• Influencer marketers from Disney, the NFL, and more shared novel ways they're using platforms today.
• They're embracing Substack for cultural cachet, Threads to experiment, and YouTube for entertainment.
• Brands are also bringing creators in earlier, treating them more like creative partners.

Creators are jumping among an ever-wider mix of platforms and formats — and brands are scrambling to follow them.

We asked the most innovative marketers working with influencers which platforms and tactics have their attention right now — and why.

Marketers from Disney, e.l.f. Beauty, and others told us they're using platforms like TikTok to own the red carpet, Substack to align with tastemakers, and Threads to experiment.

"YouTube is a home for creators. TikTok is a great way to get discovery," said Ian Trombetta, the National Football League's senior vice president of global social, creator, and content marketing. "And then Instagram is another big one for us as it relates to discovery. Even platforms like X and Reddit have a really important role to play."

Beyond platforms, brands like Keurig Dr Pepper are also exploring ways to work directly with creators, involving them earlier in the campaign process.

"A major shift has been pivoting away from rented reach to true collaboration," said Samim Sadrzadeh, Disney's director of creator content and partnerships. "For a long time, the industry treated creators as ad placements. We think that significantly undersells the value they actually bring."

Substack, Threads, and more

YouTube and creators are taking over the living room, and marketers like e.l.f. Beauty and St. Jude's fundraising organization ALSAC are leaning in, not wanting to be left behind.

"We have a lot of plans around long-form content, and that's a great place to show up," said Patrick O'Keefe, e.l.f. Beauty's chief integrated marketing officer. "We've been on YouTube for years. We're now looking at it from the lens of entertainment."

Others, like Poppi and Rothy's, are embracing the newsletter platform Substack to partner with creators. For some creators, Substack has become a way for them to get more personal with their biggest fans. That helps Poppi plan collaborations, said Sophia Sesto, Poppi's vice president of culture.

Yahoo has found value in Meta's Threads as a way to try out ideas in a lower-key environment before putting them out on bigger platforms, especially if it's jumping on a cultural moment and isn't sure how the effort will go over. When Taylor Swift released "Patient Zero," Yahoo riffed on it with a Thread that tied the "Os" in its name to the song.

"I think it's a little less precious over there, and it feels like a fun place to kind of gut check certain things, see how they'll perform," said Kemma Kefalas, Yahoo's senior director and head of Creative Lab. "It's just been a nice kind of litmus test for us."

Disney has especially found success with TikTok's Live feature, finding it a customizable way to build excitement for premieres. For "Zootopia 2," it had the viral squirrel character Nibs interview cast on the red carpet, while internet personality Carter Kench played host for the "Hannah Montana 20th Anniversary Special."

"Those moments work because we treated the platform as a canvas for a new kind of storytelling that connects directly to audiences in real time," Sadrzadeh said.

Brands are going direct

Platforms may always be a necessary part of doing business with creators. But going direct has become a bigger buzzword as many brands seek to bypass platforms entirely.

Keurig Dr Pepper, for one, wouldn't typically hire a creator through a platform's marketplace, said Lindsay Burstein, senior director of integrated social and communications, using TikTok as an example.

"We would hire the creator, have them post on TikTok. Then we have the ability to use that content and distribute it across multiple channels, but slice it up in different ways that make sense for that channel."

Influencers spent a long time trying to convince marketers to take them seriously. This year, marketers are expected to spend $44 billion with creators, more than tripling in five years, per the Interactive Advertising Bureau.

As brands increasingly treat creators as long-term partners, they're engaging with them earlier in the marketing process.

Yahoo's approach is to find creators who are entertaining and figure out how to insert itself into their work, rather than vice versa, as it did with TV persona Kyle Cooke to promote its new Yahoo Weather app.

"We're working with them for the entertainment that they bring to people, and we'll Yahooify it," Kefalas said. "Our briefs are often loose in those regards. We're not doing a lot of 'talk to camera, promote products' kind of thing. We've gotten a lot of positive feedback from creators that they've loved that opportunity to just do what they do best."

Serbs voted “Students Win” without knowing what their program offers, it doesn’t even matter, “anyone is better than Vučić.”

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Contact us: info@strategic-culture.su

What to make of the present Serbian moment? Post-Milošević politics is closing a two-and-a-half-decade cycle, standing on the threshold of a new era whose dynamics mirror the old. But history does not repeat; it rhymes. Eerily familiar patterns, driven by traits of the collective Serbian psyche, are re-emerging, even as external and internal material conditions chart a divergent course.

Color Revolutions are quite simple on a level identical to basic marketing. Why does the average person opt to pay a considerable premium for Nikes over some generic basketball shoe? There is top-down vertical advertising at the first level, but this is later surpassed by horizontal peer to peer viralization which leverages on social acceptance. Here this is a simple combination of Edward Bernays’ 1923 work, Crystalizing Public Opinion, his 1928 work, Propaganda, combined with Gustav Le Bon’s 1895 work The Crowd: A Study of the Popular Mind. Then of course there are Saul Alinsky, Gene Sharp, and Sharp’s student and Otpor! leader, Srđa Popović. But since the Arab Spring series of Color Revolutions, social media starting with Twitter became a critical factor.

There resides a great strength in social media, the TikTok generation, which also characterized by and large the foreign NGO-backed “Student” movement itself. The “Student list” came to power without clearly communicating to its own voters what exactly they would do on economic, territorial, and foreign policy matters if elected. On October 26th, they were placating Serbian nationalists and Eurosceptics on Russian television to absolve them of fears which in reality they are justified in having. We saw this also with Magyar in Hungary, so this part of the play’s script was not only already rehearsed, but had seen its opening night in the Hunnic lands to the north. But the “Student List” color revolutionaries did not wait long, on October 27^th, Ilija Srdanović, lead candidate of the Student List told the U.S. funded Radio Free Europe that the new government will continue EU integration and the EU-mediated dialogue with Pristina, we presume, towards Kosovo recognition.

Screenshot from RFE/RL Interview with Srdanovic

What Serbs before the election were told by the “Student List” was “Trust me, bro”, a gamble that a “majority” of people in the small Balkan country were apparently willing to take. We will not even discuss the improbability of over 600,000 new voters rising from graves or crawling out of strollers to vote, as Vučić is not challenging the results, even though the “Student List” Color Revolutionaries expected him to.

That fact alone relates to a broader economic and military crisis which looms overhead, and will be the subject of further analysis which will better explain why Vučić is in the optimal position politically as an opposition leader over the course of the coming years. But on that note, our prior analysis of the EU/NATO drive to war with Russia in 2029/2030 is all but certain; see Still a failure: The City of London backs EU’s €90 billion Ukraine war-chest.

The vaguemaxxing approach perfected at Occupy Wall Street sixteen years ago allowed the anti-Vučić opposition to present as a Rorschach blot of sorts; appearing as anti-EU/NATO nationalists to the nationalists and appear as pro-EU liberal to the liberals. Though, to wit, most sophisticated-enough liberals understood the strategy: to fool the “under-educated, Orthodox, working class, country-bumpkin nationalists”. This is part of the problem of the Serbian professional managerial class “intelligentsia” as Archibald Reiss understood over a century ago, and as we will discuss later on in this piece.

