.

“Monitoring it simply isn’t feasible.”

Many parents reported making efforts to limit their children’s usage to shared spaces, often opting for co-viewing or utilizing parental controls. Nevertheless, many expressed concerns that this approach is time-intensive and nearly unmanageable, leaving them anxious about content that may go undetected.

“We rely on YouTube Kids and always monitor what they view beforehand. YouTube doesn’t seem to trust us, so we take these precautions. The algorithm is extremely fast, and we fear they may fall into endless rabbit holes.


“The primary reason we impose restrictions is due to my own adult experiences on YouTube. I feel like I have to fight the algorithms that lead me toward content I don’t want to see. After watching one Gel Blaster video, I suddenly had 100 videos of Americans shooting guns. One gym bodybuilder video led me to a flood of fitness models. If I have to struggle this hard, YouTube does the same to my kids.”
Marty, father of two under nine, Brisbane

“Prior to deleting it, our kids would spend hours on YouTube. They easily get caught in a satisfying loop, jumping from one video to the next.

“I enjoy watching some videos with my kids. Some are educational and quite humorous. However, it’s ultimately challenging to regulate and filter content sufficiently, to ensure they aren’t exposed to anything inappropriate. We have three boys, and many videos have explicit messages that could negatively affect young boys’ perceptions of women.”
Adelaide, parents of three children, ages 13, 11, and 6.

“YouTube is a bane in our lives. Ideally, it wouldn’t exist. Our son isolated himself in his room for nearly two weeks, immersing himself in YouTube and games during his recent school holidays.
Dan, parents of 15 and 12-year-olds, Melbourne

“YouTube offers some degree of parental control over content, but certain aspects of their systems seem ineffective. [Our son’s] interests narrow down his feed, leading us to worry he might stumble upon something entirely inappropriate.”
Gerald, father of a 13-year-old in Canberra

“We struggle to control what they’re watching. Even in the most secure settings on YouTube Kids, my children have inadvertently accessed frightening content disguised as children’s television.
Peter, father of three children aged 2, 4, and 6, Sydney.

“It’s virtually impossible to monitor what they watch. Even a cursory glance at the feed reveals that my daughter is exposed to an abundance of material propagating beauty and body image stereotypes.
Richard, parent from Hobart, ages 10 and 13.

“My kids are young, and their definitions can easily be swayed by repeated reward programming that triggers dopamine release from vibrant visuals. My issue with YouTube is that it operates much like a poker machine, monetizing the thirst for dopamine; we’re all drawn in. The bright lights and high-energy tropes are at the core of this massive platform.”
Monique, parent of an 8-year-old and an 11-year-old in Bellpost Hill.

They can watch it non-stop for hours.”

From fleeting attention spans and wasted time to concerns about potentially harmful content slipping through, many parents feel YouTube’s algorithms promote excessive viewing and present harmful material.

“I’m concerned about how the short content affects my children’s attention spans. I have to offer warnings before turning it off to help them transition away from the screen.
Sydney parents, ages 3 and 5

“The time wastage, actively encouraged through algorithms without forewarning on upcoming content, makes things stranger and more extreme. I lack trust in tech companies regarding the happiness of our children.
Alicia, parents from Colonel Light Garden, aged 8 and 12

“When left unsupervised, they end up watching a bizarre mashup of short content, which includes both rubbish and terrifying videos like the horror game Poppy Playtime. Our youngest suffered from nightmares for months after watching this at a friend’s house for three hours a few years ago.
I genuinely support YouTube’s educational efforts, but kids seem more inclined to watch junk instead of that. ”
Damian, father of ages 9 and 12 in Sydney.

“It’s frustrating because YouTube often exposes children to inappropriate content. The shorts are particularly troublesome.
Mat, father of 16 and 11-year-olds in Ballarat.

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“I teach ethics at my local public school, and half my students express a desire to become gaming YouTubers.

“It’s all about content that lacks value. I’m not overly concerned about “inappropriate content” since it’s ultimately about completely worthless material, and children struggle to differentiate between what’s appropriate and what isn’t.”
Parents of ages 15, 13, and 10

“It’s a real addiction, leading to severe tantrums when restrictions are applied.”
A parent of a 16-year-old in Brisbane, Queensland.

“They can easily watch for hours without any breaks. Our current rule is limiting them to an hour a day, especially because when we turn it off, they quickly melt down and cry.

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“My 12-year-old has better regulation but I’m still worried about videos that appear kid-friendly yet end up being problematic… We really dislike YouTube and wish it didn’t exist.”
Harrisdale, parent of three children, aged 7, 10, and 12.

“He could choose what he wanted, but he primarily views the shorts. We’ve noticed that these shorts affect his mood. We’ve tried to stabilize his YouTube experience by steering him towards more educational content.”
Kevin, father of a 13-year-old in Brua.

“He learned to crochet through YouTube.”

Many parents acknowledged the educational advantages YouTube offers, from supporting niche hobbies to serving as a platform for children to express themselves creatively as content creators.

“I worry about the vast amount of unfiltered content he could easily come across if not monitored, but my greater concern is losing access altogether. He learned how to crochet from YouTube.
Single parent of a teenage son, ACT.

“We utilize YouTube for educational purposes (e.g., MS Rachel, Mads Made, Volcanoes, David Attenborough content) as well as for entertainment (e.g., Teeny Tiny Stevies for videos, Music Videos, etc.). YouTube is the best educational platform in history!!!”
Melbourne parents of ages 2 and 5.


“My sons, 11 and 14, frequently use YouTube for information and gaming content. My oldest even has an account where he posts videos about Ali’s colony. [I support the ban]. Many kids share knowledge and enthusiasm in healthy ways.”
Sydney parents, ages 11 and 14.

“Our son uses YouTube daily for his passion, creating stop-motion films using Lego. He dedicates hours to producing, editing, and uploading beautiful video clips to his channel, gaining followers.
Dan Arno, father of an 11-year-old in Munich.

“If these companies refuse to regulate themselves, action must be taken.”

Parents expressed varied opinions on whether a ban on YouTube accounts for those under 16 would be beneficial or effective.

“I am wholly opposed to the current laws. We need to push for tech companies to alter their content policies. It’s essential to require personal identification for age verification when uploading content online.”
Parents of 12 and 15-year-olds in Brisbane.

“Now, I have to restrict my child’s YouTube access and either provide oversight or create a fictitious account. This isn’t something I want to do. [Gen X] intervenes in areas they shouldn’t.
Parent of two children in West Sydney.

“Digital platforms and high-tech corporations have generated a proliferation of violent and antisocial material from content creators, which is viewed countless times by impressionable children. Parents find it challenging to monitor this content, with only the content creators and technology giants benefitting.”
Parents of a 16-year-old in Windsor.

“Their accounts give us access to their viewing history. However, a ban is impractical. Age registration infringes on my privacy.”
Tim, parent of two children in Blackburn.

“I am fully in support of the ban. Tech companies have repeatedly demonstrated their lack of interest in fostering a safe environment for children.”
Gerald, father of a 13-year-old in Canberra.

“I feel torn about this. I’m convinced the ban will be easily bypassed by those under 16. But I see it as a proactive attempt to curb children’s access to inappropriate content.”
Parents of a 5-year-old in Adelaide.




Source: www.theguardian.com

Why Over 50s Prefer YouTube: BBC Lacks Excitement

In 2023, UK viewers aged 55 and above consumed almost double the YouTube content compared to the previous year, with 42% tuning in via television, as revealed by a survey from the Communications Regulator Ofcom.

Here, we explore why six individuals over 50 prefer YouTube over traditional broadcast television that they grew up with.

“YouTube feels very personal and engaging.”

YouTube is filled with hidden gems, featuring numerous videos created by everyday people. It offers a plethora of content that surpasses many other streaming services and broadcast channels. Currently, I enjoy reaction videos immensely. One of my favorites is Regeneration Nation TV, where an American duo reacts to music and classic shows like Fawlty Towers. They’re entertaining, and you really feel part of it. This may also be beneficial for those experiencing loneliness; it feels like the people in these videos are right there with you. As a former Samaritan volunteer, I understand loneliness, and YouTube meets a need that others don’t. It’s incredibly personal, allowing you to discover anything and often serving as the best source for what you seek.
Lloyd, 62, disabled and unemployed, Kent

“Terrestrial TV feels outdated.”

