- 5 hours ago
As algorithmic gatekeepers control distribution, discovery, and monetisation, the question of who owns the audience relationship has moved from a business model debate to an existential one. Should creators have legal rights to direct fan relationships, and should platforms compensate those whose work trained the models now undercutting them? From email lists and direct subscription models to the promise and persistent limitations of creator-owned platforms, this session examines what genuine creator independence would actually require.
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TechTranscript
00:19Hi, everyone. Thank you so much for being here late on a Friday afternoon. We appreciate
00:23it. I'm so excited to be with this amazing group of women today to unpack a very important
00:29question in the creator economy about owning your audience. So to start, let's set the stage. I mean,
00:34let's say you have 10 million followers on Instagram. Why is it important to own your
00:38audience? You already have this audience on social. We'll start with you, Jo, because you used to work
00:43at Twitter when it acquired Vine. I did, Twitter and TikTok. And so I think we're in a really
00:50interesting stage right now, and I'm really enjoying it. So I'm now at Edelman. And previously,
00:55I think we were really caught up with numbers. I would say 10 years ago until almost now, it was
01:00the metric that everybody was chasing. What follow you at now? Like what's your engagement rate? And
01:05I think that conversation has changed. It's really about how well do you know that audience? So it
01:12has really shifted. And in terms of brand conversations, there are still a few that
01:18are obsessed with that metric, but it's getting less. And I think brands are becoming more
01:22sophisticated and that they're not chasing those numbers themselves. They're like, who are these
01:27people? Who are their communities? Who do they represent? How well do they know them? And these
01:32are the conversations I'm enjoying the most right now. But there's a difference between having a
01:36following on social and owning the audience. So why is that so important?
01:42Happy to jump in here. Hi, Kaya. So I am working on four active exits in the creator space right
01:49now.
01:49And I'm working on one that's worth $100 million. And my client has 4 million on YouTube, which doesn't
01:57sound that big, right? Mr. Beast just crossed 500 million subscribers. But what buyers are looking
02:04for private equity studios that they're looking for, whether or not you own your audience and whether
02:09or not you have revenue streams beyond the platform. They don't want you to just be a tenant to
02:15YouTube. They want to know that you have a newsletter, an email list, a community, a physical
02:21product, a technical product. There are so many things that go beyond the face of a YouTuber. And
02:27I don't think numbers matter that much anymore. I think actually the number of views and your
02:33engagement is much more important because you could have a shorts creator on YouTube who gets a
02:40billion views, right? Over 28 days, but their audience has no idea who they are. So if you're
02:46going to really build a YouTube or a creator business, it needs to be on long form, you need to
02:52own the IP. I think YouTube is really where you're creating media companies.
02:58I mean, I think like you can jump in here, but the value of a subscriber over a viewer is
03:04like 50x.
03:06I mean, no matter what you are, a brand, a company, a creator, you know, an independent whatever,
03:13or frankly, somebody who is related to a business already and is launching a sub stack that can
03:18oftentimes be, you know, leaders and managers within organizations. You can have a lot of reach. And we
03:24used to think that reach was really good. And platforms, the traditional platforms will deliver
03:28reach. They'll deliver reach in exchange for your audience. What they won't deliver is reliability,
03:34the knowledge, the guarantee, the sense that your content, whatever it is you're producing,
03:38is reaching that audience. They won't guarantee a shift away from whatever algorithm was also earning
03:45you the revenue based on the impressions you might have gotten from the reach of an audience that you
03:50didn't own that the platform owned. So in some ways, you might have a vanity of reach and, and hence
03:57of
03:57impact, you know, a sense of broad scale that might have looked good to VCs, you know, some time ago,
04:02but
04:03there is the absolute reality that you have, unless you own the audience, you don't control the value
04:10they're experiencing or deriving from your brand or your product or your content. And whoever, for example,
04:15might be investing in you doesn't have any control of that either. I mean, let me give you an example.
04:19So
04:19I am head of Substack here in France. I'm also a journalist and was for many years. I was recently
04:25at a journalism conference with a lot of book editors, a number of them from the big five in the
04:30US.
04:31And to an editor, to an editorial director, they all said that it used to be not that long ago,
04:37that when they were looking for authors or writers, they were looking for people with big Instagram
04:42followings or big X or Twitter followings, they realized that doesn't deliver, it doesn't convert.
04:48What they're looking for now is a newsletter with a paid audience, because that converts into whatever
04:55is a metric of engagement or monetization or value for whomever is the investor.