To understand the present moment requires grasping the years of betrayal that followed the post–Cold War era’s first color revolution, which unfolded in Belgrade twenty-six years ago. We outline those fifteen years before the rise of the Serbian Progressive Party for two important reasons; first to set the record straight on the actual condition of the “selling out” of Serbia as those new to the Serbia story are prone to believe the “Student list” ADHD propaganda that Vučić did these things, and second, perhaps more importantly, as a funhouse mirror forecast of sorts, given that we are nearing the start of a new rhyming historical cycle (back towards chaos and betrayals). However, the broader global context has changed. NATO is in a proxy war against Russia in Ukraine. Serbia is threatened on all sides, and is obviously both the lowest hanging fruit and the “punching bag” for the EU/NATO: what they cannot inflict upon Russia, they will inflict upon Serbia, which they regard as “little Russia”.

October 5^th – The “Bulldozer Revolution” – Color Revolutionaries storm the Parliament building and overthrow Milošević

Recall back in October, 2000; after winning the election, DOS (Demokratska opozicija Srbije), whose representative at the time was Vojislav Koštunica, the ruling party Socialists hastily betrayed and extradited their man, former president Slobodan Milošević, to an ad hoc tribunal established by bodies that had no jurisdiction over it. Immediately before the election, the sentiment of the people and the opposition movement “Otpor” was that anyone was better than Slobodan Milošević; they promised prosperity, peace and stability, a state without corruption or the mafia, and the people believed it. Following the election results, celebrations lasted for days with the slogan “He’s finished” and with hope for a better tomorrow. Their “better tomorrow” never came.

Serbia was in an abyss from 2000 all the way to 2012, around 1200 state-owned companies were sold for chump change, largely to foreign interests. These had been not only a mark of sovereignty, but also provided fair and reliable wages that working families relied upon. Because of the leaders of the DOS, Serbia was economically destroyed in the years that followed. When it was believed things couldn’t get worse, they proved Serbs wrong. Serbia was ruled by a party whose members were not in agreement regarding politics and the path they wanted to take, for all that united them was the rancid combination of Western backing and opposition to Milošević, (and this is the same contradiction we find with the “Student government” today).

This was evidenced again in 2003 with the extradition of the president of the opposition Radical Party, Vojislav Šešelj, to the Hague Tribunal, where he remained until 2014 and was never convicted, and released and returned to Serbia in 2016 as the result of back-channel work done under Vučić in coordination with the Radical Party (an effort which this author participated). Later in that same year of 2003, just a month after Šešelj’s extradition, Prime Minister Zoran Đinđić was likely assassinated by members of the Serbian security establishment who feared that Đinđić would continue to extradite more Serbian patriots, which further weakened an already shaken state. Following this and the failed presidential elections, the disagreements between the leaders of DOS reached a culmination and the party split into two fronts, DS and DSS. During 2003 and 2004 Serbia had no president but rather a string of acting presidents: first Nataša Mićić (Civic Alliance of Serbia), who held that duty for three months, then Dragan Maršićanin (DSS) held the role for a month, then Predrag Marković (G17plus) performed the function for three months, after which Boris Tadić, of the Democratic Party (DS), was elected president in July 2004.

To make themselves more acceptable to EU membership, Serbian laws were changed and a new Constitution was adopted in 2006, during the term of President Tadić. In that constitution, Kosovo and Metohija were placed in the preamble of the constitution supposedly to emphasize the significance of the fact that Kosovo and Metohija is part of Serbia, forgetting to emphasize that the preamble of a constitution is not necessarily a binding part. Immediately before the adoption of the 2006 Constitution, the State Union of Serbia and Montenegro was dissolved, leaving Serbia landlocked. This was the culmination of a Western-instructed independence referendum, made possible when Serbian authorities previously signed the Belgrade Agreement to restructure relations between Serbia and Montenegro, where there we saw the renaming of the Federal Republic of Yugoslavia into the Union State of Serbia and Montenegro before its eventual split. A questionable constitution was adopted. At that moment, Serbia had no real army, the “Democratic” authorities made sure of this during that period, which in turn laid the perfect groundwork for the ethnic Albanian declaration of independence of Kosovo and Metohija from Serbia in February 2008. Serbia had no army to defend it, the people took to the streets and protested, but since preserving Serbian sovereignty was not on the list of Western/NGO requirements of Serbia, nothing came of it. Nota bene: this is what happens when protests are without mass institutional support (foreign or domestic); the elites weather them and people’s spontaneous protests fizzle out and demoralization sets in. Sustained protests for years requires massive organization and high levels of funding and coordination.

After this, Serbia under Tadić signs the Stabilisation and Association Agreement with the EU. In 2008 Serbia experiences an economic crash during the global crisis engineered by Wall Street and the City of London (which as an aside led to the next round of Color Revolutions in the form of the Arab Spring within two years), the loss of jobs, and a spike in the euro exchange rate. After that, the then- Democratic Party (DS) authorities under President Tadić extradited more Serbian heroes to the Hague Tribunal: Republika Srpska President Radovan Karadžić in 2008, followed Ratko Mladić and Goran Hadžić in 2011, in exchange for which Serbia received candidate status for EU membership.

Archibald Reiss, the Swiss criminologist and Serbophile was so moved by the Serbian spirit, unity, and sacrifice during the First World War that he made Serbia his home, but in equal measure found himself outraged and indeed demoralized by the levels of corruption, opportunism, and classism among the elites both during and after the war. His insights into the Serbian mentality tell us a lot about what we have just seen, or rather, why things played out the way they did. Reiss meticulously dissected the tragic rift between the noble, heroic ordinary people and a self-serving, corrupt intellectual and political elite. Reiss would have viewed the foreign-backed NGO color revolution that ousted Vučić as little more than another manifestation of the Serbian elite’s moral decay, naivety, and subservience to external powers, and also their sense of entitlement lording over the Serbian masses, in Ottoman style, but worse for it requires manipulating and playing upon Serbian patriotism, sense of duty, and their deep rooted commitment to both personal and collective freedom. Reiss would sharply lament how the populace, endowed with immense bravery yet often prone to political short-sightedness and easily gas-lit by grand rhetoric, allowed themselves to become pawns in a geopolitical game orchestrated by foreign money and nefarious interests. He would fiercely criticize the urban “intelligentsia” and opportunistic political actors for their uncritical envy and imitation of foreign masters (what today we would call a product of autochauvinism combined with foreign soft power acculturation), pointing out that in exchanging one ostensibly “corrupt autocrat” for leaders beholden to external NGOs, Serbia merely traded internal political clientelism for foreign subservience. To Reiss, actual national sovereignty and social justice could never be gifted by foreign-funded apparatuses; rather, by relying on foreign interventions instead of conducting a deep, self-reliant moral regeneration from within, Serbians had once again fallen victim to their tragic flaw: letting the “king of money” and corrupt elites dictate their destiny while losing sight of their own authentic identity.

