Never Forgive Them
HouseFresh disappeared from Google Search results. Now what?
Claude Summary - HouseFresh's Battle Against Google's Algorithm and Big Media Dominance
Key takeaway
HouseFresh, an independent publisher, has experienced a dramatic 91% loss in search traffic due to Google's algorithm changes, which favor big media sites and product listings, prompting them to adapt their strategy and fight back against what they perceive as an unfair digital landscape dominated by manipulative SEO tactics.
Summary
HouseFresh published an exposé in February 2024 warning readers about untrustworthy product recommendations from well-known publications ranking high in Google search results.
The article explores tactics used by big media publishers to outrank independent sites, including:
Dotdash Meredith's alleged "keyword swarming" strategy:
- Identifying small sites with high rankings for specific terms
- Publishing vast amounts of content to push competitors down in rankings
- Leveraging their network of websites to dominate search results
Forbes.com's expansion into pet-related content:
- Publishing thousands of articles about pets to build authority in the space
- Creating statistics round-ups to encourage backlinks
- Using this content to support pet insurance affiliate marketing
Legacy publications being acquired and repurposed:
- Example of Money magazine being bought by Ad Practitioners LLC
- Shifting focus to intent-based personal finance content surfaced from search results
- Expanding into unrelated topics (e.g., air purifiers, garage door openers) for affiliate revenue
Use of AI-generated content by major publishers:
- Sports Illustrated and USA Today caught publishing AI-written content under fake author names
- Outsourcing to third-party providers like AdVon Commerce for commerce content partnerships
- Layoffs of journalists while increasing AI-generated commercial content
Google announced a "site reputation abuse" spam policy update, effective May 5, 2024, aimed at curbing manipulative search ranking practices.
HouseFresh experienced a 91% loss in search traffic following Google's March 2024 core update.
The author criticizes Google's current search results, noting:
- Prevalence of generic "best of" lists from big media sites
- Abundance of Google Shopping product listings (e.g., 64 product listings for a single query)
- Lack of specificity in addressing user queries (e.g., budget-friendly options)
HouseFresh disputes various theories about why they've been demoted in search rankings, including:
- Use of affiliate links
- Conducting keyword research
- Not being an established brand
The article suggests Google Search may be "broken," potentially due to:
- The merging of Google Ads and Search objectives
- Changes in leadership, with the Head of Google Ads taking over as Head of Google Search in 2020
HouseFresh plans to adapt by:
- Focusing on exposing scam products and critiquing big media recommendations
- Expanding their presence on various social media and content platforms
- Leveraging Google's emphasis on fresh content to maintain visibility
- Using Google's own broken results to get their takedowns in front of people
The author expresses frustration with the current state of search results and advocates for a more open and diverse web ecosystem.
HouseFresh remains committed to producing quality content and fighting for visibility despite the challenges posed by Google's algorithm changes and the dominance of big media tactics.
Through this strategy, Dotdash Meredith allegedly identifies small sites that have cemented themselves in Google results for a specific (and valuable) term or in a specific topic, with the goal of pushing them down the rankings by publishing vast amounts of content of their own.
“IAC’s vision for Dotdash Meredith — to be a flywheel for generating advertising and commerce revenue — is finally starting to pan out.
[…] More than 80% of Dotdash Meredith’s traffic and digital revenue come from its core sites, such as Food & Wine, Travel & Leisure, and Southern Living, that deliver a form of what one might think of as commerce-related service journalism.”
— Allison Schiff, managing editor of AdExchanger
To give the pet insurance affiliate section of Forbes the best chance to succeed, the Forbes Advisor team pumped out A LOT of content about pets and built A LOT of links around the topic with statistics round-ups designed to obfuscate the original sources in order to increase the chances of people linking to Forbes.com when using the stats
All this hard work paid off in the form of an estimated 1.1 million visitors each month to the pet insurance section of Forbes Advisor
This happened at the expense of every site that has produced content about dogs, cats, and other pets for many years before Forbes.com decided to cash in on pet insurance affiliate money.
They successfully replicated this model again and again and again across the huge variety of topics that Forbes covers today.
Step one: buy the site. Step two: fire staff. Step three: revamp the content strategy to drive new monetizable traffic from Google
“As a journalist, all of this depresses me,” wrote Brian Merchant, the technology columnist at the Los Angeles Times. He continued, “If journalists are outraged at the rise of AI and its use in editorial operations and newsrooms, they should be outraged not because it’s a sign that they’re about to be replaced but because management has such little regard for the work being done by journalists that it’s willing to prioritize the automatic production of slop.”