YouTube provides a vast array of content tailored to my interests and hobbies like music, photography, science, and film critiques. Everything is on demand, with many videos lasting just 15-20 minutes. While we use streaming platforms for dramas and films, I truly appreciate the wealth of live music performances on YouTube, which can’t be matched by traditional television. The niche subjects available, like Adobe Lightroom and Photoshop tutorials, are simply not found on broadcast TV. Occasionally, I miss live events (like women’s soccer or Ozzy Osbourne’s funeral), but I don’t feel deprived.
Steve, 50s, Customer Service Manager, Gloucestershire

“I appreciate the brevity of YouTube content.”

I enjoy how short the videos on YouTube are, making it easy to catch something while cooking in the kitchen. I prefer it over other streaming platforms. My favorite content features people creating something from nothing, whether it’s an amazing pottery project or restoring an old car. I used to have a TV license, but I canceled it recently, as I found the BBC’s offerings dull and unengaging. At 67, on a state pension, the fee was hard to justify.
Andrea, 67, retired care worker, Bedfordshire

“You can explore topics from deep space to quantum theory.”

Traditional TV feels absurd; the idea of watching something at a set time is outdated. I stopped watching it 20 years ago when Tivo came out, and with better broadband and streaming options available now, I can easily avoid the hassle. YouTube outshines others with the ability to explore everything from deep space to quantum theory. I especially enjoy detailed science videos, no matter how technical they are. One of my go-to channels is PBS EONS, which discusses the history of life on Earth. TV tends to drag on, and the episode lengths are often forgettable for me. I keep my TV license just as a precaution; I’ve heard the consequences of not having one can be severe.
Stu Smith, 54, IT consultant, Ipswich

“I’ve simply grown tired of terrestrial TV.”

I exclusively watch YouTube now because terrestrial television lacks interesting content. I enjoy travel shows where I can virtually experience adventures like climbing the Himalayas or visiting fabulous restaurants around the globe. Although I used to watch sports, I gave up my TV license two years ago after getting fed up with intrusive ‘celebrities’ dominating shows. I’m not criticizing the presenters, but at my age, I prefer a more serene viewing experience.
Gillian, 73, retired secretary, Stratford-upon-Avon

“YouTube is far more tailored for learning or relaxation than TV.”

Having played in several bands and recorded at home, I began using YouTube for help videos on recording with Logic Pro X in 2018. Eventually, I discovered numerous guitar tutors while studying for my Grade 5 classics and shifted to utilizing the platform for science and history documentaries. The access to a wealth of information has been remarkable. I also prefer watching it on TV for increased comfort compared to using a desk or laptop. You can easily scroll through a variety of topics to find something that resonates with you better than what traditional TV offers. YouTube enables a deep, immersive experience, whether you’re learning or relaxing, in a more precise way than conventional television or other streaming platforms.
Jerry McCart, 60, Financial Services, Edinburgh.

Source: www.theguardian.com

YouTube Emerges as Kids’ Top TV Choice, According to Ofcom Findings

Children are turning to YouTube as soon as they power on their TVs, marking a significant shift in video consumption from laptops to living rooms.

According to an extensive study of UK viewing habits by the Communications Regulator Ofcom, YouTube stands as the most favored TV platform for Generation Alpha.

Last year, one in five young viewers, aged between four and 15, headed to this platform first. While BBC One ranked among the top five initial choices, kids had the option to select BBC iPlayer as well.

It’s not only the younger demographic that has taken to YouTube TV. An observable cultural shift reveals that viewers aged 55 and older have nearly doubled their watching time on YouTube, going from 6 minutes a day to 11 minutes last year, with an increasing percentage (42%) tuning in through television.

On average, viewers dedicated 39 minutes a day to YouTube in 2024, positioning the platform as the UK’s second most-watched service after the BBC and ahead of ITV.

For those aged 16 to 24, traditional live television earned only 17 minutes of daily watch time last year, as just 45% tuned in during an average week, down from 48% in 2023.

YouTube has emerged as a serious rival to conventional broadcasters, with half of its trending videos echoing the content typically associated with mainstream broadcasters, including long-form interviews and game shows.

The rise of YouTube poses significant challenges for public service broadcasters like the BBC, ITV, and Channel 4.

These organizations are eager to engage newer, younger demographics; however, YouTube also captures a substantial share of their advertising revenue, which raises concerns that featuring their content on YouTube may diminish viewer time on their own platforms.


A 12-year-old girl will be holding a morning training session on Joe Wicks YouTube. Photo: Richard Sarker/Guardian

“Public service broadcasters recognize this shift and will adapt to meet audiences in online environments, increasing engagement there,” a spokesperson commented. “However, more ambitious efforts are needed to ensure that public service media remains relevant and sustainable in the long term.”

Ofcom has already advised traditional broadcasters, referred to as “endangered species,” to collaborate with YouTube for greater content visibility, emphasizing the need for “fair commercial terms.”

Michael Grade, chairman of Ofcom and former Channel 4 director, proposed that the government consider new legislation requiring YouTube to feature UK public service broadcasters’ content more prominently.

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Channel 4 has been among the pioneers in sharing content on YouTube, arguing that rather than detracting from their own platform, it expands their audience reach. ITV also announced a new agreement with YouTube at the end of last year.

Discussions are underway within the BBC about how much content should be uploaded to YouTube, although significant media coverage will still be featured there. Deborah Turness, head of BBC News, has informed staff that the new head of the AI department will drive a YouTube strategy aimed at younger viewers.

Weekly video viewing times remain stable, with the average person watching 4 hours and 30 minutes at home last year—down just a minute from the previous year.

Traditional broadcast content still dominates viewing, accounting for 56% of the total, although this figure has decreased from 71% in 2018.

Additionally, YouTube has become the leading online audio platform, with 47% of UK adults using it weekly, compared to 36% for Spotify. The rise of podcasts on YouTube signifies its growing influence across the media landscape.

Source: www.theguardian.com

AI-Generated Fake Videos of Diddy Trials Go Viral on YouTube, Garnering Millions of Views

This piece was reported by indicator, a publication focused on unearthing digital misinformation, in partnership with the Guardian.

Numerous YouTube channels have blended AI-generated visuals with misleading claims surrounding Sean “Diddy” Combs’s high-profile trial, attracting tens of millions of views and profiting from the spread of misinformation.

Data from YouTube reveals that 26 channels have garnered a staggering 705 million views from approximately 900 AI-influenced videos about Diddy over the last year.

These channels typically employ a standardized approach. Each video features an enticing title and AI-generated thumbnail that fabricates connections between celebrities and Diddy with outrageous claims, such as a celebrity’s testimony forcing them to engage in inappropriate acts or revealing shocking secrets about Diddy. Thumbnails regularly showcase well-known figures in courtroom settings alongside images of Diddy, with many featuring suggestive quotes designed to grab attention, including phrases like “f*cked me me me me me of me,” “ddy f*cked bieber life,” and “she sold him to Diddy.”


Channels indulging in Diddy’s “Slop,” a term for low-quality, AI-generated content, have previously demonstrated a penchant for disseminating false claims about various celebrities. Most of the 26 channels seem to be either repurposed or newly created, with at least 20 being eligible for advertising revenue.

Spreading sensational and erroneous “Diddy AI Slop” has become a quick avenue for monetization on YouTube. Wanner Aarts, managing numerous YouTube channels that employ AI-generated content, expressed his strategies for making money on the platform, noting his detachment from the Diddy trend.

“If someone asked, ‘How can I make $50,000 quickly?’ the first thing might be akin to dealing drugs, but the second option likely involves launching a Diddy channel,” Aarts (25) stated.