Čujte Srbi: čuvajte se sebe – by Rodolphe Archibald Reiss

Reiss observed that the Serbian political elite and the self-proclaimed intelligentsia flipped wildly between a sense of superiority over their own populace and deep-seated envy of wealthier, more advanced foreign nations. Their idea of modernizing Serbia was not to build on authentic national virtues, but to copy external models superficially (today, the EU or the ‘Nordic model’) while harboring a hidden disdain for the common Serbian peasant (Vučić voters, derided as Sendvučić, voting in exchange for sandwiches). Modernization, in that sense, was a vanity project rather than a matter of national survival.

Magyar offers congratulations to the Student List

So now here in late October 2026 we hear “He’s finished” on the streets. Once again, Serbs have bought the lie. Once again a state without corruption, without a mafia was promised. Serbs voted “Students Win” without knowing what their program offers, it doesn’t even matter, “anyone is better than Vučić.” The paradox is that now the state will be led by the very people who ruined it in the period from 2000 to 2012 and to finish everything they couldn’t back then. We can forecast the return of the Hungarian separatist movement in Vojvodina, which flourished in the early 2000s with the support of the Provincial Government headed by Bojan Pajtić in the period from 2004 to 2009, who is now on the Students Win parliamentary list. Without Orbán in Hungary, and specifically with Magyar there in charge, we can all but guarantee it. But as we have said, war is on the horizon. Where the Russian army situates by 2028 will determine much. Where the U.S. will situate after presidential elections in November of that same year will determine the rest.

Follow Joaquin Flores on Telegram @NewResistance or on X/Twitter @XoaquinFlores

West Virginia has sued TikTok and its parent company, ByteDance, accusing the social media giant of deliberately keeping children hooked on its app while exposing them to sexualized content and potential predators. The lawsuit filed Thursday alleges TikTok violated state consumer protection laws by using addictive features to encourage excessive screen time among children while…

West Virginia has sued TikTok and its parent company, ByteDance, accusing the social media giant of deliberately keeping children hooked on its app while exposing them to sexualized content and potential predators. The lawsuit filed Thursday alleges TikTok violated state consumer protection laws by using addictive features to encourage excessive screen time among children while…

Il sabato della piega aveva i suoi orari, i suoi bigodini e un posto sotto il casco. Per chi rispettava l’appuntamento settimanale dal parrucchiere, i capelli appena sistemati dovevano accompagnare il pranzo della domenica e resistere il più possibile nei giorni successivi. In vista di una cerimonia, poi, la prenotazione entrava nei preparativi insieme all’abito. Oggi a quel rito si affianca un’altra scena: lo specchio del bagno, le ciocche fermate con le pinze, il telefono appoggiato sul mobile e un tutorial da mettere in pausa proprio sul movimento del polso che continua a sfuggirci.

La piega domestica ha strumenti capaci di semplificare gesti che richiedevano una certa destrezza fra spazzola e phon. Per chi ha imparato a usarli, l’appuntamento in salone può concentrarsi sul taglio, sul colore, su un trattamento personalizzato, oppure sul piacere di affidarsi alle mani di qualcuno, come nelle hair spa, con i loro massaggi e rituali dedicati al cuoio capelluto. La piega professionale conserva il suo posto; intanto, la possibilità di ottenere un buon risultato da soli modifica le abitudini. Così possiamo avere i capelli curati anche il martedì mattina, senza organizzare ogni volta un’uscita dal parrucchiere. Merito di una vera e propria rivoluzione tecnologica che ha immesso sul mercato strumenti sempre più leggeri, aerodinamici, maneggevoli e sicuri, capaci di convincere anche le persone più scettiche e con minore manualità a cimentarsi nello styling fai-da-te. Al centro di questa svolta domestica c’è un trend che domina incontrastato da stagioni e che non accenna a tramontare: le onde. Ma per capire come si sta evolvendo questa tendenza e, soprattutto, come padroneggiare la tecnologia senza distruggere la fibra capillare, abbiamo interpellato Alessandro Maritato, affermato hairstylist e ambassador Dyson.

L’evoluzione delle onde: dalla rigidità al movimento naturale

Se le onde continuano a dominare i feed dei social e le strade delle nostre città, il motivo risiede nella loro natura democratica. “Le onde continuano a piacere perché sono estremamente versatili: ammorbidiscono i lineamenti, danno movimento e si adattano a lunghezze e tipologie di capelli differenti”, spiega Maritato. “Sono uno styling che riesce a essere elegante senza risultare troppo formale“. Tuttavia, l’estetica sta cambiando. Abbandonati i boccoli scolpiti e rigidi, le tendenze per l’autunno-inverno guardano ai volumi ispirati agli anni Novanta e a una texture che deve prima di tutto comunicare salute. “La vera tendenza è un capello che appare sano, curato e valorizzato nella sua forma, senza dare l’impressione di essere troppo lavorato”, prosegue l’esperto. “Oggi stanno evolvendo verso un risultato più naturale e meno costruito. Si cercano onde morbide, irregolari, con una radice leggera e lunghezze che mantengono elasticità. Non è più soltanto una questione di creare il riccio perfetto, ma di ottenere una texture bella da vedere e piacevole al tatto”.

Generazione TikTok: l’illusione del tutorial e il ruolo (insostituibile) del salone

La spinta verso l’autonomia nello styling arriva soprattutto dai social network. Le nuove generazioni imparano a dividere le ciocche e a ruotare le piastre scorrendo i brevi video su TikTok. Una democratizzazione dell’informazione che Maritato, divulgatore lui stesso, osserva con interesse: “Sicuramente le nuove generazioni hanno accesso a una quantità di informazioni e tutorial che in passato era impensabile. Attraverso TikTok e i social possono scoprire tecniche, imparare a utilizzare nuovi strumenti e sperimentare look diversi direttamente a casa. Questo ha reso molte persone più curiose e autonome nella gestione quotidiana dei propri capelli”. Eppure, replicare i movimenti visti su uno schermo non trasforma automaticamente un utente in un professionista. “Bisogna distinguere tra saper replicare un’acconciatura e conoscere davvero il capello”, avverte l’hairstylist. “Un tutorial mostra un procedimento ma non sempre spiega come adattarlo a una diversa densità, porosità o struttura. La stessa tecnica può dare risultati molto diversi da persona a persona”.

È qui che il parrucchiere smette di essere il mero esecutore di una piega per diventare un consulente d’immagine e di salute. Questa crescente autonomia domestica non rappresenta un rischio economico per i saloni, ma un’opportunità di evoluzione. “Se una persona impara a gestire meglio la piega a casa, può comunque continuare a rivolgersi al parrucchiere per i servizi tecnici, i trattamenti personalizzati e i cambiamenti di look o semplicemente regalarsi una coccola”, ragiona Maritato. “Il nostro lavoro non consiste soltanto nel realizzare una piega. Significa analizzare la struttura del capello, valutare la forma del viso, comprendere le abitudini della persona e costruire un risultato su misura. Il cliente deve percepire che non sta acquistando semplicemente una piega, ma un risultato costruito sulle proprie esigenze”.