Here’s a recap so far:
Digital media conglomerates are developing SEO content strategies designed to out-publish high-ranking specialist independent publishers.
Legacy media brands are building in-house SEO content teams that tie content creation to affiliate marketing revenue in topics that have nothing to do with their original areas of expertise.
Newly created digital media companies are buying once successful and influential blogs with the goal of driving traffic to casino sites.
Private equity firms are partnering with companies like AdVon to publish large amounts of AI-generated content edited by SEO-focused people across their portfolio of media brands.
And here’s the worst part:
Google’s algorithm encourages all of them to rinse and repeat the same strategies by allowing their websites to rank in top positions for SEO-fueled articles about any topic imaginable. Even in cases when the articles have been written by AI and published under fake authors.
How Elon Musk Got Tangled Up in Blue
Mr. Musk had largely come to peace with a price of $100 a year for Blue. But during one meeting to discuss pricing, his top assistant, Jehn Balajadia, felt compelled to speak up.
“There’s a lot of people who can’t even buy gas right now,” she said, according to two people in attendance. It was hard to see how any of those people would pony up $100 on the spot for a social media status symbol.
Mr. Musk paused to think. “You know, like, what do people pay for Starbucks?” he asked. “Like $8?”
Before anyone could raise objections, he whipped out his phone to set his word in stone.
“Twitter’s current lords & peasants system for who has or doesn’t have a blue checkmark is bullshit,” he tweeted on Nov. 1. “Power to the people! Blue for $8/month.”
One weird trick for fixing Hollywood
A view of the challenges facing Hollywood, acknowledging the profound shifts in consumer behavior and media consumption driven by new technologies. The rise of smartphones and mobile entertainment apps has disrupted the traditional movie-going habits of the public, with people now less inclined to see films simply because they are playing. Free or low-paid labor on social media platforms like YouTube and TikTok is effectively competing with and undercutting the unionized Hollywood workforce.
the smartphone, and a host of software technologies built on it,3 have birthed what is essentially a parallel, non-union, motion-picture industry consisting of YouTube, TikTok, Instagram, Twitch, Twitter, and their many other social-video rivals, all of which rely on the free or barely compensated labor product of people acting as de facto writers, directors, producers, actors, and crew. Even if they’d never see it this way, YouTubers and TikTokers are effectively competing with Hollywood over the idle hours of consumers everywhere; more to the point, they’re doing what any non-union workforce does in an insufficiently organized industry: driving down labor compensation.
Almost no one I know has work; most people’s agents and managers have more or less told them there won’t be jobs until 2025. An executive recently told a friend that the only things getting made this year are “ultra premium limiteds,” which sounds like a kind of tampon but actually just means “six-episode miniseries that an A-List star wants to do.”
YouTubers’ lack of collective bargaining power isn’t just bad for me and other guild members; it’s bad for the YouTubers themselves. Ask any professional or semi-professional streamer what they think of the platform and you’ll hear a litany of complaints about its opacity and inconsistency
Companionship Content is King - by Anu Atluru
Long-form "companionship content" will outlast short-form video formats like TikTok, as the latter is more mentally draining and has a lower ceiling for user engagement over time.
- In contrast, companionship content that feels more human and less algorithmically optimized will continue to thrive, as it better meets people's needs for social connection and low-effort entertainment.
- YouTube as the dominant platform among teens, and notes that successful TikTok creators often funnel their audiences to longer-form YouTube content.
- Platforms enabling deep, direct creator-fan relationships and higher creator payouts, like YouTube, are expected to be the long-term winners in the content landscape.
Companionship content is long-form content that can be consumed passively — allowing the consumer to be incompletely attentive, and providing a sense of relaxation, comfort, and community.
Interestingly, each individual “unit” of music is short-form (e.g. a 3-5 minute song), but how we consume it tends to be long-form and passive (i.e. via curated stations, lengthy playlists, or algorithms that adapt to our taste).
If you’re rewatching a show or movie, it’s likely to be companionship content. (Life-like conversational sitcoms can be consumed this way too.) As streaming matures, platforms are growing their passive-watch library.
content isn’t always prescriptively passive, rather it’s rooted in how consumers engage it.
That said, some content lends better to being companionship content: Long-form over short. Conversational over action. Simple plot versus complex.
