The rise of live-streamers is reshaping internet fame, eclipsing the impact of TikTok’s vertical video format, according to industry observers. While TikTok propelled creators like Charli D’Amelio and Alix Earle to prominence through a novel visual style, live-streaming offers a different, more sustained path to notoriety, exemplified by figures like Clavicular, TBPN, Kai Cenat, IShowSpeed, and Clix.
Live-streaming, originating with Twitch’s launch in 2011 and subsequent acquisition by Amazon in 2014 for $970 million, has evolved from a niche interest—primarily gaming, with pioneers like Ninja and Hasan Piker—into a mainstream phenomenon. This shift is marked by increased visibility and lucrative opportunities for creators, as evidenced by TBPN’s sponsorship rates and a surprise Super Bowl advertisement.
“The velocity with which streamers are able to build internet fame (TBPN, Clavicular, etc) feels notable right now,” social media strategist Rachel Karten noted on X earlier this month. “TikTok used to have that edge (Charli D’Amelio, Alix Earle, etc.), but the ecosystem of streaming, clipping, and showing up every single day is very hard to beat.”
The appeal of live-streaming lies in its perceived authenticity, offering a refuge from the increasing prevalence of artificial intelligence-generated content. In a digital landscape where distinguishing between real and fabricated content is becoming increasingly difficult, the raw, unedited nature of live video provides a refreshing contrast, according to Karten. This mirrors the initial appeal of TikTok, which offered a less polished alternative to the curated aesthetic of Instagram.
However, live-streaming surpasses TikTok in its immediacy and consistency. Unlike TikTok’s algorithm-driven feed, where content delivery is unpredictable, live-streams adhere to regular schedules, fostering repeat viewership and loyalty. Streamers often broadcast for extended periods, creating a viewing experience akin to traditional television. Creators on platforms like TikTok, Instagram Reels, and YouTube Shorts, rely on algorithmic favor to reach audiences, while live-streamers cultivate direct relationships with their viewers.
The shift too benefits from a change in content production dynamics. Instead of creating numerous individual videos, creators can now leverage live-streams and video podcasts as source material for a multitude of clips, maximizing reach and potential for virality. This approach streamlines production while maintaining the possibility of widespread exposure. A single event can be transformed into a ticketed show, a live-stream, a video and audio podcast, social media posts, and a newsletter, each offering a separate revenue stream.
This trend is impacting the podcasting industry, with larger publishers experimenting with live-streaming to enhance engagement. Tom Webster, a partner at Sounds Profitable, notes that the increasing consumption of content on television screens is driving this shift. Bill Simmons, for example, utilizes a pipeline that extends from live events to live-streams, podcasts, and social media.
The evolution echoes the bundling of streaming services recreating the cable television model, with live-stream video representing a modern iteration of live television, albeit with different economic realities. The core principle, however, remains the same: audiences gravitate towards content they perceive as trustworthy in an environment saturated with questionable information.
Recent developments in the publishing world highlight these trends. Permutive, a publisher data platform, appointed Dave Rosner as its first chief marketing officer, signaling a focus on “programmatic curation.” HubSpot acquired Starter Story, a YouTube-centric media startup, recognizing the platform’s role as a media incubator and lead generation tool. Raptive, a publisher network representing over 6,500 websites, has distributed over $4 billion to its partners, underscoring the importance of the long-tail of digital content creators.
The Economist faces a unique challenge in this evolving landscape, maintaining its tradition of unsigned articles in an era where individual journalist-creators are gaining prominence. The publisher’s distinct brand and ideological stance may allow it to persist with this approach, but its ability to do so remains to be seen.
Playboy recently launched a Substack publication, aiming to re-establish itself as a literary outlet while maintaining its signature blend of erotic content and thought-provoking writing. Magdalene Taylor, Playboy’s senior editor, emphasized the publisher’s historical commitment to both sexuality and intellectual discourse, and noted the importance of navigating content policies regarding nudity on platforms like Substack. Taylor expressed a desire to interview Camille Paglia, highlighting a continued ambition to engage with prominent cultural figures.
