
YouTube, the online video powerhouse, turns 20
The domain YouTube.com launched on Valentine's Day that year.
Video uploading capabilities were added on April 23, when Karim posted the first video, "Me at the Zoo."
The 19-second clip showing Karim at the San Diego Zoo's elephant exhibit has garnered 348 million views.
Over the next 20 years, the site has expanded beyond what was imagined possible back in 2005.
"YouTube was started by tech bros who wanted a video hosting service to watch reruns of Janet Jackson's 'wardrobe malfunction' during the Super Bowl," said eMarketer analyst Ross Benes.
"Now, it's the world's largest digital video service in terms of time spent and ad revenue -- it's an utter behemoth."
YouTube reached more than 2.5 billion viewers globally last year, with its music and premium tier subscribers hitting 100 million, according to market tracker Statista. Google reported that users worldwide watch more than a billion hours of YouTube content daily on television sets alone.
"If you go back 20 years, it would have seemed laughable that this website with kids making parody videos would become a threat to Disney, ABC, and CBS," Benes said.
"That's what they were able to accomplish."
- 'Firehose' of videos - YouTube's breakthrough came from challenging traditional television titans without requiring studios or production costs -- it was users who were creating and uploading the content.
The platform hosts everything from concert clips to political campaign ads to how-to videos -- and much more.
"The amount of new stuff coming out is a firehose that you can't turn off, so people are always tuning in," Benes said. According to Google, more than 500 hours of video are uploaded to YouTube every minute.
Analysts consider Google's 2006 purchase of YouTube for $1.65 billion in stock a pivotal moment, combining Google's search and advertising expertise with a video-sharing platform that had passionate users.
"YouTube was part of the recovery from the dot-com collapse when people realized monetization was important," said tech analyst Rob Enderle.
"YouTube became an example of how dot-coms should have been done, as opposed to how they were done in the late 1990s." Google used its advertising know-how to build a successful model, sharing revenue with creators who attract significant audiences.
The company also enhanced technology and negotiated with studios to address copyright violations in what was once considered the Wild West of video content. "The piracy aspect isn't quite there the way it used to be at YouTube," Benes noted.
"They used to have nudity too." YouTube also worked its way past concerns that disturbing content, like parody videos of popular cartoon characters in violent or risque situations, were being served up to children by its recommendation software.
The company launched a free "Kids" app promoted as a safe space for children and is constantly tweaking its algorithm to avoid offending users, advertisers, and governments.
Analyst Enderle credited much of YouTube's development into a formidable platform to former chief executive Susan Wojcicki, who died last year. "She was phenomenal at her job and showcased how something like this should be done," Enderle said.
- 'Part of me' -
YouTube is projected to surpass all US cable television services in paid subscribers within two years, according to Benes.
The platform now competes with streaming services like Netflix, Disney, and Amazon Prime, as well as short-form video platforms like TikTok and Instagram's Reels.
In response to TikTok's popularity, YouTube introduced its "Shorts" feature, which averages more than 70 billion views daily.
"As the original streaming video platform, YouTube has continued to evolve and differentiate," Mike Proulx, vice president and research director at Forrester, told AFP. "It's the de facto standard for long-form user-generated video, literally defining the modern 'creator.'"
While YouTube's recommendation algorithm has traditionally favored established creators, longtime content maker "Robert G" noted that emerging creators are once again being featured on the home page. "I'm really happy that YouTube is changing," said Robert G, who began uploading videos in 2009. "YouTube is part of me; it is what I do."