Fabricated Celebrity Involvement

The indicator analyzed hundreds of thumbnails and titles making false claims about celebrities including Brad Pitt, Will Smith, Justin Bieber, Oprah Winfrey, Eddie Murphy, Leonardo DiCaprio, Dwayne “Rock” Johnson, 50 Cent, Joe Logan, and numerous others. Notably, one channel, Fame Fuel, uploaded 20 consecutive videos featuring AI-generated thumbnails and misleading titles related to U.S. Attorney General Pam Bondy and Diddy.

Among the top-performing channels is Peeper, which has amassed over 74 million views since its inception in 2010, but pivoted to exclusively covering Diddy for at least the last eight months. Peeper boasts some of the most viral Diddy videos, including “Justin Bieber reveals Will Smith, Diddy and Clive Davis grooming him,” which alone attracted 2.3 million views. Peeper is currently being converted into a demo.

Channels named Secret Story, previously offering health advice in Vietnamese, shifted focus to Diddy content, while Hero Story transitioned from covering Ibrahim Traore, the military leader of Burkina Faso, to Diddy stories. A Brazilian channel that amassed millions from embroidery videos also pivoted to Diddy content just two weeks ago. A channel named Celebrity Topics earned over 1 million views across 11 Diddy videos in just three weeks, despite being created in early 2018 and appearing to have deleted prior videos. Both Secret Story and Hero Story were removed by YouTube following inquiries from the indicator, while Celebrity Topics has since undergone rebranding.

Shifting Focus to Diddy

For instance, around three weeks ago, the channel PAK GoV Update started releasing videos about Diddy, utilizing AI-generated thumbnails with fictitious quotes attributed to celebrities like Ausher and Jay-Z. One video labeled “Jay-Z breaks his silence on Diddy’s controversy,” included a tearful image of Jay-Z with the text “I Will Be Dod” superimposed.

The video achieved 113,000 views with nearly 30 minutes of AI-generated narration accompanied by clips from various TV news sources, lacking any new information from Jay-Z, who did not provide any of the attributed quotes.

The Pak Gov Update channel previously focused on Pakistan’s public pensions, generating modest views—its most popular being a poorly titled video about the pension system that garnered 18,000 views.

Monetizing Misinformation

Aarts commented that the strategy of exploiting Diddy Slop is both profitable and precarious. “Most of these channels are unlikely to endure,” he remarked, referencing the risk of being penalized for violating YouTube policies and potential legal actions from Diddy or other celebrities depicted in their thumbnails and videos.

Like PAK Gov Update, most videos uploaded by these channels predominantly utilize AI narration and fewer direct clips from news reports, often leaning on AI-generated images. The use of actual footage tends to skirt the boundaries of fair use.




The YouTube channel Pakreviews-F2Z has produced numerous fake videos surrounding the Diddy trial, disguised under the name Pak Gov Update. Photo: YouTube

AI Slop represents one of the many variations of Diddy-related content proliferating on YouTube. This niche appears to be expanding and proving lucrative. Similar Diddy-focused AI content has attracted engagement on Tiktok.

“We are fans of the world,” stated YouTube spokesperson Jack Maron in an email. Maron noted that the platform has removed 16 channels linked to this phenomena and confirmed that various channels, including Pak Gov Update, have faced similar actions.

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Faceless YouTube Meets Diddy

The Diddy phenomenon exemplifies the convergence of two prominent trends within YouTube: automation and faceless channels.

YouTube Automation hinges on the premise that anyone can establish a prosperous YouTube venture through the right niche and low-cost content creation strategies, including topic discovery, idea brainstorming, or employing international editors to churn out content at an automated rate.

With AI, it has become simpler than ever to embark on a faceless automation journey. Aarts indicated that anyone can generate scripts using ChatGPT or analogous language models, create images and thumbnails via MidJourney or similar software, utilize Google Veo 3 for video assembly, and implement AI voice-over using tools like ElevenLabs. He further mentioned that he often hires freelancers from the Philippines or other regions for video editing tasks.

“AI has democratized opportunities for budget-conscious individuals to engage in YouTube automation,” Aarts stated, highlighting it can cost under $10 per video. He reported earnings exceeding $130,000 from over 45 channels.

Muhammad Salman Abazai, who oversees As a Venture, a Pakistani firm offering video editing and YouTube channel management services, commented that Diddy video content has emerged as a “legitimate niche” on YouTube, showcasing successful Diddy videos created by his team.

“This endeavor has proven fruitful for us, as it has significantly boosted our subscriber count,” he noted.

International Diddy Slop

The pivot towards Diddy isn’t limited to English-speaking audiences. A Spanish channel, NV Historia, launched in January, previously produced sporadic AI-generated celebrity videos before transitioning to Diddy content. Its first breakout garnered attention with a video titled “Teacher laughs at black girls because his father said it was Chuck Norris until the teacher came to class,” accumulating only 140,000 views.

NV Historia shifted focus following the viral response to a Diddy-themed video titled “A minute ago: No one expected Dwayne Johnson to say this in court about Diddy,” featuring AI-generated images of Johnson and Diddy in court along with disturbing visuals of alleged incidents. The thumbnail showcased the quote “He gave me it.”

Johnson has neither testified nor had any connection to allegations against Diddy. This video has gathered over 200,000 views. Following this, NV Historia managed another video linking Oprah Winfrey and other celebrities to Diddy, which earned 45,000 views. Subsequently, the channel committed entirely to Diddy content and has since been removed by YouTube.

A French channel, Starbuzzfr, was launched in May and appears to exclusively publish Diddy-related content, deploying AI-generated thumbnails and narration to spin fabricated narratives, such as Brad Pitt’s supposed testimony against Diddy, claiming he experienced abuse by the mogul. Starbuzzfr notably utilizes sexualized AI-generated imagery featuring Diddy and celebrities like Pitt. As of this writing, the channel remains monetized.

Aarts noted that the general sentiment within the YouTube automation community respects anyone who manages to monetize their content.

“I applaud those who navigate this successfully,” he remarked.

Source: www.theguardian.com

Should YouTube Be Part of Australia’s Social Media Ban for Under-16s? Key Insights You Need to Know

Australia’s online safety regulators advise that YouTube should not be granted an exemption from a social media ban for individuals under 16, stating that video streaming platforms can expose children to dangerous content.

In contrast, YouTube contends that it should adhere to a proposed regulation indicating that the government will provide exemptions to the platform.

What are the advantages and disadvantages of regulating YouTube? And what implications does this have for a child watching YouTube if it becomes prohibited?


Why did the government consider exempting YouTube initially?

Last November, when Congress introduced legislation banning access to social media for children under 16, then Communications Minister Michelle Roland indicated that YouTube would be exempted.

This exemption was justified on the grounds that YouTube serves “an important purpose by providing youth with educational and health resources.”




The ban on social media in Australia for individuals under 16 is now law. Many details remain unclear – Video

This exemption came just 48 hours after revelations in April by Guardian Australia regarding the minister’s direct lobbying efforts involving the global CEO of YouTube.

This decision surprised YouTube competitors such as Meta, TikTok, and Snapchat. TikTok described it as a “special deal.” YouTube has launched vertical video products like Instagram and TikTok reels, leading its competitors to believe it should be included in the ban.


What led the eSafety Commissioner to recommend banning YouTube?

As new regulations regarding social media platforms were being formulated, the Minister consulted with eSafety Commissioner Julie Inman Grant.

In a recent report, Inman Grant highlighted findings from a youth survey indicating that 76% of individuals aged 10 to 15 use YouTube. The survey also showed that 37% of children who experienced potentially harmful content online encountered it on YouTube.

Additionally, it was observed that increased time spent on YouTube correlates with higher levels of depression, anxiety, and insomnia among youth, according to the Black Dog Institute.

“Currently, YouTube boasts persuasive design elements associated with health risks, including features that could encourage unnecessary or excessive usage (such as autoplay, social validations, and algorithm-driven content feeds),” noted Inman Grant.

“When combined, these elements can lead to excessive engagement without breaks and heighten exposure to harmful material.”

Inman Grant concluded that there is insufficient evidence to suggest that YouTube provides exclusively beneficial experiences for children under 16.

