Creative Control

Last week, we took a trip to VidCon in Anaheim, California, to meet up with some of the top creators in the industry. Joel Bervell, a fourth-year medical student at Washington State University, rose to fame on TikTok for calling out racial inequities in the healthcare system. One of his first videos, posted early on in the pandemic, taught people that pulse oximeters can overestimate oxygen saturation on people with darker skin—a fact with serious implications for Black COVID patients who weren’t receiving the necessary care. In our conversation, Joel talked about the myths about race that he’s encountered in medical school and how social media can be a powerful educational tool.

SuperOrdinary launched in 2017 as a way for U.S. brands to reach consumers in China. The company has since expanded to working with creators in other international markets. SuperOrdinary cofounder and CEO Julian Reis explains how his company is further leaning into what he calls the “supporter economy”—and how he’s navigating operations amid geopolitical tensions.

Founded in 2017, Cameo is a platform that allows people to buy custom messages from celebrities to send to their family and friends. The company has expanded the business and created a viable revenue stream for celebrities and creators—even for those who may not be in the traditional Hollywood spotlight. Cofounder and CEO Steven Galanis believes the company amounts to a public utility, connecting celebrities to fans in a direct, accessible way. He shared his perspective on where Cameo is headed, and why its future may or may not involve AI celebrities.

AI art generators such as DALL-E, Midjourney, and Craiyon have gained noticeable attention in the past months. But like so much of what AI touches, there are some big questions that need answers: Who owns the images that feed into these generators? Who owns the images they produce? Entertainment lawyer Wynton Yates shares his perspective on AI art generators, copyright infringement, and the legal questions being debated right now. And transmedia artist Stephanie Dinkins dives into how she uses AI in her work while maintaining her curiosity and excitement for the future of art and technology.

This is the third of our special series about fandom. To start from the beginning, listen to our episodes from the past two weeks!When it comes to fan creators and making money, copyright law is pretty strict—any unlicensed use of a property that doesn’t fall under fair use (like the characters from Star Wars, for example) is considered copyright violation. But at the same time, plenty of fan merchandise and other creations, both for-profit and not, proliferate online and at conferences. Afterall, fandoms can be their own marketing machines for profitable franchises, so companies don’t always crack down on violations. That is, until they see their profits or trademarks threatened—as was the case recently with Netflix and The Unofficial Bridgerton Musical.So, is it possible to encourage and protect the inspiration-fueling fandoms while still honoring the original authors? What’s the line between derivative and original? And most importantly, what’s werewolf erotica got to do with this?

This is the second of our special series about fandom. To start from the beginning, listen to last week’s episode!Being part of an active fandom creates close communities, even families, especially for those who haven’t found any shared interests with friends in other areas. And after several exoduses from various platforms, some of the biggest fandom spaces are fan-operated, like the fanfic archive AO3. But within these communities, people can face discrimination, gatekeeping, and other obstacles around identity, body type, and income. While some fans might find wild success with their writing or artwork, others have experienced rampant harassment and threats—and the difference has a lot to do with who they are.So how do fan creators balance independence from big platform companies with the challenges of moderating inclusive communities?To see some of the fantastic costumes Yalda’s created, check out her Instagram @yaldamn.

‘The Witcher’ TV show might not seem like the most natural inspiration for enthusiastically queer romance writing, but for some fanfic authors, it’s a world rich with creative inspiration. Fanfic writers, especially those missing authentic representation in mainstream media, have long used their own writing to make stories that speak to them. And fandom communities, once niche conventions and now massive online archives and popular forums, offer welcoming spaces to explore and build friendships.This is the first of our special series about the many worlds of fandom. To see the (explicit!) fanart of Gulliver’s Travels mentioned in the episode, head to the Met Museum’s archives.

Next week, we’ll be back with a special series of episodes about fandom—covering fanfic, fan art, cosplay, and all the passion that goes into building these communities. We’ll also be unpacking the hurdles fan creators face, from harassment to legal issues, and how these challenges affect the wider creator economy.

Since the last time we discussed the efforts to ban Tiktok, we’ve been hearing more about future legal challenges to these restrictions and the international impact they would have.So to get some different perspectives on Tiktok’s actual security risks and the courtroom sagas already shaping up, we talked with Timothy Edgar and Anupam Chander. Timothy is a professor at both Harvard and Brown, specializing in cybersecurity, and Anupam is a law professor at Georgetown who focuses on global regulation of new technologies. Both experts emphasized how banning Tiktok opens up a lot of new questions about how tech companies, specifically social media platforms, are treated in the U.S. and other countries. Because, while other countries including China and India have banned certain apps in the past, an American ban on Tiktok would send an entirely new message about how we do—or don’t—want to communicate with the rest of the world.

This year marks the 50th anniversary of hip-hop, a genre that’s gone from a niche art form to a cultural and financial powerhouse across the world. But with that huge burst of growth, are the true hip-hop creators getting their due? And what role will AI play in hip-hop in the next 50 years?To help us unpack hip-hop’s history and future, we talked with Sacha Jenkins. Sacha is a filmmaker, musician, and the creative director of the media company, Mass Appeal. He’s also the cocurator of Hip Hop: Conscious Unconscious, a photo exhibit presented by Fotografiska New York and created in partnership with Mass Appeal.