Short-form video requires more attention & action in a few ways:
Context switching, i.e. wrapping your head around a new piece of context every 30 seconds, especially if they’re on unrelated topics with different styles
Judgment & decision-making, i.e. contemplating whether to keep watching or swipe to the next video effectively the entire time you’re watching a video
Multi-sensory attention, i.e. default full-screen and requires visual and audio focus, especially since videos are so short that you can easily lose context
Interactive components, e.g. liking, saving, bookmarking,
With how performative, edited, and algorithmically over-optimized it is, TikTok feels sub-human. TikTok has quickly become one of the most goal-seeking places on earth. I could easily describe TikTok as a global focus group for commercials. It’s the product personification of a means to an end, and the end is attention.
even TikTok creators are adapting the historically rigid format to appeal to more companionship-esque emotions and improve retention.
When we search for a YouTube video to watch, we often want the best companion for the next hour and not the most entertaining content.
While short-form content edits are meant to be spectacular and attention-grabbing, long-form content tends to be more subtle in its emotional journey
Long-form engagement with any single character or narrative or genre lets you develop stronger understanding, affinity, and parasocial bonds
Talk-based content (e.g. talk shows, podcasts, comedy, vlogs, life-like sitcoms) especially evokes a feeling of companionship and is less energy-draining
The trends around loneliness and the acceleration of remote work has and will continue to make companionship content even more desirable
As we move into new technology frontiers, we might unlock novel types of companionship content itself, but I’d expect this to take 5-10 years at least
TikTok is where you connect with an audience, YouTube is where you consolidate it.5 Long-form content also earns creators more, with YouTube a standout in revenue sharing.
YouTube paid out $16 billion to creators in 2022 (which is 55% of its annual $30 billion in revenue) and the other four social networks paid out about $1 billion each from their respective creator funds. In total, that yields $20 billion.”
Mr. Beast, YouTube’s top creator, says YouTube is now the final destination, not “traditional” hollywood stardom which is the dream of generations past. Creators also want to funnel audiences to apps & community platforms where they can own user relationships, rely less on algorithms, engage more directly and deeply with followers, and enable follower-to-follower engagement too
Interestingly of course, an increasing amount of short-form video, including formats like clips and edits, seems to be made from what originally was long-form content.8 And in return, these recycled short-form videos can drive tremendous traffic to long-form formats and platforms.
90% of people use a second screen while watching TV. We generally talk about “second screen” experiences in the context of multiple devices, but you can have complementary apps and content running on the same device — you can have the “second screen” on the same screen.
YouTube itself also cites a trend of people putting YouTube on their real TV screens:
“There are more Americans gathering around the living room TV to watch YouTube than any other platform. Why? Put simply, people want choices and variety … It’s a one stop shop for video viewing. Think about something historically associated with linear TV: Sports. Now, with [our NFL partnership], people can not only watch the games, but watch post-game highlights and commentary in one place.”
If I were to build an on-demand streaming product or any kind of content product for that matter, I’d build for the companionship use case — not only because I think it has a higher ceiling of consumer attention, but also because it can support more authentic, natural, human engagement.
All the creators that are ‘made’ on TikTok are looking for a place to go to consolidate the attention they’ve amassed. TikTok is commercials. YouTube is TV. (Though yes, they’re both trying to become each other).
certainly AI and all the new creator tools enabled by it will help people mix and match and remix long and short formats all day, blurring the historically strict distinctions between them. It’ll take some time before we see a new physical product + content combo thrive, and meanwhile the iPhone and its comps will be competing hard to stay the default device.
The new default seems to be that we’re not lonely as long as we’re streaming. We can view this entirely in a negative light and talk about how much the internet and media is contributing to the loneliness epidemic. Or we could think about how to create media for good. Companionship content can be less the quick dopamine-hit-delivering clips and more of this, and perhaps even truly social.
Long-form wants to become the conversational third space for consumers too. The “comments” sections of TikTok, YouTube and all broadcast platforms are improving, but they still have a long way to go before they become even more community-oriented.
I’m not an “AI-head” but I am more curious about what it’s going to enable in long-form content than all the short-form clips it’s going to help generate and illustrate, etc.
The foreground tends to be utilities or low-cognitive / audio effort (text or silent video). Tiktok is a foreground app for now, YouTube is both (and I’d say trending towards being background).
Generative AI’s Act Two
This page also has many infographics providing an overview of different aspects of the AI industry at time of writing.