However, it’s noted that children may still view content on YouTube even if they are logged out and thereby prohibited from using accounts.


What is YouTube’s position?

In a recent statement, Rachel Lord, YouTube’s senior public policy manager for Australia and New Zealand, commented on the eSafety Commissioner’s advice which was examined and subsequently supported by Parliament. YouTube views the findings on community opinion regarding the platform’s suitability for younger audiences as being “inconsistent with government commitments.”

YouTube has been developing age-appropriate offerings for over ten years, and in Q1 of 2025, the company removed 192,856 videos for breaching its hate speech and abusive content policies, a 22% increase from the previous year.

The platform asserts its role primarily as a video hosting service rather than a promoter of social interaction. A survey conducted among Australian teachers revealed that 84% use YouTube monthly as a resource for student learning.

YouTube also stated that the eSafety Commission and potentially the Communications Minister may be reconsidering the exemption following pressures from YouTube’s competitors.


What about YouTube Kids?

YouTube asserts that it offers a platform tailored for younger users, restricting both the uploading of content and commenting features for children.

The company does not seek exemptions solely for its children’s products.

When questioned about YouTube Kids during the National Press Club event, it was indicated that the platform is considered low-risk, designed specifically for children, and possesses adequate safety measures. However, it was stated, “I cannot respond until I have seen the regulations.”


Can children access YouTube without an account?

Yes. Inman Grant confirmed that if teachers wish to show videos to their students, they can access YouTube without needing to log in.

She noted that YouTube has “opaque algorithms that create addictive ‘rabbit holes’,” and remarked that when she accessed the site while logged out, her experience was positive, empowering users to engage without being subjected to addictive technological features.

In response to YouTube’s assertions on Thursday, Inman Grant reiterated that the call for exclusion from the ban aims to “allow young Australians to access YouTube’s diverse content.” However, she clarified that her advice does not imply that children will lose access to YouTube’s educational resources.

“The new law strictly restricts children under 16 from holding their own accounts. They will not be able to access YouTube or other services while logged out,” she added.

“There is nothing preventing educators with their own accounts from continuing to share educational content on YouTube or other platforms approved for school use.”


What are the next steps?

The Minister will finalize the guidelines and identify the social media platforms covered by the ban in the upcoming months.

A trial on age verification technology is expected to be reported to the Minister by the end of July, which will establish the technology platforms must implement to prevent access for users under 16.

The government has announced that the ban is anticipated to come into force in early December.

Source: www.theguardian.com

YouTube Revives Efforts to Include Platforms in Australia’s Under-16 Social Media Ban

YouTube has expressed its discontent with the nation’s online safety authorities for sidelining parents and educators, advocating to be included in the proposed social media restriction for users under 16.

Julie Inman Grant from the eSafety Commissioner’s office has called on the government to reconsider its choice to exclude video-sharing platforms from the age restrictions that apply to apps like TikTok, Snapchat, and Instagram.

In response, YouTube insists the government should adhere to the draft regulations and disregard Inman Grant’s recommendations.

“The current stance from the eSafety Commissioner offers inconsistent and contradictory guidance by attempting to ban previously acknowledged concerns,” remarked Rachel Lord, YouTube’s public policy and government relations manager.

“eSafety’s advice overlooks the perspectives of Australian families, educators, the wider community, and the government’s own conclusions.”

Inman Grant highlighted in her National Press Club address on Tuesday that the proposed age limits for social media would be termed “delays” rather than outright “bans,” and are scheduled to take effect in mid-December. However, details on how age verification will be implemented for social media users remain unclear, though Australians should brace for a “waterfall of tools and techniques.”

Guardian Australia reported that various social media platforms have voiced concerns over their lack of clarity regarding legal obligations, expressing skepticism about the feasibility of developing age verification systems within six months of the impending deadline.

Inman Grant pointed out that age verification should occur on individual platforms rather than at the device or App Store level, noting that many social media platforms are already utilizing methods to assess or confirm user ages. She mentioned the need for platforms to update eSafety on their progress in utilizing these tools effectively to ensure the removal of underage users.


Nevertheless, Inman Grant acknowledged the imperfections of the system. “For the first time, I’m aware that companies may not get it right. These technologies won’t solve everything, but using them in conjunction can lead to a greater rate of success.”

“The social media restrictions aren’t a panacea, but they introduce some friction into the system. This pioneering legislation aims to reduce harm for parents and caregivers and shifts the responsibility back to the companies themselves,” Inman Grant stated.

“We regard large tech firms as akin to an extraction industry. Australia is calling on these businesses to provide the safety measures and support we expect from nearly every other consumer industry.”

YouTube has committed to adhering to regulations outlined by former Communications Minister Michelle Rowland, who included specific exemptions for resources such as the Kids Helpline and Google Classroom to facilitate access to educational and health support for children.

Communications Minister Annika Wells indicated that a decision regarding the commissioner’s recommendations on the draft rules will be made within weeks, according to a federal source.

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YouTube emphasized that its service focuses on video viewing and streaming rather than social interaction.

They asserted their position as a leader in creating age-appropriate products and addressing potential threats, denying any changes to policies that would adversely impact younger users. YouTube reported removing over 192,000 videos for violating hate speech and abuse policies just in the first quarter of 2025, and they have developed a product specifically designed for young children.

Lord urged that the government should maintain a consistent stance by not exempting YouTube from the restrictions.

“The eSafety advice contradicts the government’s own commitments, its research into community sentiment, independent studies, and perspectives from key stakeholders involved in this matter.”

Shadow Communications Minister Melissa Mackintosh emphasized the need for clarity regarding the forthcoming reforms from the government.

“The government must clarify the expectations placed on social media platforms and families to safeguard children from prevalent online negativity,” she asserted.

“There are more questions than answers regarding this matter. This includes the necessary verification techniques and those platforms will need to adopt to implement the minimum social media age standard by December 10, 2025.”

Source: www.theguardian.com

Is This the Solution to the Housing Crisis? YouTube Series Spotlights Chic, Compact Abodes

I received invitations to experience the homes of an architect in Buenos Aires, a Vogue designer in Hong Kong, a community organizer in Sydney, and a writer in Paris.

In reality, I spend my time watching episodes of “Never Too Small” on YouTube. Never Too Small is a media company that produces magazines and online documentaries focused on “designing and living with small footprints.” For me, “Never Too Small” equals “the source of my favorite TV shows.” I enjoy watching while snacking on toast.

New episodes are released every week, totaling over 100. Their duration, usually under 10 minutes, is just right. The calming visuals of historic architecture and busy urban streets exude charm. The gentle background music envelops you like a warm bath. As you dive into these videos, you realize you can’t have just one; suddenly, over 100 episodes feel like just a handful. It’s reminiscent of that moment when you first taste chocolate and are told it’s simply an “occasional” treat.


At its core, this series aims to illustrate that one doesn’t need a grand cathedral to feel comfortable as a human being. This appeals to the Australian mindset, often suggesting that without property—taking up a day and a half of each day—we might as well be dead. (Just blame Banjo Patterson or McLeod’s Daughters.) Even a participant in “Grand Designs” hinted that his fixation on grand Aussie homes was somewhat rebellious! He might not have used those exact words, but you get the drift. Rarely do we see people worldwide transforming tiny townhouses and pint-sized apartments into remarkably cozy homes—more so than the dreams spun by the girls from McLeod’s.

Now, I’ve come to love the concept of “too small.” I adore compact spaces. I dream of curling up to the 16th, slipping into an envelope, and surrendering myself to a petite mail slot belonging to a small beret-wearing rabbit. That said, I must admit: some of these dwellings don’t feel small at all!

“Is this small?” I sometimes ask my partner while enjoying toast. “Is this truly small?” he returns, as we both get lost in the ambiguity. Which one is “smaller”? Is it simply a trick of perception? These spaces even feature courtyards!

The viewing area—so crucial at the start of each episode—is undeniably charming. “I live in a tiny house, and I don’t complain about it,” you might think, but do you have a Wes Anderson-inspired décor? Or perhaps a community library with great ventilation? What about a cabin where you can sleep under the stars (while still in bed; after all, you’re not a caveman)? If not, then these diminutive homes are uniquely special.