I segreti tecnici per la piega perfetta a casa (e gli errori da smettere di fare)

Se gli strumenti di ultima generazione offrono un controllo impensabile fino a un decennio fa, l’errore umano è sempre dietro l’angolo. Maritato evidenzia come l’industria stia fornendo soluzioni sempre più avanzate per arginare i danni termici, introducendo ad esempio tecnologie ibride che lavorano non solo sul riscaldamento, ma sulla dissipazione del calore per fissare la piega e proteggere l’idratazione. “La tecnologia può aiutarci molto, ma il risultato dipende sempre anche da come la utilizziamo“, puntualizza. “L’errore più comune è utilizzare temperature troppo elevate, lavorare su sezioni troppo grandi o passare ripetutamente sulla stessa ciocca. Un altro errore è scegliere il prodotto di styling senza considerare se il capello sia fine, spesso, poroso o trattato”.

Per ottenere un risultato duraturo, l’esperto detta tre parole d’ordine: preparazione, controllo e raffreddamento. “Il primo consiglio è preparare bene i capelli: una piega riuscita comincia sempre dal lavaggio e dai prodotti adatti, applicando sempre un buon leave-in per nutrire e proteggere, per poi utilizzare prodotti pensati proprio per lo styling che definiscono e proteggono la chioma. Il secondo è eliminare l’acqua in eccesso e non iniziare lo styling su capelli troppo bagnati. Il terzo è dividere la chioma in sezioni: lavorare su ciocche ordinate permette di ottenere un risultato più uniforme in meno tempo”. Ma il vero segreto, quello che fa la differenza tra un’onda che crolla dopo un’ora e una che resiste tutto il giorno, è l’ultimo passaggio: “Lasciare raffreddare la piega prima di toccarla troppo è un passaggio spesso sottovalutato, ma importante per la tenuta. Il calore, da solo, non garantisce la tenuta: contano anche la tecnica e il modo in cui viene fissata la piega. È importante lasciare raffreddare completamente la piega prima di uscire o indossare un cappello”.

La “Skinification” dei capelli: meno stratificazioni, più cura della cute

L’autunno, con i suoi sbalzi di temperatura e l’umidità, è il banco di prova più severo. Per non ritrovarsi con la testa gonfia e crespa, la soluzione non è sommergere i capelli di oli e creme. Il rischio di esagerare con la stratificazione dei prodotti è altissimo. “Una routine efficace non deve essere necessariamente lunga: deve essere coerente con le condizioni del capello”, avverte Maritato. “I segnali da osservare sono la perdita di morbidezza, la maggiore difficoltà nel districare, la rottura, le punte che si spezzano e una chioma che appare opaca o perde elasticità. Se il capello è appesantito, invece, potrebbe esserci un eccesso di prodotti”. L’approccio vincente è il minimalismo mirato: “Consiglio di non sovrapporre trattamenti a caso, di utilizzare il termoprotettore quando si ricorre al calore e di alternare lo styling alle giornate in cui si lascia riposare la chioma”.

La vera frontiera, mutuata dal mondo della cosmetica, è considerare l’haircare esattamente come la skincare, spostando l’attenzione dalle lunghezze alla radice. “Oggi stiamo imparando a considerare la cura dei capelli in modo più completo, proprio come facciamo con la pelle”, conclude l’esperto, sottolineando l’importanza di trattamenti specifici a base di aminoacidi e attivi mirati per riequilibrare la barriera cutanea. “Prendersi cura dei capelli significa partire proprio dalla cute, creando le condizioni ideali perché i capelli appaiano più sani e voluminosi. La vera evoluzione della haircare è proprio questa: non scegliere più tra bellezza e cura, ma imparare a farle convivere attraverso prodotti mirati, strumenti adeguati e una routine personalizzata”.

I tool di ultima generazione per fare le onde a casa

Se c’è un marchio che negli ultimi anni ha contribuito più di altri a trasformare la piega domestica in un piccolo esercizio di tecnologia è Dyson, che con Airwrap ha praticamente creato una nuova categoria di styler ad aria. L’ultima evoluzione, Dyson Airwrap i.d., resta uno degli strumenti più completi per chi ama onde e ricci: asciuga e modella sfruttando il flusso d’aria, mentre la versione connessa permette di impostare nell’app MyDyson una sequenza personalizzata di avvolgimento, styling e colpo d’aria fredda in base al tipo e alla lunghezza dei capelli. Il nuovo cono affusolato consente inoltre di lavorare più vicino alla radice. Il prezzo, 549 euro a listino, lo colloca però nella fascia più alta del mercato. Per chi preferisce la manualità della piastra, la novità è Dyson Corrale CoolShine: le lamine flessibili possono essere utilizzate anche per costruire onde e ricci e, dopo il passaggio caldo, un accessorio removibile con tubi di rame sottrae calore alla ciocca per favorirne il raffreddamento. Le quattro temperature disponibili vanno da 145 a 210 gradi; i dati su maggiore lucentezza, minore danno termico e tenuta fino a 24 ore sono risultati dei test dichiarati dall’azienda e vanno letti come tali. Prima dello styling, fra i prodotti, si può abbinare la crema pre-styling Dyson Chitosan, scegliendo formula e quantità in base alla struttura dei propri capelli, senza trasformare la routine in una stratificazione indiscriminata di cosmetici. È proprio Maritato a ricordare che preparazione, scelta dello strumento e raffreddamento restano determinanti per la riuscita delle onde.

Per chi vuole replicare a casa una piega mossa senza trasformare il bagno in una postazione da backstage, gli strumenti più recenti lavorano soprattutto su due fronti: automatizzare il gesto oppure rendere più controllabili aria e temperatura. Il Dreame Air-Auto Oro appartiene alla prima categoria: è un arricciacapelli automatico da 32 millimetri che richiama la ciocca e la avvolge in entrambe le direzioni, con tre livelli di temperatura; può essere utile soprattutto a chi con il ferro tradizionale fatica a coordinare mani e rotazioni. Attualmente proposto a 169 euro sul sito del marchio, automatizza quasi completamente il gesto: la ciocca viene attirata sul cilindro da 32 millimetri, avvolta automaticamente in entrambe le direzioni e poi investita da aria fredda per fissarne la forma; tre temperature — 120, 140 e 160 gradi — permettono di adattare il lavoro a capelli più fini o più spessi. È probabilmente la soluzione più immediata per chi non ha mai acquisito dimestichezza con ferro e rotazione del polso, ma non è comunque banale l’utilizzo: bisogna impratichirsi all’inizio nella scelta della quantità giusta di capelli per ciocca, altrimenti se sono troppi o troppo pochi il risultato non viene.

Più vicino alla filosofia del multistyler è invece lo Shark FlexStyle IonCurl, che unisce asciugacapelli e styler e utilizza cilindri ad aria per avvolgere le ciocche, aggiungendo il colpo freddo per fissare il riccio: costa 349,99 euro, dunque resta sotto Airwrap pur giocando nella stessa area di utilizzo. La differenza, a questo punto, la fanno soprattutto budget, manualità e tipo di capello: spendere di più può significare avere più funzioni e possibilità di personalizzazione, ma per ottenere onde morbide e ben costruite non è più necessario partire automaticamente dal prodotto più costoso.