05:00So we've heard a little bit about the reasons why. So exits, right, it can set you up for a
05:04better exit.
05:05But what about the other kind of benefits of owning your audience, right? I mean, if you think about
05:09Vine or the TikTok ban in the US, which didn't happen, but it caused a lot of fear where creators
05:14realize, wait, I can lose this audience overnight. So does that help you sort of hedge against that?
05:20And how does it help build a more sustainable business as well?
05:23I have creators reach out to me every single day. I mean, I had someone offer me a million dollars
05:30to
05:30get their YouTube channel back because it's happens to the biggest creators and I can't get those
05:36channels back anymore. So I say to the biggest creators in the world, if you want to protect
05:41your business, you have to move your audience off platform onto Substack, onto a community.
05:49Have an email list. I actually think an email list and newsletter is probably the most powerful thing
05:53you can own because that can happen to you. And I mean, if I may kind of segue into when
06:01we're
06:01talking about owned audiences, I mean, we have to talk about backrooms and obsession, right? I mean,
06:07in this last 30 days, right? For people who are not familiar. Yes. So a few weekends ago,
06:14two YouTube-led movies beat Star Wars. Directed by YouTubers. Yes. Directed by YouTubers beat out
06:20Star Wars, right? One film was made for $750,000 is now over $200 million worldwide. And then the other
06:31one, you know, was made for a little more, but you know, that the ratio of profitability and, you know,
06:37in Marketplier and Iron Lung, he bypassed it completely and went straight into the theaters,
06:43had 3,000 theaters. And just a few weeks ago at Cannes Film Festival, I took my client's creator
06:50camp and sold two sleepy people to MK2 for the rest of the world. And they, it was $100,000
06:57film
06:58made in a hundred days. They drove in an RV and asked these theaters to show the movie. I mean,
07:05you know, they pre-sold it, but the cast, you know, drove up in an RV and the ability for
07:11creators to own
07:12their audience. I mean, that's what it means, right? So if you have a YouTube series that has 50 million
07:17views, that means you can go to a studio or distributor and say, I can bring 50 million eyeballs
07:23guaranteed if this film goes into the theaters. When I was at Disney, we would do a $200 million
07:30film and pray that it would do well. And a lot of times it didn't. And so YouTube, you know,
07:37I think
07:38Hollywood is finally calling creators by their real name, which is studio.
07:43For those creator led films, do they own the IP though? Are the deals different than traditional
07:49Hollywood deals? So this is really important, right? Because traditional Hollywood deals would
07:54be, there would be an option purchase agreement and you would give up a hundred percent of your rights.
07:59I'm taking creator camp slate around town right now. And we're saying, we're going to own the IP.
08:04You can have our audience, but we're going to co-own the IP. Now, a lot of the studios are
08:09pushing
08:09back and saying, well, wait a minute. I don't understand how that works because you look at
08:13Sinners. Everyone says, oh my God, Sinners was amazing, but he doesn't get those rights back for
08:1825 years. That's not a great deal. We're making creator led films where we get to hold on to the
08:24IP.
08:24And that is a completely new world that we're in right now.
08:29And I think it's worth adding that, and I've been curious to hear Joe's view in this as well,
08:34that it's not either or, right? I mean, there are enormous benefits to the reach that platforms
08:39give you. And especially when you have a lot of reach, again, whatever you are, a creator,
08:44a brand, a company, and you are also monetizing that potentially with a huge amount of impressions
08:49revenue, however reliable or unreliable it is. It's not about doing something else instead. It's not
08:55about sacrificing that for an own audience. It's about finding the complementarity, not only of
09:00value, but of a revenue stream. So I'll give an example. You know, we have a couple
09:05very big create news creators on sub stack. And I mean, very big for a news creator doesn't mean,
09:11you know, 500 million, but it does mean 3 million or 2 million podcasters, YouTube streamers who have
09:16live daily shows who also have sub stacks. And for them, it's an entirely different experience where
09:22they migrate from YouTube, the super engaged, loyal followers who actually are delighted to have
09:30a more direct audience or more direct relationship to the creator. They're willing to pay for
09:35anything more from the creator because there is already that sense of ownership, but a lack of
09:42community and also a lack of like a clear exchange value. How do I know that I'm going to see
09:48this
09:48content? How do I know that I'm going to have and be able to experience value from this relationship?