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It’s intriguing how these spaces evolve. (It’s disheartening when an owner describes their previous space as “monotonous,” as it resembles their current apartment closely.) The bus is often the first to go, and I find myself in the way. If they enjoy dining out, the oven might also be sacrificed. Occasionally, there’s neither a bathtub nor an oven, but rather a climbing wall instead.

The hosts are always impeccably dressed, stylish sneakers on their feet, engaging in fascinating activities. Even their pets seem to have a deeper understanding of life (you can just tell by the raised eyebrows). “When hosting dinner parties, we pull out this custom bench seat to accommodate 8-10 guests,” they boast. Can you imagine being someone who hosts a dinner party? Picture knowing 8-10 people!

The renowned writer, scientist, and sage Johann Wolfgang von Goethe once mused about life’s complexities. Yet, I find tranquility in observing others’ clever homes via video. We’re all just a recycled wooden dining table or a small piano away from pure bliss. Let’s not shy away; embrace the beauty of being too small.

Source: www.theguardian.com

Mrbeast, YouTube sensation, set to secure investment round valuing his company at $5 billion

MrBeast, the world’s largest YouTube star, is planning to raise hundreds of millions of dollars in a move that could value the company at approximately $5 billion (£3.9 billion).

The YouTuber, whose real name is Jimmy Donaldson, has reportedly been in discussions with various wealthy individuals and financial companies regarding participation in the investment round.

The funds are intended to establish a holding company for his expanding empire, which includes a video production company, a chocolate brand called Feast, and a snack business named Lunch. According to Bloomberg, the money could also be used to expand his media and merchandise packaging business.

The talks regarding potential funding are still in the early stages, and it is unclear who will invest and at what valuation. This would not be his first fundraising round, as he has previously secured investments from companies such as New York-based Alpha Wave Global.

If successful, the new funds would help Donaldson further expand his business. With over 368 million subscribers on his channel, he is already the world’s largest YouTuber.

The 26-year-old from Wichita, Kansas, is known for his videos featuring stunts, challenges, and cash giveaways. One of his most popular viral videos involved recreating the set from the Netflix series Squid Game, costing $3.5 million. The challenge had 456 participants competing for a prize of $456,000.

He has also launched the reality competition show “Beast Games” on Amazon, which had limited viewership last month.

Like many YouTubers, Donaldson started on the platform in 2012 and has since ventured into food brands like Fastables and MrBeast Burgers.

Despite earning tens of millions of dollars annually, he is also known for his charitable efforts. Much of his earnings are reinvested into his videos and philanthropy.

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However, his work has not been without criticism. He has faced backlash for a history of homophobic comments as a teenager and being a demanding employer. Some have labeled his content as “poverty porn,” claiming that people only benefit from cash, prizes, and gifts by appearing in his videos. Despite the criticism, his efforts to fund cataract surgery for 1,000 people to restore their vision were praised by charities.

Source: www.theguardian.com

The Beast Game blurs the line between YouTube and TV with Double Screen Concept

bThe reality competition series of East Games and Amazon Prime Video is hosted by YouTubers
MrBeastnot a well-made show. That’s certainly
expensive Show, Beast, the alter ego of Jimmy Donaldson, 26, of Greenville, North Carolina, likes to remind viewers frequently. The series is a shocking feat for viewers outside of YouTube territory, especially Donaldson’s territory: 1,000 contestants, and 1,000 contestants filmed on a 1,107 camera system, $5 million They fight each other with the prize money. Donaldson. For the competition, Donaldson and his group designed warehouse war zones modeled after the squid game of the Netflix dystopian series, built bespoke cities, and purchased private islands (and also included Lamborghini and others). (It will be given along with other gorgeous prizes). The contestants who are eliminated in the first episode are dropped into invisible depths through the trapdoor. There is a pirate ship with cannons.

But due to all the exaggerated displays of wealth, the show still looks terrible. Many point out that the central conceit of the show has broken Americans’ psychological battles for abandoned it and lavish prizes. For our age of clothing, Donaldson a Self-style Willy Wonka figure.

Certainly, Beast Games has rotten rot, but it’s a terrible, compelling core, but it also conveys its surface. At the style level, the show erases any remaining lines between YouTube and TV. Beast Games has a higher production budget than any of MrBeast’s YouTube videos, reaching over 360 million subscribers in 15-30 minutes. (Almost everything incorporates the concept of a basic magnet, bound by the ocean, stuck in the great pyramids, or helping the blind man to see again. looks Like YouTube content, content is an operator word (Donaldson made the first three episodes available on YouTube).

And it’s popular. Beast Games is currently from Amazon Prime Video The least viewed non-script series So far, it has reached 50 million viewers in 25 days (although it is worth noting that Amazon has not disclosed what counts as “viewers”). It reached number one on Amazon in 80 countries. According to Netflix, in 2021, Squid Game reached 142 million households for reference. The show is not a change of ocean. Many reality shows look awful. Many Americans have long consumed YouTube videos as sources of entertainment, but as television changes both shape and function, it’s a line in the sand.

What is TV in 2025? Is it a device? style? format? It’s hard to say – the content is Shift from linear platforms to streaming platforms device usage shifts to YouTube. In the US, people watch YouTube on TV more than any other device, CEO Neal Mohan declared in him Annual letter This month, “YouTube is a new TV.” YouTube doesn’t make television in itself, but it does. Global viewers Streaming According to the company, last year there was over 100 million hours of “content” on television screens. 400m hours Probably an audio-only podcast month. The company closed its original division in 2022, but is now promoting children’s entertainment. We are looking for a dedicated head of family entertainment and learning Second half of 2024.

Functionally, YouTube may not be as new as the next evolution. Formally, they are converging. YouTube talent (and digitally native influencers like Tiktok talent) I had a hard time breaking into Hollywood. Despite the vast numbers of fans, the spirit of the platform – the incentive structure of more eyeballs, ring light glare, the maximalist aesthetic for the biggest audience – is a dovetail with evolving Hollywood logic.

As one Mrbeast director I said time: “These algorithms are toxic to humanity. They prioritize addictive isolated experiences over ethical social design, all with advertising alone. That’s not MrBeast I have a problem. Next It’s a platform that encourages someone like me to study holding graphs so that videos can be made more addictive. In other words, value-neutral entertainment for the arts. Content as a means of end. This isn’t much different from the business logic of streaming platforms. Hollywood has its own race for its viewers. The rise of mid-TV, Major cheap Netflix gloss, Infinite scrolls in the “Content” library – It reflects the spirit of MrBeast’s lowest common denominator attention economy.

After all, Donaldson leads the Amazon show, which styled after the Netflix original series. This is explicitly fixed in “entertainment.” The show, as it says, “making history of entertainment,” is the biggest, brightest, most shocking, and most interesting. Similarly, products with no complexity, value, or even storytelling, due to the one value of attracting attention. Using Entertainment’s MrBeast-Ifive as Vox’s Rebecca Jennings Please put it downthe line between content, entertainment, television and influencers is more blurry than before. He went beyond what divisions remained – does Hollywood subscribe?

Source: www.theguardian.com

MrBeast, a popular YouTube personality, joins efforts to purchase TikTok in the United States

MrBeast, a famous YouTube star and the highest-paid creator on the internet, has officially joined the bid to acquire TikTok’s US operations.

Teaming up with technology entrepreneur Jesse Tinsley, the 26-year-old made an all-cash offer for the social video app’s American division. This move follows President Donald Trump’s statement that US tech billionaires Elon Musk and Larry Ellison were interested in buying TikTok.

Known as Jimmy Donaldson, MrBeast has shown interest in acquiring TikTok through various social media posts. On January 13th, he mentioned in a post, “I’ll buy TikTok to avoid getting banned.” In subsequent TikTok posts, Donaldson revealed discussions with “a bunch of billionaires” regarding the bid.


American law firm Paul Hastings announced the bid for Donaldson in a statement on Tuesday. The statement mentioned Mr. Tinsley leading an investor group consisting of “institutional investors and high-net-worth individuals,” with Mr. Donaldson being the only publicly disclosed member.