We still believe that there will be a separation between the “application layer” companies and foundation model providers, with model companies specializing in scale and research and application layer companies specializing in product and UI. In reality, that separation hasn’t cleanly happened yet. In fact, the most successful user-facing applications out of the gate have been vertically integrated.
We predicted that the best generative AI companies could generate a sustainable competitive advantage through a data flywheel: more usage → more data → better model → more usage. While this is still somewhat true, especially in domains with very specialized and hard-to-get data, the “data moats” are on shaky ground: the data that application companies generate does not create an insurmountable moat, and the next generations of foundation models may very well obliterate any data moats that startups generate. Rather, workflows and user networks seem to be creating more durable sources of competitive advantage.
Some of the best consumer companies have 60-65% DAU/MAU; WhatsApp’s is 85%. By contrast, generative AI apps have a median of 14% (with the notable exception of Character and the “AI companionship” category). This means that users are not finding enough value in Generative AI products to use them every day yet.
generative AI’s biggest problem is not finding use cases or demand or distribution, it is proving value. As our colleague David Cahn writes, “the $200B question is: What are you going to use all this infrastructure to do? How is it going to change people’s lives?”
The algorithmic anti-culture of scale
Ryan Broderick's impressions of Meta's Twitter copycat, Threads
My verdict: Threads sucks shit. It has no purpose. It is for no one. It launched as a content graveyard and will assuredly only become more of one over time. It’s iFunny for people who miss The Ellen Show. It has a distinct celebrities-making-videos-during-COVID-lockdown vibe. It feels like a 90s-themed office party organized by a human resources department. And my theory, after staring into its dark heart for several days, is that it was never meant to “beat” Twitter — regardless of what Zuckerberg has been tweeting. Threads’ true purpose was to act as a fresh coat of paint for Instagram’s code in the hopes it might make the network relevant again. And Threads is also proof that Meta, even after all these years, still has no other ambition aside from scale.
Paying to use a site that you can’t use anymore
I think hardcore Twitter users have rose-colored glasses about the site’s coolness. The reason for its success, if you can argue that it was ever really successful, wasn’t that it was cooler than Facebook. It was because of its proximity to power. The reason it was so popular with activists, extremists, journalists, and shitposters was because what you posted there could actually affect culture.
The thing that ties together pretty much everything that’s happened on Twitter since it launched in 2006 was the possibility that those who were not in power (or wanted more) could influence those who were.
I subscribe to the belief that internet trends are defined by a ratio of laziness to social reward. Users will always do the laziest possible thing to achieve the maximum amount clout. So, if every platform becomes either a Twitter alternative or a short-form video feed, but all with their own unique requirements for virality, users won’t make individual posts for each. They will instead shotgun blast all of them with the same posts and bet on the odds that something will breakthrough eventually. Which means everything eventually just becomes a reuploaded video or a screenshot from somewhere else.
While trying to track down the actual hyperlink to a post I found a screenshot of on a closed social network I was struck by how on an internet full of closed platforms, broken embeds, and crumbling indexes, the last reliable way to share anything is a screenshot.
the camera roll is, at this point, the real content management system of the social web. This is something that TikTok realized faster than other platforms, with their downloadable watermarked videos that have now become ubiquitous on every platform that allows video.
My theory as to why New Yorkers were so allergic to independent content creators is because for all the tedious guffawing about being a city of hustlers, most of the people who live there crave, on some level, institutional legitimacy and influencers, by definition, don’t get it or really need it. It could also just be that New Yorkers hate tourists and content creators are, in some form, permanent tourists of their own lives.
I actually think the post-COVID New York TikTok boom is already cresting. I think once these trends become calcified enough to report on, they’re already on their way out. I also don’t think Gen Z TikTokers are driving rents up, but rather documenting its rise due to other factors, like landlords being able to blame TikTok hype to jack up their rents.
The 'moment has arrived' for digital creators. And they're here for it.
VidCon has “gone from weirdos to entrepreneurs.”Young people have increasingly turned to online video for entertainment. During the pandemic lockdown in 2020, digital content on platforms like YouTube and TikTok dominated, which experts at VidCon said helped propel digital media as a serious form of entertainment.
Digital-first talent are the power players today
It really drove people into watching creators, not as a hobby thing but as another linear option,” said Joe Gagliese, CEO of Viral Nation, an influencer marketing and talent management company.
creators are no longer just using social media as a jumping off point for bigger stardom. Instead, online content is the end goal. Over the years, content creation has become a serious and feasible career option for many.