09:53And fundamentally, as you were saying, Tyler, it's also about the IP on an owned audience platform,
10:01whatever they are, the creator, the brand, the company owns everything. You own not just the
10:07content that you're creating, you own the audience and the value of the audience. And the day that you
10:12want to monetize or leverage or diversify the value you want to be able to get from that audience,
10:20you can leverage it again. You own the list. It is portable in whatever fashion and both metaphorically
10:27and actually technically speaking. So that kind of holistic view, I think is probably one of the
10:33newer ways we need to be thinking about this and not either or. So we've talked about newsletters.
10:38We've talked a little bit about Hollywood. We'll go a little deeper into newsletters in a second,
10:41but there's so many other ways, right? There's community platforms, there's launching physical
10:45products, there's launching technical products. So Joe, I mean, you work with so many different
10:49clients. Like what are some of the interesting examples you're seeing of how people are owning
10:53their audience? You know, obviously newsletters are a big one, but what are the other ways that
10:57people may not think of? So Edelman, if you're aware, has a big corporate division. And so we're
11:04doing a lot of B2B creator work. And some of the questions we're asking our creators when we talk to
11:09them is really around, are they running like WhatsApp community groups or are they running any other Slack
11:15groups? Those things are really good signals for us. Because I think we had some really great
11:21research out recently, which was seven out of 10 people really have a distrust mindset. And those
11:27seven out of 10 people only trust people who have a similar background, similar way of life or
11:32perceived values. So now we're seeing brands understand that a mass culture appeal actually
11:39isn't the right fit for them. And you just touched on it, I think as well over there, Renee, about
11:43communities. So the conversation about communities often comes up. And I always try to steer anyone
11:49away from thinking, oh, community is a synonym for marketing. No, it isn't. No, it isn't. So what we
11:55see is a great signal in B2B is that smaller community. If you are running your own group on a
12:02Slack
12:02or on a simple community on WhatsApp, 300, 1,000, 5,000 people, that can be more valuable than 500
12:11,000
12:11followers that you have on TikTok for sure. And actually on the community aspect, Joe,
12:17I think it's a really important asset that you're talking about. Because it's not just monetizable,
12:24and it really is. Because what can you do with an own audience that you can't do with a broader
12:29off-platform audience, you can segment. You can think about different portions of that audience
12:34needing and wanting and valuing different aspects of whatever your product and IP is. You have a kind
12:39of flexibility that is actually potentially, in terms of like creative thinking, monetizable in
12:45ways that you haven't necessarily envisioned now or yet. And that aren't limited by the constraints of
12:50the sort of broader reach platform audience. And the other piece is consumers are looking for
12:55something more than a transaction. And that's what they get from a sense of community. They're
13:00looking to belong. They're looking to feel like they're part of something, whether it's a film
13:05or a brand or a creator's universe. And those things can be quite complementary with the owned audience
13:11infrastructures and platforms that increasingly, I think, need to be part of the broader ecosystem.
13:18Tyler, what are you seeing kind of on the product side, right? Like technical products. I mean,
13:24it's a little bit easier than a physical product and dealing with, you know, distributors and all
13:30of that stuff. But what are you seeing?
13:32So if you're going to have a huge exit with 10, 20, 30-time multiples, you need to have a
13:39technical
13:40app. So my client, the one that has the $100 million valuation right now, has an amazing budgeting
13:46app. He's a finance creator. And so 18 months ago, I took him out to market and we got a
13:53valuation of
13:53$35 million. And I said to him, I said, let's not, let's not sell now. I think in three years,
13:58you'll be worth $100 million. And I encouraged him to start this budgeting app. I took him out
14:02to market again in October and we got to $100 million because of this app, right? So this app
14:07can be spun off for $30 or $40 million on its own because that is reoccurring revenue, right?
14:15And that's what every, yes. And that's what, you can build it once and sell it a million or 10
14:20million
14:21times. It's not like a physical product that it could break. You have to return it. You know,
14:26there's customer service. Although I have to say, if there's a gold standard in physical product,
14:31it is Mark Rober's Crunch Lab, you know, subscription boxes. I think Mark has built an amazing business
14:37there with that product. But that's what I'm talking about is how do you build a product that lives
14:43without you, the creator, without your face, without a reliance, you know, on that key man risk?