While the size of the all-cash bid was not disclosed, Trump valued it at $1 trillion. With 346 million YouTube followers, MrBeast was the world’s top internet creator in the previous year, earning $85 million according to Forbes.

Paul Hastings also noted that Brad Bondi, the lawyer leading the team advising on the bid, is the brother of President Trump’s pick for U.S. attorney general, Pam Bondi.

President Trump mentioned potential agreements with Elon Musk and Larry Ellison, expressing openness to their bids to acquire TikTok. Ellison commented that it sounded like a “good deal.” Trump stated that TikTok would be allowed to operate in the US with 50% American ownership and a valuation of $1 trillion.

Despite TikTok returning online after temporary shutdown, its future in the US remains uncertain. The app faces a deadline of January 19 due to a requirement for the sale of its American division by its Chinese parent company, ByteDance.

President Trump issued an executive order halting enforcement of the sale requirement, providing assurances for TikTok’s operation. Some lawmakers question the legality of suspending the law, warning of potential consequences for businesses not complying.

TikTok, Google, and Apple have been approached for comments.

Source: www.theguardian.com

Creativity at its best: African content creators on YouTube and TikTok explore new avenues for monetization

VLogs by Nigerian content creators Tayo Aina feature anything from Nigeria Japan (immigration) wave and voodoo festival. Performing with Afrobeats stars in Benin david or last hunter-gatherer tribe. In Tanzania, you can get millions of views on YouTube.

Aina, 31, who started the channel in 2017 while working as an Uber driver, says it has allowed her to see parts of Nigeria that she had never had the chance to visit before. Using his iPhone, he began a mini-travel adventure, taking breaks to record the places he visited and tell stories not covered in mainstream media.


“I want to inspire the next generation of Africans to have no limits,” says Nigerian content creator Tayo Aina. Photo: Handout

Aina learned how to film and edit through YouTube tutorials, saved up to buy better equipment, and soon began traveling beyond Nigeria to countries like Kenya, Ethiopia, and Namibia, learning about the continent’s culture and social life. He created a travel video that introduces Africa through the lens of photography. African traveler.

“Most of the online media was negative, and I realized that I was trying to change the narrative about Africa by presenting it more clearly. It’s light,” says Aina, who now travels around the world.

Africa’s Creator Industry 2024 Report Research by publisher Communiqué and media technology company TM Global values ​​the sector at £2.4bn and predicts it will grow five times by 2030, reflecting trends in the global creator economy. Its growth is being driven by a wave of creators between the ages of 18 and 34, a surge in internet connectivity and social media usage across the continent, and the explosion of African culture on the world stage.

Growing interest in African culture – from Afrobeats and Amapiano Music and dance to an international fashion collection made from African textiles such as Ankara and Kikyoy. African movies – This is part of an international aspiration for authentic cultural storytelling outside the Arctic Circle, reflected in global cultural movements such as Hallyu, says David Adeleke, Founder of Communiqué.

This year, TikTok recognized More than a dozen African creators including Nigerian lifestyle creators @__iremide, a person who makes videos that satirize everyday life, and a South African Sachiko-sama. The 22-year-old is known for cosplaying characters from anime, video games, and pop culture. Nick Clegg, Meta’s president of international affairs, recently said: held a meeting Other social media platforms such as YouTube and TikTok are increasing their presence and Heva I’m getting involved.

The report says the industry is gaining momentum but is still young. Most content creators are in their third year of work, have fewer than 10,000 followers, and are faced with the challenge of turning social capital into income. The report adds that discussions about the monetization and standardization of the creator business ecosystem continue to take place primarily in Western countries.

But that is gradually changing.

As Aina’s channel grew and attracted a more international audience, he discovered what he was capable of. more and more It cost him money when his content was viewed by Western audiences rather than Africa. YouTube’s advertising model relies on ad spend, which is lower in many African markets than in North America and Europe.

“Part of the reason is economic. Generally speaking, Western creators and audiences have more resources, but that alone is not enough to justify the disparity in opportunity. ” says Adeleke.

As Aina began diversifying her content and audience to generate more income, there were other issues to worry about. He shares a video about the barriers and prejudice he faced during his travels, including being detained in Ethiopia on suspicion of drug possession, being arrested in South Africa on suspicion of being a “fraudster” and being refused entry to Dubai. I’ve posted it on my blog. The 2022 incident in Dubai was the “last straw” for Aina. Aina invested her savings in St. Kitts and Nevis and eventually secured a passport from St. Kitts and Nevis, becoming a citizen of the Caribbean nation.

He currently runs the Creator Academy on YouTube, where he has trained nearly 2,000 mostly African creators. “I want the next generation of Africans to grow their brands globally without limitations,” he says.

Chiamaka “Amaka” Amaku A 30-year-old Nigerian travel and lifestyle innovator who works as a social media manager and creates content as a personal project, believes digital infrastructure issues, including the challenges of sending and receiving international money, are a challenge for Nigerian creators. It says it can limit growth. Some global payment platforms have imposed restrictions on certain countries, including Nigeria, due to concerns about fraud and money laundering.

“Payment is one of the biggest challenges in Nigeria’s creator economy,” Amaku said, adding that payment barriers deter global brands from working with Nigerian creators.

In recent years, fintech companies such as flutter wave and salary stack While supporting international payments has reduced the barriers creators face in accepting digital payments, many restrictions remain, including local bank policies. For travel creators like Amaku, that means it’s harder to book flights or take Uber abroad.

Amaku, who charges between £250 and £500 for posts on his Instagram page, which has around 20,000 followers, says it is difficult to make a living from creating content and there is a “culture of secrecy” around fees in the industry in Nigeria. He says that many people have died because of this. Creators quickly changed.

Sharon Makira A 31-year-old Kenyan luxury travel creator who describes her audience as “Afropolitan champagne nomads” agrees. He said competition for brand sponsorships is fierce because many companies still rely on traditional advertising, so negotiating rates can become a race to the bottom.

With around 20,000 followers on Instagram and 7,000 followers on YouTube, she gets around five brand deals a year, and is paid around £600 to £1,000 per campaign. When she became a full-time content creator last year, after nearly a decade in media and PR, she realized she couldn’t make a living relying on a few unpredictable brand deals, so companies started creating content. We have opened a PR studio that allows you to tailor your business to suit your needs. Cooperate with viewers, travel agencies and other businesses nomad And luxury lodges in Rwanda Singita Kwitonda.

According to her, building a business around a social media brand can earn you several times more per project than a brand deal. “I think there’s real promise there.” [African] Creators: Leverage your social capital, network, credibility, and personal brand to launch your business,” she says.


Source: www.theguardian.com

Lisa Nandy urges YouTube and TikTok to promote higher quality content for children

Britain’s Culture Secretary Lisa Nandy has reached out to video-sharing platforms like YouTube and TikTok, urging them to prioritize the promotion of high-quality educational content for children.

Recent data indicates a substantial shift in children’s viewing habits, with a significant decrease in TV consumption over the past decade. Instead, children, aged between 4 and 8, are increasingly turning to platforms like YouTube and TikTok for entertainment, according to Nandy.

During an interview on BBC Radio 4’s Today program, Nandy mentioned the government’s intention to engage in dialogue with these platforms initially, but warned of potential interventions if they do not respond positively.

She emphasized the importance of the high-quality educational content produced in the UK, which plays a crucial role in informing children about the world, supporting their mental well-being and development, and providing entertainment. However, she expressed concerns about the lack of similar quality in content on video-sharing platforms compared to traditional broadcasters.

Former BBC presenter Floella Benjamin, acting as a guest editor on the show, described these platforms as a “wild west” filled with inappropriate content.

Nandy highlighted the government’s efforts to remove harmful content for children and stressed the need to address deeper issues related to the quality of content children consume.

She acknowledged the democratic nature of platforms like YouTube, where individuals can build careers from home, but also emphasized the responsibility to ensure the content is appropriate for young viewers.