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Observer
23-07-2025
- Observer
Breaking free from scrolling; back to the big screen
Cinema owners need to make an effort to captivate their audiences and encourage them to return. There is a need to offer a better cinematic experience. Just been to the cinema. It is my second time since the Covid-19 pandemic ended. My first visit was to watch Oppenheimer, the story about the development of the atomic bomb and the first nuclear explosion that forever changed the world. Oppenheimer drew crowds back to theatres. The cinema industry has been severely impacted by the Covid pandemic. We saw theatres being closed and the rise of over-the-top media service (OTT). Streaming platforms have changed cinema-goers' preferences. While OTT services were a blessing during the pandemic, they now pose a significant threat to cinema because audiences have become too comfortable with their subscriptions. People still prefer watching films at home. When the Barbie movie was released in 2023, I was eager to watch it at the cinema. However, as it was prohibited in Oman, I had to depend on streaming services. There's nothing wrong with subscribing to popular streaming providers like Netflix, YouTube and Disney. They offer convenient access to services that bypass traditional cable, broadcast and satellite television platforms, as well as censorship. However, there are still many reasons to watch films on the big screen. The feeling of total immersion is akin to being transported to the scenes and stories. All the boring things are removed; what truly matters is what is within the frame. The thrills of the Star Wars theatrical trilogy are more enjoyable on a large screen. Several iconic big-budget films, including Ghostbusters: Afterlife, Top Gun: Maverick, Jurassic World and Gladiator II, are returning. Fortunately, local cinemas have been gaining small-scale audiences. With the summer's sweltering temperatures, people are flocking to malls and cinemas. They are heading to theatres for a few hours of entertainment and to escape into a world of imagination. After all, there is nothing better than watching fantasy on a large, advanced screen with immersive sound, high-quality visuals, and, of course, delicious popcorn, nachos and soda. Shakespeare would have loved cinema. Innovative thinking is key to boosting theatre attendance. There are discussions in the film industry about releasing films exclusively for the big screen to prevent OTT services from profiting from them. The recent internationally coordinated effort to revive the big screen is worthwhile; it allows content creators the chance to play significant roles in producing innovative advertising material; it provides job opportunities and it keeps food courts busy with customers. All these are part of the economic cycle – money exchanging hands. Special events can attract new audiences while also finding new ways to make films culturally and socially relevant. Theatres might get a makeover from private and business events. The live sports screening trend, like the 2025 Uefa Champions League and the 2022 Fifa World Cup, is fantastic, as long as opposing groups do not engage in scuffles. Younger audiences can learn to enjoy the big screen, while older audiences can rediscover the magic of cinema and be drawn to movie theatres. Documentary films are becoming increasingly popular. Although not theatrical, documentaries can both entertain and educate. In the meantime, efforts are underway to promote and showcase Oman's film industry. There are plans for a 'Film City' aiming to provide production services and encourage local talent. In Oman, audiences are avid viewers of international movies. Action films are the most popular, followed by family films, animation and horror. Tamil, Malayalam and Hindi productions are also well-liked. There is something unique about cinema. It is a magical medium that offers an emotional journey; the shared laughter and screams foster social connection, enhance empathy and provide psychological benefits. Let's be happier together!


Observer
05-07-2025
- Observer
YouTube pirates cashing in on Hollywood's Blockbusters
SAN FRANCISCO — After spending about $100 million on 'Lilo & Stitch,' a live-action remake of a 2002 animated film, Disney had plenty to celebrate. The film pulled in $361 million worldwide on its opening weekend in May and bested 'Mission: Impossible — The Final Reckoning' at the box office. However, the company also had cause for concern. In the days after the Disney film's opening, a pirated version of 'Lilo & Stitch' proved to be a hit on YouTube, where more than 200,000 people viewed it, potentially costing Disney millions of dollars in additional sales, according to research from Adalytics, a firm that analyzes advertising campaigns for brands. The findings of the research shed new light on the copyright issues that once threatened to upend YouTube's business. They also show how advertisers have unwittingly supported illicit content on YouTube, and they provide rare data about piracy on the platform. YouTube has long tried to tamp down piracy, but users who upload stolen films and television shows have employed new tactics to evade the platform's detection tools, the research showed, including cropping films and manipulating footage. YouTube then recommended the uploaded videos to users on its homepage, promoting pirated streaming of box office releases like 'Lilo & Stitch,' or movies exclusively available on streaming platforms, like 'Captain America: Brave New World,' according to screen recordings compiled by Adalytics and an analysis by The New York Times. YouTube, which is owned by Google, may also have generated revenue from some stolen videos, though it's unclear how much money it may have made. The company has a program known as Content ID to identify videos protected by copyright. It allows copyright holders to block the videos, share in advertising sales of the videos, or receive data about who views the videos. Over the years, YouTube has paid billions of dollars to rights holders. YouTube reported flagging 2.2 billion videos last year and said rights holders permitted about 90% of those videos to stay on the platform. Jack Malon, a spokesperson for YouTube, said the company does not analyze the less than 10% of videos it removes at the request of copyright holders and does not track how many of those videos may be recently released full-length movies. The channels that uploaded the videos of 'Lilo & Stitch' and 'Captain America: Brave New World' were terminated for violating YouTube's policies on spam, Malon said. He declined to say whether the company had profited from commercials shown in copyrighted videos that evaded detection by Content ID or racked up views before rights holders asked that they be taken down. At YouTube's request, Adalytics and the Times provided 200 videos for YouTube to review, most of them full-length films. YouTube analyzed the videos but declined to provide insight into what percentage of the films their rights holders had permitted to stay up or had required to be removed. 