L'articolo Perché le onde fatte a casa si disfano dopo un’ora? Dalle temperature troppo alte all’errore di toccare subito i capelli: i consigli dell’esperto per una piega perfetta che duri tutto il giorno proviene da Il Fatto Quotidiano.

Watchdog says under-16 ban may affect older teenagers without passport or licence, and that ‘motivated children’ will skirt restrictions

More than 100,000 British teenagers risk being locked out of social media if they do not have a passport or driving licence when an under-16 ban is introduced next year.

Ofcom, the UK’s online watchdog, said about 150,000 16- to 17-year-olds do not own a passport or driving licence, which are likely to be needed to access age-restricted platforms.

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© Photograph: Peter Cripps/Alamy

© Photograph: Peter Cripps/Alamy

© Photograph: Peter Cripps/Alamy

The police investigation into a TikTok livestream in which a child with Down syndrome was encouraged to perform indecent acts has been completed, with the case file now before the attorney-general’s office to determine whether criminal charges should be brought.

According to Reporter, police sources confirmed that the cybercrime unit had concluded its investigation and forwarded the evidence to the Law Office for examination.

The attorney-general will decide whether the evidence establishes criminal offences and, if so, whether to instruct the prosecution of those involved. Alternatively, the case could be closed if insufficient evidence is found, or returned to police for further investigation or clarification.

The incident sparked widespread outrage in July, although the video had reportedly been posted approximately two months earlier. It showed TikTok users allegedly encouraging a child with Down syndrome to expose himself during a livestream.

As previously reported by the Cyprus Mail, three people were arrested on July 23 in connection with the incident, but all were subsequently released.

Two women were brought before the Nicosia district court, which rejected a police request to remand them in custody. A third suspect, arrested later that day, was released following questioning.

The case had prompted criticism of the police response, particularly after disability organisations questioned why those allegedly involved had not been identified sooner.

In July, the Cyprus Confederation of Organisations of the Disabled (Kysoa) accused the authorities of failing to act promptly, with its president, Themis Anthopoulou, questioning how members of the public could identify those involved when police had reportedly been unable to do so for weeks.

Kysoa also condemned the public humiliation of the child, describing the incident as abuse, and urged social media users to stop circulating the footage to prevent further violations of the child’s dignity and privacy.

Cerca de um mês após fazer sua estreia oficial nas redes sociais, a atriz Jennifer Lawrence, 36, revelou nesta quarta-feira (28) que adora usar uma conta anônima no TikTok para “provocar estranhos”.

Ao ser questionada por Alex Cooper, apresentadora do podcast “Call Her Daddy”, sobre sua relação com a rede social de vídeo, Lawrence afirmou que talvez esteja na hora de “sair das sombras”.

“Acho que talvez seja hora de tirar a máscara. Porque eu estou literalmente discutindo sobre ancestralidade vitoriana, sabe?”, ironizou a atriz.

Ainda sobre sua experiência na plataforma, Jennifer revelou que sua página principal de sugestões de vídeos tem como foco “aquelas rotinas longas de skincare, cabelo, muitas dicas para o cabelo e receitas”.

Apesar de afirmar que adora irritar estranhos, Lawrence destacou que nunca se envolveu em brigas públicas com celebridades, mas discute com estranhos quase todos os dias nas redes sociais de forma anônima.

Ao longo do episódio, a atriz também surpreendeu os espectadores ao confirmar que fará uma participação especial em “Jogos Vorazes: Amanhecer na Colheita” ao lado de seu antigo parceiro de cena na franquia, Josh Hutcherson, 34.

“Foi inacreditável, tão maluco. Foi a mesma equipe com quem eu trabalhei anos atrás. Foi tão emocionante! E o Josh, e o Woody… Foi lindo demais! O Josh e eu nem íamos ao banheiro sem estar com os braços dados um no outro. Foi lindo demais!”, relatou.

Previsto para chegar aos cinemas em 19 de novembro, o novo longa será ambientado 24 anos antes dos acontecimentos do primeiro livro, quando Katniss (Lawrence) e Peeta (Hutcherson) participaram dos Jogos Vorazes pela primeira vez.

Esse período no universo fictício é conhecido como “Massacre Quaternário“, quando 48 tributos dos 12 distritos foram convocados para os jogos, incluindo Haymitch Abernathy.

Jennifer Lawrence nas redes sociais

Após décadas sem usar nenhuma rede social, no começo de setembro, a artista surgiu de surpresa com uma conta no Instagram. Na época, até o primeiro post surgir horas depois, muitos fãs desconfiaram que o perfil poderia ser falso.

Com uma foto cômica na capa e sendo “obrigada” a estrear no aplicativo com o usuário @jlaw, Lawrence justificou a escolha do nome na bio do perfil: “@jenniferlawrence já estava em uso”.

“Estou dando uma chance para isso. E se alguém disser qualquer coisa negativa, eu vou parar. Imediatamente. Se alguém pensar algo cruel, eu vou saber. E eu vou parar”, disse ela, em sua primeira publicação oficial.

Na época, a norte-americana também usou os stories para frisar o recado. “Por favor, sejam atentos. Qualquer comentário agressivo ou maldoso pode afetar significativamente o bebê. Sou eu. Eu sou o bebê”, escreveu ela.

*Com informações de Nicoly Bastos, da CNN Brasil. Sob supervisão de Ana Beatriz Dias, da CNN Brasil.

Jennifer Lawrence confessa que não assiste aos próprios filmes

 

The U.S. joint venture of the social video platform rolled out a new food-focused discovery product as it seeks to build out its business.

• The startup world is littered with companies that tried to become the next YouTube.
• Andrew Morse is trying it again, anyway.
• Morse's pitch: a curated app that gives creators incentives a reason to give it exclusive content.

Are you sick of the algorithms that serve you video on giant platforms like YouTube and TikTok?

Or are you a video-maker who's sick of the algorithms that don't serve your stuff to would-be watchers?

Andrew Morse would like to talk to you.

Morse, who spent years working in big media (Bloomberg, CNN) and most recently in local news (The Atlanta Journal-Constution), is building Phareo, a startup he hopes will one day rival internet media heavyweights. The secret sauce, he says: his own AI-powered discovery engine that will make both video-watchers and video-makers happy.

This is, to put it politely, a very tall order.

But it's still worth talking about, since Morse is homing in on a problem you hear a lot about in creator circles these days: the sense that people who make content are getting increasingly bad deals from platforms, because they can't control who sees their stuff.

Phareo (the name is an allusion to Pharos, the ancient lighthouse of Alexandria) says it can solve that problem by giving creators real incentives to make exclusive stuff for the company, via levers like revenue share and options. Morse plans to launch in January with an initial group of 25 creators. The app will start out as a free, ad-supported service, but he hopes to eventually offer a paid tier.

I talked to him this week about his plans, the shifting media landscape, and why he's increasingly worried about the creator economy — at the same time he's launching a creator economy app. This is an edited excerpt of our conversation:

Peter Kafka: You have a classic chicken/egg problem: Consumers are not going to use a new app unless it has compelling content they can't get somewhere else. 
Content-makers don't want to put their stuff there unless there's a big audience.