Hecox said that toward the end of his and Padilla’s initial partnership, they gave priority to production quality in a way their audience didn’t like.“We had strayed too far away from digital and we started looking more like TV, and I think people didn’t connect with that,” Hecox said.
People connecting more with the self-produced aesthetic, deprioritizing production value leading to better viewer connection… is it because it’s non-fiction?
Instead of stretching themselves thin to fit a traditional mold, they've redirected their focus to their roots and what fans liked the best.
Reddit API AMA and User Revolt
good roundup of comments about the Reddit API debacle caused by CEO Steve Huffman
Reddit is rumored to have plans to go public, but they need better leadership than the current team. Huffman has shown no leadership skills. He doesn’t know how to read the room. Most importantly, he lacks the social empathy to lead a social platform. Even more disappointing is the lack of comments or intervention from Reddit co-founder Alexis Ohanian, the always chatty — who seems to have advice for every other founder, except for his co-founder.
[…]
In an attempt to monetize the content generated by the community, Huffman forgot that it is the people who make the platform. The community is the platform. It is something the owners of social media platforms forget.
[…]
It happened with MySpace. It has happened with Twitter. It is now happening with Reddit. They never learn from past mistakes. They assume that because they own the platform, they own the community. Every time they forget that important thing, they erode the community’s trust. And once that trust goes, so does the unfettered loyalty. People start looking for options.
I have zero faith in Steve Huffman’s ability to lead Reddit.
What kind of chief executive officer posts this comment after a massive community backlash?
closing off 3rd party API access mostly serves an IPO, not OpenAI. If Reddit merely wanted to restrict the ability to scrape its data, they could have done so without killing off clients – e.g. via licensing deals. However, perhaps if access to training data is seen as an elbows-out brawl, I could see how Reddit would be extremely protective of its data. I mean, lyrics websites, map makers, and dictionaries go to great lengths to protect their data. It would not be a giant stretch for Reddit to do so as well.
Huffman is right that, in the end, the whole situation reflects a product problem: the native Reddit apps, both on desktop and on mobile, are ugly and difficult to use. (In particular, I find the nested comments under each post bizarrely difficult to expand or collapse; the tap targets for your fingers are microscopic.) Reddit didn’t really navigate the transition to mobile devices so much as it endured it; it’s little wonder that millions of the service’s power users have sought refuge in third-party apps with more modern designs.
r/apolloapp - 📣 Apollo will close down on June 30th. Reddit’s recent decisions and actions have unfortunately made it impossible for Apollo to continue. Thank you so, so much for all the support over the years. ❤️
How BeReal missed its moment
I had hoped BeReal would take its twist on “appointment television” to other mediums — adding a group chat that was only active for a designated period each day, say, or collaborative videos that you could only add to at certain times. That, to me, feels more in the spirit of what the company was trying to build in the first place.
Perhaps the weirdest thing about BeReal this week was the company’s quiet announcement that it plans to never let reporters attribute any statements made by the company. “We’ll be happy to answer questions,” the company wrote in a blog post, “but irrespective of who answers questions, we’ll require that it always be reported as just from and on behalf of the BeReal Crew, not a single individual :).”In general, I don’t have a problem attributing statements to companies. Most PR statements are written by a committee, and it doesn’t always feel accurate to me to attribute a sentence to someone who I know most likely didn’t write it. At the same time, this is a really weird way to say that your CEO (Alexis Barreyrat) plans never to give an interview. And not a great sign for the company overall, I’d say. There’s no shame in keeping your head down and ignoring the press for a long time. But never allowing anyone to speak to the press under their own name is a real sign of weakness.
4 things i learned after getting users
Meanwhile, Over in Androidtown
Building software to last forever
The Case for Digital Public Infrastructure
Netflix’s Purge Problem
Building your own website is cool again, and it's changing the whole internet
Niche InternetContent isn't king — Benedict Evans
The main takeaway is that content is no longer a strategic lever for tech companies like it once was. Music and books no longer matter to tech, and TV is becoming unbundled and fragmented. Content is now mainly used for marketing and revenue, but not as a lever. Amazon is using content as a platform lever, but it is unclear if other tech companies have the same opportunity. Content companies have always needed short-term revenue and have not been able to use exclusivity as a strategic tool. The tech industry is now transforming video with the phone, not the TV, and internet advertising is now bigger than TV advertising.
