TOGETHER WITH

It’s Monday and one could argue that influencer marketing goes all the way back to 1765. That was the year Josiah Wedgwood sent a free tea set to the queen—and was promptly endorsed as “Potter to Her Majesty.”

GOOD GOOD GRIEF

The ad: Good Good CEO Matt Kendrick says the company has “removed people responsible” for its disastrous Callaway ad.

For context, Good Good—a top YouTube golf channel with around 2.1 million subscribers and ~15 million monthly views—recently partnered with golf equipment company Callaway to create and distribute its own official driver.

But the ad Good Good produced (and Callaway approved) to promote the driver featured Good Good co-founder Garrett Clark shoving former pro golfer/influencer Alexis Miestowski to the ground and telling her to never touch his driver.

The ad received immediate backlash, with critics saying it promoted violence against women. Good Good deleted it, but the damage was done.

Callaway dissolved their three-year deal, shops pulled Good Good merch, Good Good pulled out of a splashy $6 million PGA Tour sponsorship, and the Golf Channel cancelled Big Break x Good Good, a fully filmed season meant to reboot the channel’s iconic reality show.

The response: In the wake of the ad’s deletion, Clark said its premise was inspired by Obsession, with anyone who touched the driver becoming zealously possessive of it. (It’s not clear whether Clark is one of the Good Good employees who have been dismissed.)

Kendrick, meanwhile, told Front Office Sports that he didn’t see the ad before it went up—unlike Callaway, which he lashed out at on X.

Kendrick also issued a more polished apology, in which he noted that Good Good “wanted to make sure that everyone knew that we understood that we made a mistake.”

In just over a month, the leaders who create, finance, buy, distribute, and scale entertainment worldwide will come together for the industry’s #1 global marketplace: MIPCOM Cannes.

From October 12-15, 10,600+ participants from over 100 countries—including 3,300+ buyers—will cross paths on an 18,611 m² exhibition floor.

Those attendees will connect with decision-makers from Amazon MGM Studios, Banijay, BBC Studios, Disney, FOX Entertainment, Nippon TV, Paramount, Sony Pictures, Warner Bros. Discovery, YouTube, and other top global brands.

Because MIPCOM Cannes is where ideas become IP, conversations become deals, and businesses grow.

For creators and creator-led businesses, MIPCOM provides direct access to the international entertainment market—connecting creator-led IP with studios, platforms, distributors, brands, and investors. 

Participants will dive into the creator economy through expert-led sessions, explore pitches and showcases at the MIP Creative Hub, build partnerships, and unlock new revenue opportunities.

Ready to put your business at the heart of the global entertainment industry?

HEADLINES IN BRIEF 📰

SCHRODINGER’S PLATFORM

The lecture: Hosted each year at the Edinburgh TV Festival, the MacTaggart Lecture is one of the most prestigious speaking engagements in the U.K. In 2026, YouTube VP of EMEA Pedro Pina had the privilege to deliver it.

Pina’s speech comes amid a period of rising tension between public broadcasters in the U.K. and YouTube. As Google’s video hub continues to dominate viewership on TV screens, the nation’s biggest broadcasters—including familiar names like ITV and BBC—worry that they’re in an unwinnable position. 

Month in and month out, YouTube holds the largest market share in The Gauge, Nielsen’s periodical tabulation of streaming traffic. That means public broadcasters have to compete for attention from the platform’s recommendation algorithm—even though they’re still required to follow Ofcom’s broadcast standards.

To give those broadcasters an assist, British officials have proposed a Media Bill that would require YouTube to recommend more videos from official U.K. sources. Pina opposed that measure in his address, arguing that favoritism toward traditional TV hubs would stifle indie creators.

The exec’s preference is to maintain YouTube’s current approach, which weighs all types of content equally. That makes the platform noisier, but also more culturally impactful. Pina cited previous golden ages of TV, when a growing array of distributors pushed the envelope.

The context: That approach might be diplomatic, but it ignores one key factor. YouTube is as big as TV, and it’s fair to argue that the platform should have to play by the same rules as other distributors.

Of course, Pina’s argument isn’t out of character for YouTube. In general, the platform opportunistically molds its identity. When regulators come for social media, YouTube claims it’s actually an entertainment hub. When the rules for entertainment hubs become problematic, it highlights its more social aspects.

CLOCKWISE CONTENT

The app: After years of producing educational videos, Hank Green has launched ClockwiseTV, a content app full of curated STEAM (Science, Technology, Engineering, Arts, and Mathematics) videos for kids ages 8-12.

Featuring curated content from creators like Green, his nonprofit Complexly, MinutePhysics, Odd Animal Specimens, and Evan and Katelyn, ClockwiseTV is a paid Apple and Android tablet app that promises no “ads, autoplay, or an infinite feed.” Parents set a hard time limit for viewing—and once that limit is hit, the app auto-closes.

The creators: On top of avoiding pitfalls faced by major UGC platforms like YouTube and TikTok, Clockwise is designed to make things easier for creators, too.

The app says it does “all of the heavy lifting” by taking creators’ already-made catalog of content, re-editing the videos for its viewer demographic, and uploading them to its app.

It’s not clear if those creators will get a slice of revenue. On ClockwiseTV’s website, it says subscription revenue “directly funds built-in screen time tools, a guaranteed safe space, and real human review to make sure every video your kid sees is educational, high-quality, and perfectly age-appropriate.”

ClockwiseTV is currently open for early access, and says “Founding Families” who subscribe now will get their first year for $39.99.

WATCH THIS 👀

The episode: Meta just agreed to a massive $17 to $18 billion settlement over child safety and addictive platform design. But will it be enough to spark real change?

On the latest installment of Creator Upload, hosts Lauren Schnipper and Joshua Cohen delve into Meta's settlement terms—including controversial contingencies that pressure TikTok and YouTube to follow suit—before welcoming Portal A co-founder Zach Blume to the show.

Tune into the full episode to find out more about Meta’s next steps and hear Blume’s breakdown of how Toyota and Lexus act like premium entertainment studios on YouTube. It’s all right here on Apple Podcasts and Spotify.

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Today's newsletter is from: Emily Burton, Drew Baldwin, Sam Gutelle, and Josh Cohen.