• Barry Diller isn't ready to slow down.
• The 84-year-old media and tech exec says he wants to keep working as long as he can be engaged and useful.
• Diller says he isn't focused on his legacy. He says it's "boring" to look backward.

He may have run Paramount, built the Fox television network, and just pulled a buyout offer for MGM Resorts, but media and tech executive Barry Diller says he's not done yet.

He has a "motor inside" that just won't stop, Diller said Thursday at Business Insider's The Long Play in New York.

"I'm still curious," he told Peter Kafka, BI's chief correspondent. "If I can be engaged and hopefully be useful, then OK."

"At some point, someone will tell me in some masterful way, either it's over or, in another way, it will be over," he said, alluding to the final bow. "I will either pay attention, or not, and they will drag me out to the heap."

Diller's desire to keep leading companies means staying on top of major technological changes, such as AI.

"I am, at any point, ready to change my mind based on events of that moment," he said. "I don't think whatever the past process is should educate that," he said.

At People Inc., Diller has overseen multiple strategy shifts. The company is evolving from print to a digital business, and like other publishers, it's had to adjust to significant Google traffic declines.

On Thursday, People Inc. laid off 195 workers, according to a memo from its CEO, Neil Vogel, which Business Insider viewed. The company cut workers from its "print and legacy web businesses," while adding hundreds of staffers in other business areas that it hopes to grow, the memo said.

Diller told Kafka that People's layoffs were a sign that its print business was in a "steady kind of decline," and that it was shifting its workforce to focus on new business priorities.

Diller's time isn't solely focused on business: He's also worked on various public-interest projects, such as developing New York's High Line and Little Island alongside his wife, Diane von Fürstenberg.

On Thursday, he teased a coming project for Los Angeles, too, but wouldn't reveal details.

Despite taking joy in seeing satisfied attendees at Little Island on the Hudson River, Diller said he's not focused on his public legacy.

"I don't do legacy," he told Kafka. "If you say legacy, it kind of means all you're doing is looking backward, and that's just boring to me."

• Barry Diller says he tried to buy all of MGM because real-world experiences like a trip to Las Vegas are a strong hedge against AI.
• He said the deal fell apart because he didn't want to take on debt or raise money from third parties.
• Diller spoke to Chief Correspondent Peter Kafka at Business Insider's The Long Play.

Media mogul Barry Diller thinks businesses that operate in the real world have a strong protective moat against AI.

That was the inspiration for his company People Inc.'s June bid for MGM Resorts International's casino and hotel business, which he called "forever assets."

As some consumers turn to AI chatbots to complete tasks like buying plane tickets or managing subscriptions, digital-only businesses could get boxed out. That creates real risks for internet brands like Expedia Inc., where Diller is an investor and board member. It's less of a problem for companies whose businesses exist in the real world, he said.

Nothing is going to replace Las Vegas, Diller said — and no one's going to buy another one. Gaming is only part of the equation, he said.

"No disintermediation is coming between a person who wants to go to a place, and that place," he said, speaking to BI's Chief Correspondent Peter Kafka at Business Insider's The Long Play event in New York on Thursday.

People Inc. first took a 27% stake in MGM in 2020. The company, which operates magazines such as Food & Wine, People, and Southern Living, later offered to buy the Las Vegas brand outright in June but withdrew its bid in September.

Diller said the deal fell apart after he became uncomfortable with the proposed structure, which involved taking on debt and asking third parties for money.

MGM later offered to buy People Inc. instead, but told investors on Wednesday that it had shelved the plan. Diller said it was "highly unlikely" that MGM was interested in People's magazine assets, but rather it had hoped to buy back People's MGM shares.

People remains MGM's largest investor, though it has agreed not to buy more than a 29.9% stake in the company and to vote with MGM's board in connection with a change-of-control transaction.

People, which, beyond its magazine portfolio, also owns stakes in The Daily Beast and the car-rental company Turo, laid off 195 workers on Thursday, per a memo from CEO Neil Vogel, which Business Insider viewed. The vast majority of impacted staffers worked on its "print and legacy web businesses," the memo said. The company has "added 320 new employees so far in 2026," it said.

Diller told Kafka that the layoffs were a sign of a healthy company that has a profitable print business in a "steady kind of decline."

"We've been transferring out people in these legacy businesses and transferring in people to do the new work," he said.

Diller is a longtime media operator. He served as chairman and CEO of Paramount Pictures in the 1970s and 80s, before joining Fox Inc. and helping to start Fox Broadcasting with Rupert Murdoch in the mid-1980s. He then worked at QVC before serving as CEO of IAC and taking on roles at Expedia Group. He is on the board of directors at MGM.

• YouTube's ad revenue fell short of analysts' expectations for the third quarter.
• Its parent reported $11.2 billion in Q3 ads revenue, under analysts' $11.43 billion estimate.
• The company said it now has 150 million YouTube Music and Premium subscribers, up from 125 million in March 2025.

YouTube's ad revenue growth slowed down, missing analysts' estimates in the third quarter.