14:49Because that's what every buyer is thinking about is, can I, what, how do I buy a YouTube business,
14:54right? That's the biggest question I get these days. And you buy it because you have 10 revenue
14:59streams that go beyond your AdSense or brand deals. That is, you know, I think your first product is
15:06probably a digital product, you know, a PDF of some sort with your knowledge and expertise,
15:11and then maybe a physical product and maybe a technical product. I mean, you guys, with Lovable
15:16and Claude, five clients of mine have built an app in the last three months just using that. Now,
15:23I've asked them to bring in a CTO to make sure that those actually work in the marketplace,
15:27but you can build an app now. And it's, it's very powerful, Kaya, when you realize that you can put
15:33your
15:33knowledge and solve a pain point for your audience. Like what is your pain point? Ask your audience that,
15:40and then solve for it. And that product will keep selling over and over again.
15:46So let's talk a little bit about newsletters. So I wrote a newsletter at a traditional media
15:49organization, and now I co-founded a company last fall. And one of our products is a newsletter.
15:55We're big believers in newsletters. I think email is, you know, yes, there's sometimes problems with
15:59things going into spam, but it's a lot more effective of a way to reach people consistently.
16:04So what are you seeing on the Substack side? What's really resonating? I mean,
16:08it does feel like every aspect of the creator economy feels quite crowded, but at the same time,
16:13people can build businesses around niches. But what are you seeing succeed right now on Substack?
16:21The aspect about Substack, which I think is quite unique, but frankly, I think is in any case necessary
16:26for any creator to succeed, is that it really converges three things that you can get maybe
16:31on some other platforms, but quite scattered across platforms. You do get a certain amount
16:36of reach, but you get quality reach, which is what we all want anyway. We want reach that we know
16:42delivers value, whatever your definition of value is. And also a place for creation, right? Like
16:49more and more people do want into the creator economy, and more and more businesses and brands
16:54do, because there really are ways to diversify the value of whatever their IP is, but they want
16:59to be able to go quickly. You know, we're now all competing with the facility and the amazingness
17:05of vibe coding and of cloud code. And so we need to deliver a product that's really high performance
17:11and really user friendly and really seamless. And the third thing, which is absolutely vital,
17:17is community. And those are three things that I think every kind of IP, again, whatever it is,
17:25whether it's a brand's value, and they're not even looking to monetize, they're looking to market
17:30and create trust. That might be more, to some extent, your world a little bit, Joe. Whether it's a company
17:37that is looking to create revenue streams around content, or an experience that's part of their
17:42brand world, or whether, in fact, it is a creator, whoever that person is. But those are really three
17:47essential things that increasingly people are looking for, and that different creator platforms
17:52are competing to bring. So again, it's the capacity to produce, it is community, and it is some form
18:00of monetization. So I feel like everyone has circled this idea about the follower count.
18:06all of those things. I think things have changed so much on social media, right? If you think about
18:10the early days of Instagram, you followed people, you saw things in reverse chronological order,
18:14and that was it, right? Now, you may see creators that you never see again. You may find amazing
18:20creators you never would have found otherwise. But how do you think, when you're thinking about owning
18:24your audience, what sizes matter now, right? Is it a million followers? Is it 10,000? Can you have a
18:30great business with 2,000? You talked about WhatsApp groups, smaller WhatsApp groups with a few
18:35hundred people, but how should the audience and everyone be thinking about size in this moment?
18:40I mean, I'm happy to take this one. I always feel like the industry I'm in is quite a supply
18:45and demand industry, quite frankly. So if you're doing something very niche, I'm just going to just
18:50throw it out there. Let's say you're a doctor, and you specialize in female hormones, and you're able
18:54to craft out a sub-community group. Maybe you're sectioning out your Instagram and taking it to a
19:00community. These are things I actually personally follow. You can have something very small in and
19:06around 100 to 150 people there. And at that point, that might not be bringing you a lot of revenue
19:11for the people that pay it. Maybe they're paying two pounds, five pounds, or euros. But actually,
19:16to a brand, when I'm having conversations with a farmer brand, that's where I can make that audience
19:22be monetizable. So even though it's a small subsection that maybe anyone in the audience could
19:27think, okay, I can think I could build 150 to 200 people. That's not going to pay my bills.
19:32Hang on a second. If it's in a niche area that's high trust, like doctors, then you are able to
19:37work
19:37with a farmer brand, or a health brand, or potentially the government. That's when you can
19:42see that really coming back to you in financial gains. And then, Tyler, you're talking with some
19:47big-name investors. So what scale and size are they looking for?