'To frame these videos as 'illicit' without first reviewing the specific choices made by each rights holder misunderstands how the media landscape on YouTube works today,' Malon said. While 'mistakes do occur' on YouTube, he said, he dismissed the Adalytics report as an effort to get companies to sign up for the firm's services. Holders of copyrights for the videos, including all the major film studios, did not respond when asked for comment by the Times. The founder of Adalytics, Krzysztof Franaszek, who conducted the research, said he had observed 9,000 examples of possible copyright violations, 'including full-length movies that were in theatrical release, Netflix exclusives such as 'Extraction 2,' TV shows such as 'Family Guy' and live NCAA college football games.' The videos collectively had more than 250 million views. More than 100 of these uploads were also reviewed by the Times. Movies from every major film studio were found on YouTube in unofficial streams uploaded from last July to May, Adalytics found. When briefed on the research findings, Larissa Knapp, the chief content protection officer of the Motion Picture Association, a trade group for movie studios, said she found them concerning. At one point, the anti-piracy work between the studios and YouTube 'did work,' Knapp said. 'But now it seems like some of the stuff may have gone off the rails if illegal content is being placed with ads.' The research recalled a time in YouTube's history when Hollywood accused the platform of profiting from its stolen content. In 2007, Viacom sued YouTube, claiming it engaged in 'brazen' copyright infringement by allowing uploads of the media company's material without its permission. In 2012, YouTube won the suit by arguing it was shielded from liability by the 1998 Digital Millennium Copyright Act, which exempted YouTube from liability for hosting copyrighted work. The law shifted the burden for protecting a copyright from the platform and video creators to rights holders, said Eric Goldman, a law professor at Santa Clara University. Without the rule, he said, 'the internet would not be able to exist in its existing format.' YouTube has tried to work with film studios, television networks and streaming services to combat piracy. Google, YouTube's parent company, developed its Content ID technology to recognize copyrighted videos, and YouTube became more aggressive at policing its platform for piracy. Copyright holders gained the right to either have the content removed or collect a share of the advertising revenue the videos generated. The box office in the United States and Canada routinely loses $1 billion each year to piracy, which is roughly 15% of its annual haul, according to the Alliance for Creativity and Entertainment, a trade group of 50 entertainment companies that tries to reduce piracy. Franaszek began the research after his advertising clients noticed that as much as 60% of their ad spending on YouTube went to videos or channels that were labeled 'no longer available.' After digging deeper, he found that his clients had paid to support content that YouTube later removed because it violated company policies against nudity, violence or hate speech, or because of other offenses. When videos are removed from the platform, YouTube scrubs advertisers' records so that they can no longer see the name of the video. Advertisers have to go to the link for the removed video to see if it was removed for a copyright violation, Franaszek said. He added that the platform did not fully reimburse the advertisers for the cost of commercials in those videos. Erich Garcia, a senior vice president at which lets consumers compare insurance offerings, said his company's ads routinely ran with videos that had disappeared, limiting his insight into the effectiveness of his promotions. Malon said YouTube advertisers could get more insight into those videos by asking their account representatives for more information. Representatives can provide advertising credits. Ads from Disney, Hulu, HBO Max, Focus Features, and dozens of other companies from various industries were found alongside unauthorized film and television uploads, Adalytics said. Pirates deployed a range of deceptive tactics to evade YouTube's anti-piracy algorithms. Some uploaded and voluntarily removed copyrighted videos on the same day, racking up viewers before being caught. Other pirates mirrored the videos to reverse the images or cropped the frames to trick the Content ID system. Still, others placed clips of regular people at the end of a Hollywood blockbuster video to further cover their tracks, Adalytics and The Times found. Franaszek said Adalytics clients who paid for advertising in videos that were removed over copyright issues had a simple request: 'to have visibility into what content their YouTube ad dollars are funding, and where their ads appear.' This article originally appeared in


Observer
03-07-2025
- Observer
A Look at the Decline of Traditional TV and Radio and the Rise of Multi-Platform Media