Andrew Morse: It is the most important question we have to solve.
It starts with dissatisfaction, and it starts with a belief from consumers and creators, that they're not being currently served as well as they could be. So we're working with creators who believe that there has to be a better alternative.

We don't really have anything to lose, given the direction that the platforms are taking and given the overreliance that their creative work has on algorithms that don't serve them. We're going to build with creators and try to build a super-passionate core and grow from there.

But YouTube, TikTok, Reels, etc do a great job of giving me tons of video. And they have unlimited content. How do you move me over from the platforms I'm already using?

It's an ironic conundrum — we're trying to solve the discovery problem, but we have to be discovered ourselves.

Over the years, I've seen many companies say they're trying to solve a discovery problem. 
But it doesn't seem like consumers have a discovery problem. It's the content owners who have a problem getting their stuff in front of consumers. What's the incentive for consumers to move to a platform content-owners like? 


There's an inherent assumption that consumers are satisfied with the platforms. I don't think that that's true. I think consumers are on these platforms because they have to be. Whether they're getting what they want in an efficient way is an entirely different story.

Any advice for your former CNN colleagues who are now working for David Ellison?

Stay focused on the work. It's always the journalism that matters. 
And the truth and the facts and great storytelling will always rise to the top.

We have seen a steady stream of journalists leaving places like CNN and starting their own thing. Do you think that trend accelerates or stalls out as people realize how difficult it is to do solo media for a living?

I'm concerned about this creator economy — which is really about about businesses that have built themselves on the back of YouTube. If you go back to 2016, 2017, a number of really clever, really creative businesses were built on the back of social platforms. When the algorithms changed, it became almost impossible for these businesses to stay afloat. It was hard for us at CNN, but we had a big enough business that we were able to mitigate and ride the wave. For these other companies, it was disastrous. 


I think you're going to see more and more people trying to go out on their own — and that's what scares me. 
Because I think that the sands may begin to shift a little bit.

A series of messages published on social media Tuesday morning call for a wave of violent riots across Spain "inspired" by the recent chaotic events in France for Saturday, October 31, local outlets warned.

The post Reports: France-Inspired Violent Riots Are Being Urged in Spain for Halloween appeared first on Breitbart.

• Talon Krebs earns six figures as a TikTok Shop affiliate, posting up to 30 videos a day.
• He says anyone can get started with just a couple hundred bucks.
• Effective TikTok videos need a strong hook to give people a reason to stop scrolling.

Talon Krebs works full time as a TikTok Shop affiliate, promoting products on the app and earning a commission when shoppers buy through his links.

The gig earned the 23-year-old six figures last year, according to a 1099 form reviewed by Business Insider.

"As far as startup cost, TikTok Shop has to be one of the most profitable business models I've ever seen," he told BI.

Krebs said beginners can get started with a phone, a few products, and an understanding of what makes people stop scrolling. He shares three steps to turn TikTok videos into a source of income.

1. Build an account and meet TikTok Shop's eligibility requirements

Anyone can open a TikTok account, but affiliates need an established following to join TikTok Shop.

TikTok offers multiple routes into its affiliate program, Krebs explained. Its pilot program requires 1,000 followers but limits participants to a handful of posts a week, while the main program, which gives affiliates more flexibility, requires at least 5,000 followers.

Krebs already had about 24,000 followers on a personal account when he got started. He said he built the audience by posting about sports, current events, and other subjects he liked: "I was just posting stuff I was interested in."

2. Start with products you already own or would buy anyway

Krebs said he spent $100 to $200 on a handful of products when he first started. He chose items he needed anyway, like hoodies.

Affiliates can search TikTok's product marketplace for brands and products to promote. Krebs said they don't need a direct relationship with a brand to start making videos, though successful affiliates may eventually negotiate higher commissions or paid content deals.

For someone trying to keep costs close to zero, Krebs recommends looking around the house first. If an item you already own is listed on TikTok Shop, you can create a video about it rather than buying something new specifically to promote.

He also joined Media Labs, a community for affiliates that offered video feedback and weekly calls. He paid the $1,500 fee in six $250 monthly installments, putting his initial outlay — including products and his first community payment — at about $450.

Skip the community, use products you already own, and film with a phone and free editing tools, and Krebs said you could get started for essentially nothing.

3. Make videos that give people a reason to stop scrolling

A TikTok Shop video still has to work as a TikTok video. Krebs said the opening seconds matter most: The hook should get a viewer's attention, identify a pain point, or create enough curiosity to keep them watching.

In one of his most successful videos about a digital business card, he opens with: "Paper business cards are officially a thing of the past." The statement created some controversy, he said, but it got viewers' attention before he explained the product and how he used it as an entrepreneur.

Krebs tries to keep most videos between 30 and 50 seconds, though he said the right length depends on the product. Some products need more explanation, while others can be shown in a 10-second video.

He thinks of each video as a loop: The hook opens it, the middle explains or demonstrates the product, and the call to action closes it. Affiliates can tag a product directly in the video, allowing viewers to tap the orange shopping-cart icon, view the listing, and ultimately make a purchase.

Otto anni di tentativi per mettere a punto un sugo. Poi, a maggio, bastano quaranta secondi di video e la vita cambia. Natendrea Jones, 36 anni, South Carolina, si è svegliata una mattina con più di 300 ordini sul suo profilo commerciale e ha mollato il telefono per la sorpresa. “Sono caduta in ginocchio”, racconta a Business Insider. Fino a quel momento, la sua cucina era stata per oltre dieci anni un’attività di contorno: piatti di pesce per gli amici, qualche teglia venduta ogni tanto, mentre a pagare le bollette erano i capelli e le unghie delle clienti.

A far cambiare tutto è stato Gabriel Rivera, recensore di cibo con oltre due milioni di follower su TikTok, ordina i suoi pasti attraverso Facebook Marketplace e li assaggia dentro la propria auto. Quando si imbatte nell’annuncio di Jones, le offre 200 dollari per cucinargli quello che vuole. Lei pensa a uno scherzo. Non lo è.

Jones prepara una teglia traboccante di zampe di granchio delle nevi, aragosta, gamberi e ostriche. Non è ancora nel menu, ma diventerà presto il “Gabriel Special”. Il verdetto di Rivera, tra un boccone e l’altro, è netto: il suo condimento è “su un altro livello”.

L'articolo “Sono caduta in ginocchio davanti a 300 ordini in una mattina”: la storia di Natendrea Jones, la parrucchiera diventata regina dei piatti di mare per un video virale proviene da Il Fatto Quotidiano.

• Instagram is opening its arms to long-form video again.
• Adam Mosseri, Instagram's top exec, said longer videos will help the app stay "relevant."
• Instagram is testing tools for creators making episodic content. But will it pay for them?

Instagram's top executive, Adam Mosseri, has a plan to keep the platform "culturally relevant" — by making it more like YouTube.

Meta-owned Instagram unveiled an overhaul of long-form video features on Monday, including a test of horizontal videos called "Features." Taken together, the changes make the app feel a lot more like YouTube.

"We want to be the most culturally relevant platform," Mosseri said in an interview with content creators and founders of Press Publish, Colin Rosenblum and Samir Chaudry. "To do that, we just need to show up where people are."

