Recently, a meme featuring a menacing Tony Soprano character sparked conversation, accompanied by the caption: “Imagine telling him he needs to create short-form content to engage the algorithm.” This sentiment is becoming increasingly relevant as video content now constitutes 82% of all internet traffic, with the number of short-form videos on platforms like TikTok and Instagram surging by 71% from the previous year.
Many people have observed a notable increase in videos showcasing individuals’ faces, which algorithms favor. As a result, professionals such as chefs, lawyers, podcasters, and critics—traditionally behind-the-scenes figures—are now stepping into the spotlight. Even acclaimed filmmaker Werner Herzog, once averse to social media, has begun posting videos where he cooks steaks and unboxes products on camera.
The pressure of adapting to the demands of Silicon Valley’s algorithms weighs heavily on creative individuals. Comedian Stewart Lee, who has managed to sustain his career without engaging with social media, describes the situation as “hideous.” He notes that the power of communication is now in the hands of the least desirable individuals. Lee expresses concern that lacking a social media presence makes it difficult to direct his audience to purchase tickets directly, often at a lower price than through “parasitical” third-party sites. In an attempt to promote his recent London standup show, he was urged by his marketing team to produce video content. “They were desperate for me to create some kind of viral content,” Lee recalls, but he struggled to align his creative identity with the trend, feeling that some mystery around his work is beneficial.
Nonetheless, for creatives aiming for success, particularly those wanting to connect with audiences under 40, video content is essential. Kingsley Hall, the lead singer of the electronic-punk band Benefits, acknowledges this reality. “I have to be present; otherwise, I risk losing viewership,” he states, although he admits that none of his bandmates are particularly enthusiastic about it. “It’s a dreadful dilemma—a relentless popularity contest,” he says, lamenting how artists chase algorithms while potentially losing sight of their true purpose.
Lee concurs, stating, “I’ll have to embrace social media to continue working. It’s terrifying, but the thought of my audience dwindling is equally horrifying.”
This dilemma extends across the creative sectors. Actor Chike Chan, known for roles in productions like Batman Begins, expresses a desire not to be “instantly recognisable.” He observes that many of his colleagues equate more visibility with more opportunities, viewing it as a somewhat misleading idea. “It’s a chicken-and-egg scenario. Do you gain work due to social media, or do you engage with social media to secure work?”
In the literary world, bestselling author Benjamin Myers reflects on the growing influence of BookTok, the short-form video community centered around reading. While he appreciates the enthusiasm for books, he finds some aspects performative, remarking, “Filming yourself crying over a book is utterly absurd. Reading is such a personal and introspective activity.” Despite this, Myers admits to being an active participant on Instagram, acknowledging its nature as a marketplace where individuals are frequently expected to sell themselves.
The once-common phrase describing someone as having a “face for radio” is now outdated, as a visible presence has become essential. Many shows, including countless social media clips, require hosts to enhance their profiles. BBC Radio 6 Music DJ Deb Grant has adapted to producing video content, stating, “I feel compelled to maintain a presence. While it feels invasive and uncomfortable, it’s crucial for building familiarity with the audience regarding my expertise.”
Amidst the skepticism from some artists, others like comedian Lorna Rose Treen have embraced this new format. Since she began creating videos four years ago, her unique and subversive takes on street interviews have gone viral, catching the attention of the UK Saturday Night Live team. “It’s remarkably inexpensive to produce videos, allowing for significant creativity and experimentation, which is more challenging in traditional television,” she explains.
As the costs of participating in festivals like the Edinburgh Fringe rise, Treen’s strong online following enables her to sell out shows in advance. However, she acknowledges that many talented comedians struggle to translate their skills to the online sphere, noting, “I know exceptional, award-winning comics who are failing to resonate online. There’s a lot of frustration and negativity surrounding this shift, but I believe all forms of expression are valid. We must adapt.”
A seasoned music journalist, who now publishes a Substack newsletter anonymously, has also turned to video content for economic reasons, as record labels lack the budget to advertise in his newsletter. “That budget is increasingly shifted toward social media,” he observes, highlighting the ongoing evolution of the creative landscape.