Regarding the decrease in funding for children’s television, Nandy mentioned the Young Audiences Content Fund as a positive initiative to boost production. She believed that increasing investment might not be the solution, as the focus should be on reaching all children, including those who do not watch traditional TV.

Despite concerns raised by Benjamin about a crisis in children’s television, Nandy praised the sector as a valuable asset for Britain, from networks like CBeebies to beloved shows like Peppa Pig. She emphasized the government’s role in supporting and nurturing this content, even if it may not be highly profitable.

Nandy admitted the challenges of monitoring her own son’s online activities but commended the platform’s filtering mechanisms and highlighted the positive influence of educational content like news programs.

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Nandy confirmed contacting Ofcom to elevate the importance of children’s television in their regulatory considerations and urged a review of public broadcasting, anticipated in the summer.

She stressed the necessity of balancing the influx of investment from platforms like Netflix and Disney with preserving and promoting uniquely British content without overshadowing it.

This involves forming partnerships with public broadcasters to expand online content availability and ensure adequate recognition and support for their contributions, as per Nandy’s statements.

Source: www.theguardian.com

The Impact of YouTube and Skibidi Toilets on the Christmas Toy Market | Advertisement

LLetters to Santa used to be filled with ideas from Argos catalogs and children’s TV ads, but for today’s kids who have grown up ‘swiping and streaming’, YouTube is now the main source of influence. This shift is evident in this year’s Christmas wish list, with some children asking for plastic toilets.

The holiday season is a critical time for the toy industry, with consumers spending approximately £900 million, a quarter of the annual sales, on dolls, games, and action figures.

Despite the high stakes, this year’s sales could fall short without a significant last-minute surge. Current data from Sarkana shows that spending is about 5% lower compared to 2023.

Reaching today’s kids in bulk has become a challenge, with traditional broadcast TV campaigns struggling to reach more than 30% of the targeted child audience. In contrast, over 80% of children aged 4 to 9 regularly access YouTube, and more than 70% play games, as reported by research firm Childwise.

Melissa Simmons, executive director of British toy company Circana, notes the shift from traditional TV advertising to digital platforms, saying that YouTube has become an integral part of children’s daily lives.

While online video sharing platforms like YouTube are increasingly seen as alternatives to traditional children’s television, the two mediums are converging. Many children’s favorite shows are now distributed on YouTube, blurring the line between television and online content.

As children spend more time watching videos online, toy manufacturers have adapted their strategies to align with these shifts. They now collaborate with popular online creators and integrate merchandising plans from the outset.

PAW Patrol maker Spin Master has launched Unicorn Academy, which is more of a “complete franchise ecosystem” than a TV show. Photo: Reuters

Spin Master’s Unicorn Academy is an example of this trend, with a multi-platform approach that includes movies, series, and toy lines to create a comprehensive franchise ecosystem.

Rachel Simpson Jones, editor of Toy World magazine, highlights the importance of storytelling and character-driven content in successful toy lines, reflecting children’s expectations shaped by their consumption of various forms of digital content.

YouTube, alongside other tech giants like Google, holds significant influence over children’s preferences, as noted by the Toy Retailers Association. Major toy brands are now leveraging YouTube channels to connect with young audiences and create engaging content.

In this digital landscape, trends can quickly emerge and shape the toy industry. Brands need to adapt rapidly to meet changing consumer preferences and capitalize on online platforms to reach their target audience.

With children’s tastes evolving rapidly, retailers face challenges in predicting which products will resonate with young consumers. The dynamic nature of children’s preferences, influenced by online trends, poses a constant challenge to the toy industry.

Source: www.theguardian.com

YouTube restricts adolescents’ access to weight and fitness-related videos

YouTube is taking steps to stop recommending videos to teenagers that promote certain fitness levels, weights, or physical characteristics after experts warn about the potential harm of repeated viewing.

Although 13- to 17-year-olds can still watch videos on the platform, YouTube will no longer automatically lead them to a “maze” of related content through algorithms.

While this type of content does not violate YouTube’s guidelines, the platform recognizes the negative impact it can have on the health of some users if viewed repeatedly.

Dr Garth Graham, YouTube’s head of global health, stated that repeated exposure to idealized standards could lead teenagers to develop unrealistic self-perceptions and negative beliefs about themselves.

Experts from YouTube’s Youth and Family Advisory Board advised that certain categories of videos, harmless individually, could become troubling when viewed repeatedly.

YouTube’s new guidelines, being rolled out globally, target content that idealizes certain physical features, fitness, weight, or social aggression, among others.

Teenagers who have registered their age on the platform will no longer be repeatedly recommended such topics, following a safety framework already implemented in the US.

Clinician and YouTube advisor Allison Briscoe Smith emphasized the importance of setting “guardrails” to help teens maintain healthy self-perceptions when exposed to idealized standards.

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In the UK, new online safety legislation mandates technology companies to protect children from harmful content and consider the risks their algorithms may pose to under-18s by exposing them to harmful content.

Source: www.theguardian.com

The Limitations of Apple’s Vision Pro Headset: Absence of Netflix, Spotify, and YouTube Integration

It’s important to have friends who come to your birthday parties, offer support during tough times, and allocate resources to develop apps for emerging virtual reality platforms despite limited direct benefits. It may be tempting to believe that a $30 billion cash reserve and a product line generating over $200 billion annually are sufficient. However, Apple is finding that money cannot buy everything.

Pre-orders for Apple’s Vision Pro headset, a $3,500 “spatial computing” platform and CEO Tim Cook’s vision of Apple’s future, opened last week. Despite Apple’s enthusiasm, quiet opposition from potential users has overshadowed the announcement.

According to a report from Bloomberg (£), Netflix has opted not to design a Vision Pro app or support existing iPad apps on the platform, instead instructing users to access their content through a web browser.

Rather than developing a Vision Pro app or supporting existing iPad apps, Netflix has chosen to direct users to watch their content on the web. This decision is notable given the competition between Netflix and Apple in the streaming market.

Although the initial weekend release of Vision Pro saw an estimated 160,000-180,000 units sold, this pales in comparison to Netflix’s 250 million paying subscribers. Therefore, Netflix’s reluctance to invest resources in an app for the Vision Pro is understandable, as app development is only worthwhile if it can attract new customers or retain existing ones.

Despite Apple’s promotion of the Vision Pro as the most immersive way to watch TV, Netflix has similarly abandoned its app for MetaQuest, demonstrating a pattern of resistance to immersive platforms.

Due to these decisions, Vision Pro users will be limited to watching Netflix through the web, losing the ability to access offline viewing, a key selling point of the headset.

Furthermore, YouTube and Spotify have also opted not to release new apps for the Vision Pro, indicating a lack of enthusiasm from major content providers for the platform.

In a related story, Apple has recently allowed developers to bypass its payment system, providing them with an alternative to the high fees associated with in-app purchases. This shift may reflect a broader resistance among developers to Apple’s monopoly over economic activity in their app ecosystem.

The reluctance of major content providers to invest in apps for the Vision Pro may indicate a broader skepticism among developers about the benefits of supporting Apple’s latest venture. This trend may signal a greater movement within the developer community to challenge Apple’s control over app development and monetization.

Source: www.theguardian.com

The Skibidi Toilet: Exploring the Bizarre and Viral YouTube Series

Alex, I read a headline that read: Russian police force investigation into YouTube's famous 'Skibidi Toilet' series. What does it mean as a set of words?

Bull Skibiddy Dop Dop Yes, yes, Steph. Skibbidi dobbidi dib dib.

I think that explains a lot in itself.

Thank you, I hate it. However, he has 135 million (!) views, so more information is needed.

Are you okay. “Skibidi Toilet” is an ongoing YouTube animated web series by Georgian content creator Alexei Gerasimov. Since launching in February, his YouTube channel his DaFuq!?Boom! is currently just outside the top 100 of his YouTube channels in the world by number of subscribers. There are currently over 70 episodes, with new videos uploaded every few days, but as the length and quality of production has increased, the period between new episodes has grown longer.