The context: YouTube has become a major hit on TV screens, and there's a growing appetite for Instagram-native shows with recurring episodes.

"Subway Takes," hosted by Kareem Rahma, is a prime example of Instagram's strengths and limits. The show started in 2023 as a short-form interview series and, as it grew, expanded with longer-form cuts on YouTube and the streaming platform Tubi. Instagram, however, is where Rahma's show still has its largest audience of 2.4 million followers.

Instagram doesn't want people to go to YouTube or Tubi to see longer versions of shows like "Subway Takes." That's leaving ad revenue and user engagement on the table. Its new tools are designed to entice creators and viewers to stay on its platform.

Here are Instagram's latest video tools and how creators can use them:

• "Features" keep viewers within the Instagram ecosystem. Instead of leaving Instagram to watch the extended version of an interview or episode, it'll be relatively seamless to stay on Instagram and watch that longer-form content. Instagram's "Features" can be as long as 90 minutes, although the new format is, for now, only available to a limited number of creators in the US and Brazil.
• Instagram is feeding more content to its TV apps. Instagram is also pushing its "Instagram for TV" app further. The app will feature various video content on TV services like Samsung, Amazon Fire TV, Google TV, and now Apple TV. People can now watch a feed of content their friends are also liking or resharing on TV.
• Instagram-native shows can label their episodes more clearly with "Series." Within the main Instagram feed, Instagram is testing a way for shows on the app to seamlessly connect episodic content. Eligible creators can add videos to a Series, and a label appears over the content indicating that there are additional episodes. People can then watch those episodes in order from the start. This test is expanding to more countries through the end of the year.
• Clips can directly drive engagement back to the original video. Instead of clipping content and praying that the audience will go the extra mile of clicking on an account and finding the original, longer-form video, Instagram is letting creators link up to 8 clips to one long video.

This isn't Instagram's first time dabbling in long-form content.

In 2018, it launched IGTV, a long-form video format and stand-alone app. In 2020, Instagram rolled out a program that let creators earn money from those videos on IGTV. Four years after launching, the company sunset the IGTV app and shifted its video efforts to Reels.

There are a few key elements missing from Instagram's big leap (back) into long-form video.

You can't watch the video while continuing to scroll through Instagram, or multitask by opening other apps while keeping the Instagram content in a picture-in-picture pop-up. There also aren't automated transcripts and subtitles yet. A spokesperson for Meta told Business Insider that there are plans for these features.

Will creators get a slice of the ad revenue pie?

For creators, one key question and pain point looms: Will Meta share the honeypot?

Mosseri told Rosenblum and Chaudry that Instagram is thinking about ways to test pre-roll and mid-roll ads that could lead to a revenue split. However, he said previous attempts by Instagram to build a creator monetization system comparable to YouTube's Partner Program didn't prove beneficial for the platform.

"We spend more money than we make back by a long shot," Mosseri said of Instagram's previous efforts at broad revenue-sharing programs.

Mosseri said that in its previous iterations of content monetization, creators typically didn't produce more content than they already did for free, and the content they did create tended to be lower quality.

Still, Instagram will need to "figure it out" as it tries to crack longer-form content, Mosseri said.

"I don't think of platform payments or performance-based incentives or bonuses as a revenue driver," Mosseri added. "I'd be psyched to scale them up for any of these formats — as long as we're breaking even."

• Film producer Tommy Harper is shutting down his micro drama app VeYou after about six months.
• Harper, who sought to build the "HBO" of the genre, said he would still produce for other platforms.
• The micro drama space has shifted as tech giants push in.

The app that wanted to be the "HBO" of micro dramas is shutting down.

Prolific film producer Tommy Harper is shutting down his app, VeYou, after about six months. A message on VeYou said the service would end November 6.

Harper told Business Insider he would continue producing series, distributing them via TikTok's micro-drama app PineDrama, YouTube, and other partners.

Harper, whose credits include "Star Wars" and "Top Gun: Maverick," is one of several Hollywood vets trying to bring their prestige sensibility to micro dramas, the soapy, low-budget series that got their start in China and have exploded in the US.

The move shows how fast the space is changing as Big Tech companies lean in. Micro dramas — also called "verticals" — cost a fraction of a traditional feature-length movie, but apps often lose money because of the high cost of marketing, and VeYou didn't have massive financial backing.

"In the past year, TikTok, Meta, and YouTube all moved hard into short drama," Harper emailed. "When the three biggest attention platforms commit to a format, distribution is decided. The opportunity for an independent company is to be the best supplier to those platforms, not to compete with them for installs. So we're focused where we have the edge: making the shows."

Harper raised an undisclosed amount of seed funding for VeYou from investor S32, a venture firm started by Google Ventures founder Bill Maris, who's also backed 23andMe, Impossible Foods, and Nest. VeYou has made a handful of originals, starting with "Love Under Fire," a romance drama starring Kasey Esser, who wrote the series alongside Harper.

The micro drama market is changing fast

The micro drama space has changed dramatically in recent months.

In the past year, AI-generated characters have increasingly taken their place alongside human actors, and free, ad-supported offerings are competing with the "freemium" apps that had dominated the landscape.

A report by media consultancy Owl & Co. found two-thirds of films released by leading apps in the third quarter of this year outside China were AI-generated, up from 3% in the first quarter.

TikTok's free app PineDrama rolled out in January, and by the third quarter, it accounted for more than half of all micro drama views across 16 leading apps, according to the Owl & Co. report.

Other tech giants have also moved quickly into the space and made themselves bigger viewing destinations for micro dramas.

YouTube released a new feature that allows creators to bundle their short videos in a series of episodes or seasons, designed to be viewed sequentially.

On Meta, the dominant platform used by micro drama apps to acquire customers, some apps are running portions of their films lasting 20 minutes or more as ads to get people to subscribe.

Lori Golden-Stryer, the CEO of RIVR Media, a producing partner for VeYou, said VeYou's films set themselves apart through their scripts, acting, and direction. She said she was encouraged to see its series perform well on TikTok, based on platform data and her company's monitoring.

"People want live characters," she said. "I don't think they want AI. I've seen a lot of different verticals, and I'd like to think ours were a little cut above."

Moktar, 21, pulls up his neck gaiter, tightens the hood of his puffer jacket and steps out of the house in the late afternoon, dressed in immaculate black from head to toe. Behind the little mustache and the thick-lensed glasses with gold-rimmed temples, he smiles — a third-year college student from a very modest Tunisian family. Friendly, sharp, with an unusually political sense for his age and skin toughened by his surroundings, Moktar grew up in one of the poorest buildings in the L’Abreuvoir neighborhood in Bobigny (population 48,873), right opposite one of the drug-dealing hotspots where traffickers, police, customers, and addicts come and go all day. “Ballon here,” reads graffiti on the wall, advertising the nitrous oxide gas sold for inhalation.

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© Samuel Aranda

© Samuel Aranda

© Samuel Aranda

© Samuel Aranda

On the eve of a party plenum that has purged 45 of 376 members, China faces its most pressing question: is the model it has adopted right for its historical phase? Beijing is uncertain. Domestically, it faces many problems, and foreign examples offer little reassurance. If the US offers a positive model, Beijing might reconsider, […]

The post The right cat for China? appeared first on Asia Times.