Its parent company, Alphabet, reported $11.2 billion in third-quarter YouTube ads revenue, a 9% increase from a year ago. That falls below the $11.43 billion analyst consensus estimate. Its ads revenue growth also slowed from the previous quarter, when it pulled in about $11.1 billion, a 13% increase from the previous year.

Beyond YouTube, Alphabet missed expectations in other areas of its business, including on overall revenue. In a bright spot, it beat revenue estimates for its cloud business.

The company's shares were down over 10% in after-hours trading.

While YouTube's ad revenue was weaker than expected, it wasn't all bad news. The company said it now has over 150 million YouTube Music and Premium subscribers, up from 125 million in March 2025. The company said its subscriptions business was growing faster than ads.

YouTube has also been the envy of rivals in key areas like TV viewership. Its share of US television viewership was about twice that of Netflix in August, according to recent Nielsen estimates. Over a third of YouTube's third-quarter ad revenue came from the living room, Google's chief business officer Philipp Schindler said on Wednesday.

Netflix, meanwhile, walked back its full-year ad revenue expectations during last week's earnings. The streamer lowered its ad revenue forecast from $3 billion to $2.7 billion after experiencing delays around the rollout of its ad products. It laid off about 1,000 workers earlier this month.

This week, Instagram unveiled an overhaul of long-form video features seemingly designed to counter YouTube and bolster its presence on TV screens.

"Everyone in streaming is chasing YouTube, and even Instagram is going to pivot their strategy based on the success that YouTube's had," said Ross Benes, a senior analyst at EMARKETER, Business Insider's sister company.

• Influencer marketing can be messy and unpredictable.
• We asked top creator marketers about the main challenges they face when running campaigns.
• Marketers said choosing talent, approving content, and forecasting reach create the most headaches.

Influencer marketing has ballooned into a $12 billion industry in the US. And yet, running campaigns can still feel unpredictable.

Business Insider asked more than a dozen executives at top brands like Poppi, E.l.f. Beauty, and the National Football League what challenges they face when working with creators. Three common pain points emerged.

First, it's tough to find relevant talent amid a growing pool of content creators. It can also be tricky to agree on content copy when balancing a brand's messaging goals with the creator's own voice. Lastly, campaign performance can be erratic as social-media algorithms become more personalized and harder to crack.

Buying influencer ads, unlike TV spots or display ads, requires a human touch. It's tough to automate (despite some attempts to do so). Forty-five percent of brands said they relied on manual processes like spreadsheets, emails, and DMs to run creator campaigns, according to a June survey of 209 executives conducted by Northwestern University and LTK.

"We're dealing with people, and making content is their time and their business, and it's hard," said Lindsay Burstein, senior director of integrated social and communications at Keurig Dr Pepper. "We're always looking for ways to do it faster and in a way that feels more real-time so that we're keeping up with the pace and the culture of the internet. But also knowing that these are people. They have lives. They have other commitments."

Read on for more details on the common pain points that emerged from our conversations with marketing executives at 14 brands. These execs were recently featured in Business Insider's 2026 list of innovative influencer marketers.

1. It's hard to find the right creators for your brand when there are so many

• "The landscape of the influencer, creator, and affiliate model is changing every single day, and new people are coming in and identifying as an influencer," said Patrick O'Keefe, chief integrated marketing officer at E.l.f. Beauty. "I would love a model or a plan or a program that would capture all the new people coming into this space in real time."
• "We've just seen this space get so much more saturated than it ever has before," said Kiara Kempski, vice president of global consumer marketing at The Knot Worldwide. "The game of scale is totally changing."

2. Breaking through the noise

• "The feed is so loud right now," said Anna Doré, Rothy's vice president of brand and communications. "In this AI-driven algorithm world where we're all being served the same content on the feed, we, more than ever, are going to be looking to great tastemakers."
• "There is a ton of content that's just content for content's sake that's out there," said Ian Trombetta, the National Football League's senior vice president of global social, creator, and content marketing. "The creative bar is going up in order for us to drive that organic reach and engagement."
• Ninety to 95% of the content that we see in our own feeds is not from accounts we follow, Keurig Dr Pepper's Lindsay Burstein said. "Followership matters a little, but not nearly as much as I think it once did because the algorithms just don't favor it the way that we used to."

3. Agreeing on content that works for both a brand and a creator's audience

• Some brands "are a little bit too prescriptive and don't allow the creators to do what it is that they really are good at, which is understanding their audience and how to create great content and formats that work for their audience," the NFL's Trombetta said.
• "Overbriefed" projects are "not the business that we want to be in," said Sophia Sesto, Poppi's vice president of culture. "We want to take these opportunities and work with the talent to make something special" and "lean into their personalities and let them carry the brand forward with us."
• "For a long time, the industry treated creators as ad placements," said Samim Sadrzadeh, director of creator content and partnerships at Disney. "We think that significantly undersells the value they actually bring."

• "We start from a pretty simple place, which is creators know their audiences better than we ever will," said Stacy Martinet, Adobe's chief content and creative officer. "The most effective approach has been to treat creators as creative partners, first and foremost."