In the last two decades, the media landscape has undergone a profound transformation. What was once dominated by traditional TV and radio has given way to a dynamic, fragmented, and highly personalized ecosystem of multi-platform media. This shift has not only changed how people consume content, but also redefined the very nature of media itself—from linear programming and passive consumption to on-demand access and active engagement. The decline of traditional broadcasting and the rise of digital platforms is more than a trend; it is a fundamental reordering of information, entertainment, and culture. The Erosion of Traditional TV and Radio Traditional television and radio, for decades the mainstay of global communication and entertainment, are experiencing a slow but steady decline. Several factors have contributed to this erosion: technological advancement, demographic changes, and evolving consumer expectations. Linear programming, the hallmark of traditional TV and radio, no longer aligns with the needs of modern audiences. Viewers today prefer content on their own schedules, not dictated by a network's timetable. The era when families gathered at 8 p.m. to watch the nightly news or prime-time dramas has been replaced by binge-watching Netflix, catching up on YouTube playlists, or streaming music on Spotify. Demographics play a critical role in this shift. Younger generations, particularly Millennials and Gen Z, grew up with the internet and smartphones. They are digital natives, fluent in the use of apps, streaming services, and social media. According to numerous surveys, people under 35 consume far more digital content than traditional broadcasts. Even among older adults, there is growing adoption of digital media platforms. Advertising revenue, once a reliable stream for TV and radio broadcasters, has followed the audiences. Companies now prefer placing ads on digital platforms like YouTube, Facebook, or Instagram, where targeting is precise and measurable. Traditional media's broad but vague reach cannot compete with the data-driven marketing strategies of online platforms. The result: declining ad revenues and reduced budgets for traditional broadcasters. The Rise of Multi-Platform Media As traditional media wanes, multi-platform media—defined by its accessibility across various digital devices and networks—has emerged as the dominant form of content delivery. This includes social media, streaming services, podcasts, blogs, and online news outlets. Content is no longer confined to one format or device. A single show can live on cable, stream on-demand, be clipped on TikTok, and spark discussions on Reddit. One of the most significant aspects of multi-platform media is personalization. Algorithms on platforms like YouTube, Netflix, and Spotify recommend content based on user behavior, ensuring a more engaging and relevant experience. This kind of personalization is impossible in traditional formats, which treat all viewers or listeners as a homogeneous mass. Interactivity is another hallmark of multi-platform media. Audiences are no longer passive recipients of content—they are participants. They comment, share, remix, and even create their own media. Livestreaming platforms like Twitch and TikTok Live offer real-time interaction between creators and audiences, blurring the lines between consumer and producer. Moreover, the barriers to entry in content creation have drastically lowered. Unlike the expensive, regulated world of TV and radio broadcasting, digital platforms allow almost anyone to become a creator. This democratization of media has led to a proliferation of voices and perspectives, many of which were historically marginalized in traditional media. The Impact on Culture and Society The decline of traditional media and the rise of multi-platform systems have far-reaching implications for culture, politics, and identity. On one hand, we now have a richer, more diverse media environment than ever before. Independent journalists, niche content creators, and underrepresented communities have found platforms to share their stories and build audiences. On the other hand, the fragmentation of media has led to a more polarized society. In the past, traditional media acted as a shared cultural experience—everyone watched the same news, the same shows. Now, people often exist in algorithmic bubbles, where their media diets are tailored to their existing beliefs and preferences. This has raised concerns about echo chambers, misinformation, and the erosion of a common public discourse. The economic implications are also significant. Traditional media companies have had to adapt or perish. Some have embraced digital transformation, launching their own streaming platforms or integrating social media strategies. Others have struggled to remain relevant, unable to compete with the speed and agility of newer tech-driven platforms. For creators, the new landscape offers both opportunities and challenges. On one hand, there's more freedom and fewer gatekeepers. On the other, monetization is complex and often unstable. Algorithms change, platforms rise and fall, and creators are subject to policies they don't control. The Hybrid Future: Integration Over Replacement It would be inaccurate to declare the death of TV and radio outright. Instead, what we're witnessing is a convergence of old and new media. Traditional broadcasters are increasingly adopting multi-platform strategies: television shows are now live-tweeted, news reports are shared on Instagram Stories, and radio programs are repackaged as podcasts. The distinction between 'traditional' and 'digital' is becoming increasingly blurred. Public broadcasters, like the BBC or NPR, have shown how traditional institutions can successfully integrate digital practices. They offer live streams, podcasts, YouTube clips, and social media engagement while maintaining journalistic integrity and public trust. Similarly, smart TVs and digital radio illustrate the hybrid nature of today's media consumption. People may still watch linear TV or listen to FM radio, but often through smart devices that offer access to streaming apps and on-demand content. It's no longer a question of either/or but rather how these formats can coexist and complement each other. Conclusion The shift from traditional TV and radio to multi-platform media represents one of the most dramatic transformations in the history of communication. Driven by technological innovation and changing consumer behaviors, the new media ecosystem is defined by personalization, interactivity, and accessibility. While this has led to a democratization of content and a wider array of voices, it has also introduced challenges around fragmentation, misinformation, and sustainability. As media continues to evolve, the focus should not be on preserving old forms for nostalgia's sake, but on integrating the best aspects of traditional media—such as trust, editorial standards, and shared cultural moments—with the innovation and inclusivity of digital platforms. The future of media is not in silos, but in synergy. The real question is not whether TV or radio will survive, but how they will adapt—and how we, as a society, will navigate the opportunities and responsibilities of this new media age.