19:50I mean, I won't say that numbers don't matter at all. I think, honestly, on YouTube or Instagram,
19:57I think 100,000 is like a good number. Now, to Joe's point, I think if you're a very niche
20:03expert,
20:03like a doctor, I think you need to at least cross five figures, like 10,000 or above. But I
20:09think
20:10views are even more important. On YouTube, if your last five videos got you above 10,000 views,
20:16that's an indicator to a brand that your audience is watching you and actually listening,
20:21and then they'll look at the engagement in the comments to see if they're actually talking with
20:25you. I think I have a client who has 200,000 on YouTube, and he has a seven-figure business,
20:32right? But he's a very niche engineer who's teaching engineers how to get promotions and do well
20:39on their internal reviews. And so you don't need to have a huge channel to do big business,
20:47but I think it is a metric of something, right? I think for YouTubers, you need to have at least
20:5450 videos or 100 videos, right? That shows that you are having an engagement and you're putting in
21:01your reps on how to be a creator, right? I think for newsletters, you need to write probably more
21:06than 10 newsletters, you know, for it to be valuable. Maybe it's hundreds. And so I think
21:10that putting in the reps and creating that engagement in that tangible community is really important.
21:16To your point as well, Kai, when you mentioned when Vine went, so I was working at Twitter when Vine
21:21closed,
21:22and the creators I were working with, I'd say like 70% their creator careers were over overnight.
21:29And that was in 2015. And I think that shock wave was felt across the creator community there onwards.
21:34So it is about diversification now. And I think that can be quite stressful for a creator. I'm sure
21:40you probably feel it yourself. You sort of have to be everywhere. And you kind of do. But I think
21:45back to Tyler's point, and I still feel this way now, YouTube is still king. YouTube is still king.
21:51I feel when I think there is something about the craft of dedicating yourself to be a studio producer
21:59that then tells a brand or an agency that this is someone that you can believe in. Because it's such
22:05a commitment. It's such a big production level that, you know, on a level, an agency that you're
22:11going to be able to work professionally with this person, because they've already shown it to you in
22:14what they put together. But back to the point around sub stack, you match that up with a sub stack,
22:19you're going to go to the top of my list straight away, because you're hitting both of those audiences.
22:25Yeah, I again, sub stack is exactly a different kind of experience with the audience, right? And
22:31there is a real complementarity, although you don't have to have that. And on sub stack, it has never
22:36been about scale. It has never been about like a broad number, or a big number of an audience,
22:42quite simply because what is unique about the sub stack experience, and certainly what sub stack
22:48followers, whomever they're following or subscribing to or looking for is a much deeper engagement,
22:53a much different kind of content and a quality of experience of content. So in reality, what creators
23:02are looking for or should be looking for in sub stack is an engagement around the audience,
23:08because engagement means retention, means value. And retention, as anybody in any business knows,
23:15is actually much more difficult and much more costly than acquisition. And acquisition with a lot of
23:22platform algorithm and doping can go pretty fast. But in on sub stack, given the nature and engagement
23:28and and durability of that audience, you actually don't need that many subscribers to earn a pretty
23:36important amount of revenue. But getting to 100 subscribers is not that easy necessarily either.
23:43It does take a real investment for which the return has a durability that is pretty much matchless
23:49anywhere else. So the whole notion of what good and audience is, is very different on sub stack,
23:54complementary if you're elsewhere, but can also be autonomous, actually.
23:58Is there a threshold like Tyler mentioned, you know, 10,000 views, 100,000? Like,
24:03is there something like that for newsletters? Or does it really depend?
24:06It really depends. What we, for example, call a bestseller is a minimum of 100 subscribers,
24:12precisely because it's a threshold that's not obvious, but actually is very valuable if those
24:17were paid subscribers. And I'm sorry, we're talking about 100 paid subscribers, not 100
24:21base subscribers. In fact, most people have considered to be more free subscribers than paid,
24:26but the conversion rate on sub stack is actually quite high. But for example, if we think about
24:33influencers or creators on other platforms like Instagram, who might be successful on sub stack,
24:39I mean, anybody can be successful and you can start from scratch, but 100K on Instagram,
24:43for example, is good for the simple reason that only a fraction of that 100K following on Instagram
24:50is actually a very engaged audience. Sure.
24:54So you mentioned something earlier, Renee, about it not being either or, right? It's not like people are
24:59abandoning their YouTube channels and only focusing on their newsletter. You mentioned diversification.