Meanwhile, whenever I talk to music people or book people, very quickly the conversation becomes a music industry conversation or a book industry conversation. What matters for music are artists and touring and labels and so on, and what matters for books are writers and publishers and rights and Amazon’s bargaining power in books and so on. These aren’t tech conversations.
Tech needed content to make their devices viable, but having got the content (by any means necessary), and with it of course completely resetting the dynamics of the industry, tech outgrew music and books and moved on to bigger opportunities.
All of this of course takes us to TV, the industry that’s next on the tech industry’s content journey. Just as new technology unlocked massive change in music and (rather less so) in books, it is now about to break apart the bundled, linear channel model of the TV industry (this is especially the case in the USA, which has a hugely over-served pay TV market). As this happens, there are all sorts of questions that follow on: what happens to channels that might be able to make more going direct to consumer (HBO, perhaps); what happens to channels that might benefit from being in a bundle and lose from having to go direct (ESPN, perhaps), where the syndication model goes, and so on, and so on.
Just as for music or books, though, these are all fundamentally TV industry questions. What viewing distribution, what rights structure, what exploitation chain, what relationship between creatives, financiers, aggregators and distributors - these are all southern California questions, not northern California questions. So, what are the northern California questions, and will this end up being any more strategic than books or music?
Amazon and Netflix have entered TV content creation and ownership in ways and on a scale that no-one from tech ever did for music or books. Amazon did try to get into book publishing and has a significant self-publishing arm, but it had little success recruiting existing mainstream authors; neither Apple nor Spotify created a record label.
Netflix, of course, is a TV company, in the context of this conversation - it isn’t using content for leverage for some other platform (Spotify is the same, without the commissioning). But Amazon clearly is using content for platform leverage - as something else to speed up the Prime flywheel. Prime has become a third pillar to Amazon’s business, next to logistics and the ecommerce platform, and Amazon is always looking for ways to add more perceived value to it, preferably with no marginal cost - TV content that it owns outright is exactly that.
You don't close your Facebook account - you just go there less. You might stop paying for the Youtube TV service, but that won’t cut off your access to any other part of Google - nor would anyone want it to - the purpose of these businesses is reach. Nor, really, will you fundamentally change your search behaviour if Google discovers the next Game of Thrones. That is, cancel Prime and you'd lose Amazon, but what do Google & FB have to cancel? Without some platform decision to lock you into, content is marketing, and revenue, but not a lever.
Apple has always preferred a very asset-light approach to things that are outside its core skills. It didn’t create a record label, or an MVNO, and it didn’t create a credit card for Apple Pay - it works with partners on the existing rails as much as possible (even the upcoming Apple Pay P2P service uses a partner bank).
Part of ‘content is king’ was the idea that (at least in theory) content companies can withhold access to their libraries entirely, and in the past one might have presumed that that meant they had the power to kill any new service at birth. In reality, rights-holders have always had too strong a need for short-term revenue to forgo broad distribution, and few of them individually had a strong enough brand to extract a fee that was high enough to justify exclusivity. They always have to take the cheques - individually to meet their bonus targets, and collectively to meet their earnings estimates.
This is a multi-sided market place with too many players on both sides for anyone to exert dominance: Apple dominated purchased music and Amazon dominates ebooks (thanks to the DoJ), but there is no such dominance on the buy or sell side for TV, for now.
The reason Apple TV, Chromecast, FireTV and everything else feel so anti-climactic is that getting onto the TV was a red herring - the device is the phone and the network is the internet. The smartphone is the sun and everything else orbits it. Internet advertising will be bigger than TV advertising this year, and Apple’s revenue is larger than the entire global pay TV industry. This is also why tech companies are even thinking about commissioning their own premium shows today - they are now so big that the budgets involved in buying or creating TV look a lot less daunting than they once did.
LinkedIn’s Alternate Universe - Divinations
Every platform has its royalty. On Instagram it's influencers, foodies, and photographers. Twitter belongs to the founders, journalists, celebrities, and comedians. On LinkedIn, it’s hiring managers, recruiters, and business owners who hold power on the platform and have the ear of the people.
On a job site, they’re the provisioners of positions and never miss the chance to regale their audience with their professional deeds: hiring a teenager with no experience, giving a stressed single mother a chance to provide for her family, or seeing past a candidate’s imperfections to give them a once-in-a-lifetime opportunity. These stories are relayed dramatically in what’s now recognizable as LinkedIn-style storytelling, one spaced sentence at a time, told by job-givers with a savior complex.
Wikipedia Is the Last Best Place on the Internet | WIRED