Skibidi Toilet's popularity is primarily driven by kids 13 and under, and it's the first meme to bemoan Gen Z being too old to understand. The fact that most of Skibidi Toilet's fans are young, combined with the show's disturbing aesthetic and violence, has led to a new wave of moral panic about how the internet is poisoning children's brains. It is an excellent material.

Parenting website and TikTok influencerIndonesia in particular has already warned of the clear dangers of “skibidi toilet syndrome”, and Russian authorities are also getting involved.

Skibidi Toilet Syndrome ???? What are the symptoms? please tell me.

It is not yet recognized by DSM-V. This is an umbrella term that describes what parents believe about the behavior their children exhibit after watching the show. Parents have recorded their children becoming 'obsessed' with the Skibidi Toilet. upset or angry after viewing has been restricted or prohibited; or Sits in a basket or box and acts like a skividi pottywhich seems more cute than scary, but what do I know?

Moscow police learn about father's case asked the authorities The purpose is to investigate whether the video is having a negative impact on children.Russian lawmakers are especially likely to look for signs of moral decline in internet culture – in 2015 the State Duma said laws passed Memes that mock or satirize public figures are prohibited.

What is the show actually about?

The first few episodes depict a city and its inhabitants being steadily taken over by Skibidi Toilet. Skibidi Toilet is a scary animated head that lives in a toilet and sings a mashup of Timbaland's “Give It to Me” and Visser King's “Dom Dom Yes Yes” . Cameraheads (the series' main characters, well-dressed men with head surveillance cameras) emerge as an underground resistance movement. It soon becomes an all-out war between both increasingly powerful and destructive sides.

Oddly enough, I found myself drawn into the world of Skibidi Toilet.A clear story is unfolding There are plot twists, betrayals, humor, murderous action scenes, and some moments that probably felt more than I expected..

You mentioned “a new moral panic about how the internet is harming children's brains.” Do you feel like something like this happens once every few months?

Harsh stories about how the Internet turns children into psychopaths have become recurring themes in the modern news cycle.In recent years, social media has been accused of putting children and teens at risk. eat laundry detergent, steal items from their school, and develop symptoms About Tourette syndrome.

There's also a political element. Far-right politicians in the United States and elsewhere have made ridiculous claims that TikTok is brainwashing children into questioning their sexual and gender identities, supporting Hamas, and feeding child sex traffickers. We are raising funds and running a campaign.

None of this is new. Millennials will remember clutching their pearls at strange internet ephemera such as: slender man And as a larger cultural indicator, grand theft auto video game series. This isn't to say there isn't some of his content online that children should be protected from, such as a disturbing pirated YouTube video of Peppa Pig being beaten at the dentist. But if all the content that caused a moral panic had any value, the world's children using the internet would have become children of the corn a long time ago.

So what's the verdict on Skibidi Toilet?

It's kind of fun! There are certainly parts that young children might find scary (many episodes end with Skibidi Toilet charging towards the camera), but once you get past the red-eyed toilet monster, there's a lot of talk surrounding it. Much less creepy than that. I was able to become one.

Either way, much of the best children's entertainment is weird and dark. Roald Dahl's books are full of murderous school principals and children who are mutilated in comedic ways. Hansel and Gretel had to push the witch into the oven. If you're worried about your child suddenly acting like a singing potty, take a look at Skibidi Potty together. You may even feel guilty.

Source: www.theguardian.com

YouTube challenges climate change denialism

Climate change denial has taken on a new focus, according to a recent report from the Center for Digital Action. Instead of denying that the planet is warming, scientists and activists are now questioning climate change solutions and skepticism about policy. Hate, a nonprofit organization researching digital hate speech and misinformation, has outlined this shift in their analysis. They argue that YouTube’s parent company, Google, has ineffective content policy regulations aimed at blocking ad revenue from content denying the scientific consensus of climate change.

Imran Ahmed, CEO of the organization, stated, “A new front has opened in this battle. They used to say climate change wasn’t happening, and now they’re saying, ‘Climate change is happening, but there’s no hope. There are no solutions.'” This reflects the evolution of the debate from outright denial to skepticism about the severity of climate change and potential solutions.

For decades, scientists have agreed that human activities, particularly the burning of fossil fuels, are causing an imbalance in the atmosphere, leading to global warming. As the Earth warms, the impacts are becoming increasingly evident, such as melting ice shelves and rising sea levels. Public perception of climate change has changed over recent decades, although it remains highly politicized, according to Pew Research Center.

The Center for Countering Digital Hate utilized artificial intelligence models to analyze YouTube videos with climate change denial content. Their analysis revealed a shift in the denial narrative from denying the existence of global warming to attacking climate change solutions.

John Cook, a senior research fellow, sees similar trends in his work, stating that the focus has shifted from questioning the existence of climate change to evaluating the seriousness of the problem and the effectiveness of proposed solutions.

The report also highlighted YouTube’s policies regarding misinformation about climate change and their failure to stop the monetization of negative narratives. They suggest that YouTube and Google should expand the types of content they can’t monetize to include climate change denial and to update their policies based on current trends.

YouTube has responded, stating that they prohibit advertising on content that violates the scientific consensus on climate change. They allow discussion and debate on the topic but will not show ads on videos that cross the line of climate change denial.

Source: www.nbcnews.com

YouTube introduces new feature allowing users to pause comments on videos

YouTube announced Today, we’re adding a new comment moderation setting, “Pause,” allowing creators and moderators to keep existing comments on videos while preventing viewers from adding new comments.

Instead of turning off comments completely or holding comments and reviewing them manually, you can temporarily pause comments until you have enough time to filter out trolls and negative opinions. can.[一時停止]The options can be found in the video-level comment settings on the app’s play page or in the top right corner of the comments panel in YouTube Studio. When pausing is turned on, viewers will see below the video that all comments and comments that have already been published have been paused.

Introducing new moderation settings for channels: Pause comments ⏸️

In addition to turning comments “on” and “off,” you can now “pause” comments. Existing comments will remain visible, but new comments will be disabled, giving you more control and flexibility 🌟 Learn more → https://t.co/wNAspRiR4s

Video sharing platform Under experiment A pause function has been added since October. According to YouTube, the experimental group reported feeling “more flexible” and no longer overwhelmed by managing too many comments.

As part of today’s announcement, YouTube also changed the names of some of its comment moderation settings. A new, more descriptive name may make it easier for people to determine what the tool does. For example, “On”, “None”, “Keep All”, “Off”. Other settings are self-explanatory, such as Basic, which holds potentially inappropriate comments for review, and Strict, which holds a broader range of potentially harmful comments.

In related news, YouTube is also testing a new feature that summarizes topics within comments.

December 7, 2023

YouTube Creators (@YouTubeCreators)

Source: techcrunch.com

YouTube Music Recap: Not Spotify, but Still Entertaining

While Apple Music Replay isn’t as good as Spotify Wrapped, YouTube Music’s 2023 Recap provides a personalized and interactive experience. YouTube Music introduced three new features this year: custom album art, music mood, and the ability to customize Google Photos to shuffle with your favorite songs. And while Apple Music’s year-end review is only available on the web, you can now see your stats in the YouTube Music app for the first time.

To access your YouTube Music summary, select your profile avatar in the top-right corner, then tap Summary. YouTube Music shows you the top 5 artists, songs, moods, genres, albums, and playlists, as well as the longest continuous watch time and total minutes listened to in 2023.

YTM recap

Image credits: YouTube Music

New to the Recap experience is custom album art. YouTube Music takes a collection of colors and visuals from popular songs to create album covers that capture the mood and aesthetic of the entire year. The music service also introduced mood matching, a new feature that connects popular songs with terms like laid-back, fun, upbeat, and excited.

Last year, YouTube Music released shareable cards that you can customize by adding your own images directly from Google Photos. Now you can shuffle and customize your photos, combine your favorite seasonal songs and fond memories, and create a visual that wraps up your entire year with a neat little ribbon.

With nine years of content and hilarious memes, it’s hard to match Spotify Wrapped, but YouTube Music has the right idea. Apple Music, on the other hand, lacks flavor with boring metrics and a bland color scheme.

Source: techcrunch.com