25:03So how do you effectively use social media while also building your own audience and diversifying?
25:12Well, I always like to say to creators, you know, your YouTube channel or your Instagram page is the
25:17marketing arm of your business. But what is your business? Because most creators don't have a business.
25:22So realizing that social media now, you know, I think we look at the news from this past week.
25:31Creators used to be a marketing line. Now they're an asset class, right? You look at the news of Accenture
25:36song acquiring Whaler and Whaler is a client of mine. But, you know, Neil said that it was the biggest
25:43deal
25:44in the creator economy. If you guys remember, Publicis bought Influential for $500 million two years ago.
25:50So this was north of $500 million. And CA and TPG just announced a creator fund two days after that
25:59for $250 million to buy into creator businesses. They're trying to own that audience that creators
26:06have been so good at utilizing social media to have the audience and the community who will transfer,
26:15I believe. And I think that's what Hollywood is seeing. We didn't know before a month ago,
26:20you know, if it would really transfer. But now we're seeing it can transfer.
26:24All right. We have three minutes left. I would love for you to each leave something with the audience
26:29because a lot of what we're talking about is creators who we think about more as YouTubers and social media
26:34creators. But one of you said this earlier, businesses also have to think about owning their audience and their
26:39customers. At the same time, we're seeing an increasing amount of executives and individual contributors
26:44also posting on LinkedIn or social platforms. Everyone sort of has to think like a creator
26:49now whether they like it or not. So what does this all mean for the people in the audience,
26:53for people that work at businesses? What are kind of the best practices and how do you own your audience,
26:59whether you're, you know, a YouTube star or not?
27:03I think that for anyone who's thinking about the own audience and the value of an own audience,
27:07they need to be thinking perhaps more creatively or a bit more out of the box or unconventionally
27:11about what an asset class is for them. And indeed, it used to be that asset class was a certain
27:16kind
27:17of revenue or quantifiable impact in terms of marketing or or notoriety. Now, it really is also
27:25about intangibles that translate to value like trust, like enduring engagement, like an ownership
27:34of a community experience. Those are all integral to frankly, any business today,
27:40whatever your scale, corporate or individual creator.
27:46Okay, we need to close with you because I feel like you're going to have a really great answer for
27:50this. So I'll tee one up. If you're in the room today, anyone here that's thinking, okay,
27:55I want to start doing this, then I absolutely believe that knowing who your community is today
28:01would be so valuable to you. And that doesn't mean just thinking, oh, okay, I'm I'm I work in a
28:07law
28:07firm. So it's other lawyers, it's really going even nicer than that, you really need to know the
28:12psychographics of who it is that would respond to you. I think understanding as well, and being very
28:16confident that you might not be for all of those lawyers, you may be a subset, you may a subset,
28:22you may just think, okay, I'm going to go down the road of LGBT plus, okay, fantastic, go even narrower
28:28than that, spend time doing that. And then that's where you will start to understand what your voice
28:33is, and what you're going to have to offer, that makes people feel they've got an identity with you.
28:38Okay, I think you're right, you know, every company wants to be a creator. And now every creator
28:43wants to be a company. And I want you guys to remember this. People want to buy from people,
28:49people don't want to buy from companies. And we can't let this panel end without saying the word,
28:54right. Storytelling and creators are so much more important now in the face of AI.
29:01Oh, my God, we've made it all panel without saying I know, I know, I know. But it's sort of
29:06a,
29:06a, you know, a contrast, right? I think creators, and, you know, even in person real events is so
29:16in high demand right now, because of this flood of AI slop that we're seeing.
29:22Mike, my clients used to worry and say, Oh, my God, AI is going to come replace me. And I
29:27said,
29:27AI will never replace creators. Because as long as they're humans, we want stories, we want connection,
29:33we want to feel something. And so it's such an amazingly beautiful time to be a creator.
29:39And if any of you do not have a YouTube channel, go start one, because I'm putting YouTube or a
29:44newsletter or a sub stack. I'm putting YouTube free to start into trust for my clients now,
29:52because it is worth more than real estate. Leave that for your kids, leave a channel with 100,000
29:59creators, 100,000 subscribers, that could be worth millions.
30:04Amazing. Thank you so much. We really appreciate it.
30:07Thank you. Thank you.
30:09Give it up. Give it up for Kaya and Tyler and Joe and Renee.
30:13Amazing session. And yeah, put your YouTube channel in a trust because it's going to be worth a lot more.
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