Domenica 25 ottobre alle 20.30 su Rai 3, nuovo appuntamento con PresaDiretta. Il programma di Riccardo Iacona affronta il tema del rapporto tra Ai e democrazia; mentre PresaDiretta Open è dedicata al conflitto in Medioriente.

Palantir, il colosso fondato da Peter Thiel, è diventato il cervello tecnologico di Pentagono ed eserciti, mentre bot farm e macchine per la propaganda create con l’utilizzo dell’Intelligenza artificiale ci profilano e orientano il nostro voto, le telecamere ci osservano e gli archivi di oggi addestreranno le intelligenze artificiali di domani. Chi governa gli algoritmi, potrebbe governare anche noi? E poi un importante reportage da Gaza, tra annunci di ricostruzione, cantieri mai partiti e violenze mai cessate: che fine hanno fatto soldi e promesse?

PresaDiretta Open, nella prima parte della serata, si chiede che fine abbia fatto il Board of Peace, il Consiglio internazionale presieduto da Trump per guidare la ricostruzione di Gaza. Grazie alle immagini girate da Yasser, filmaker palestinese, PresaDiretta racconta una Striscia dove il 94% della popolazione è sfollato, dove l’Onu ha contato 1400 palestinesi uccisi dal cessate il fuoco a oggi e dove l’esercito israeliano controlla e occupa il 64% del territorio. La ricostruzione non è mai partita: il piano operativo del Board vale 2,45 miliardi, contro i 71 che servirebbero secondo l’ONU.

E poi la puntata Democrazia Artificiale. A Roma, a porte chiuse, Peter Thiel parla dell’Anticristo; intanto la sua creatura Palantir, azienda specializzata nello sviluppo di software e analisi di big data con la AI è diventata uno dei cervelli tecnologici del Pentagono e degli eserciti in guerra. PresaDiretta ricostruisce come i suoi software siano entrati nelle istituzioni di vari Paesi anche in Europa: nella sanità inglese e anche nei contratti della Difesa italiana, tra documenti che mancano o che non ci è permesso di leggere.

Queste stesse tecnologie non solo ci sorvegliano, ma soprattutto lavorano per influenzare il consenso politico. In Sassonia-Anhalt l’AfD ha appena stravinto le regionali soprattutto sui social, con una macchina della propaganda potentissima che funziona grazie alla AI. “Alternita”, il software di AI – scoperto dal gruppo di giornalismo investigativo Correctiv – sceglie le notizie più virali, scrive i post, genera immagini e gonfia le visualizzazioni e il consenso con migliaia di profili falsi. E le stesse tecniche sono già arrivate in Italia, dove su TikTok la galassia di Vannacci conquista i giovanissimi con meme e video creati con l’AI. Insieme a AI Forensics e Trollrensics, PresaDiretta ha ricostruito le origini di migliaia di account sospetti registrati in Benin e Nigeria.

Infine la crescente diffusione degli strumenti per la sorveglianza di massa: dagli Stati Uniti all’Italia, come vengono trattati i nostri dati biometrici, quelli sanitari, le informazioni finanziarie e in generale tutte le informazioni personali gestiti con l’Intelligenza Artificiale? Come li utilizzeranno le forze dell’ordine, per farne cosa e per quanto tempo?

Riflettori puntati, a chiusura di puntata, sulla truffa con cellule staminali portata avanti, anche con infusioni a domicilio, dalla società polacca BioCells Medical. Dopo l’inchiesta della scorsa edizione, PresaDiretta racconta i nuovi sviluppi sulle indagini giudiziarie, nazionali e internazionali. Le puntate di PresaDiretta sono visibili integralmente su RaiPlay.

L'articolo A PresaDiretta l’inchiesta sulla galassia di Vannacci su TikTok: “Migliaia di account sospetti registrati in Benin e Nigeria” proviene da Il Fatto Quotidiano.

Lo scorso gennaio Mathias Döpfner, amministratore delegato e comproprietario del gruppo editoriale tedesco Axel Springer, ha ospitato nel suo studio di Berlino Charles Kushner. Dall’ambasciatore statunitense in Francia, nonché padre di Jared, genero di Donald Trump, voleva sapere qualche dettaglio del piano pensato dall’amministrazione americana per TikTok. Anche Döpfner aveva in mente qualcosa di simile, così da fugare le preoccupazioni di sicurezza che circondano la piattaforma cinese, per cui una chiacchierata non avrebbe fatto male. A raccontare l’incontro è il Financial Times, secondo cui il magnate dei media vorrebbe arrivare a un accordo per scorporare il social network e diventare titolare della sezione europea.

La questione è tutta in divenire. Sia Byte Dance, proprietaria di TikTok, sia funzionari della Commissione europea che hanno discusso della proposta con Döpfner hanno chiuso la porta, definendola una suggestione irrealizzabile. La questione è problematica soprattutto per Bruxelles. Le sue regole sulla sicurezza valgono per tutti gli operatori, dentro e fuori l’Ue, e sono stringenti. Forse non così tanto, come ha sottolineato il vicepresidente del Parlamento europeo Martin Hojsík: “Non stiamo applicando sufficientemente il Digital Services Act e il Digital Markets Act. Dobbiamo chiamare le piattaforme a rispondere delle loro responsabilità”. Döpfner però non perde le speranze.

TikTok, affermava in una intervista a Dpa a inizio settembre, “dovrebbe essere venduto ad azionisti democratici o bandito. Non capisco ancora perché noi in Europa non stiamo agendo. Gli americani hanno dimostrato che si può fare”. Non è un caso che le aziende che amministra siano da poco sbarcare su TikTok. Axel Springer, Bild e Welt hanno di recente aperto un loro profilo sulla piattaforma. Politico e Telegraph, sempre di proprietà di Döpfner, già ne hanno uno. Ed è proprio Axel Springer a uscire allo scoperto: “Come risulta chiaro dalle sue dichiarazioni pubbliche, Mathias Döpfner ha sempre sostenuto una soluzione europea per TikTok sulla falsariga del modello americano. Se tale soluzione si fosse concretizzata, avremmo accolto con favore l’opportunità di farne parte in quanto importante operatore mediatico europeo”.

Dietro c’è anche dell’altro. La strategia di Döpfner è larga e punta a inglobare altri interessi. Politico è uno dei media che sono stati bannati dalla Casa Bianca su ordine di Trump. Per cercare di riportare i suoi giornalisti all’interno delle sale istituzionali americane, Döpfner ha avviato una capillare opera di persuasione. Non soltanto con Kushner. A febbraio, quindi un mese dopo averlo incontrato, si è visto con Susie Wiles, l’importantissima capa di gabinetto di Trump, che la considera centrale per il suo lavoro. A settembre, invece, ha premiato di persona Peter Thiel, altra figura fondamentale nell’alveo del presidente. Un modo elegante per cercare di rientrare nella sua cerchia.

A strong wind sweeping across the cornfields reveals a house still under construction beside a small enclosure of sheep and donkeys. The two-story home, which is still unpainted, has a gable roof, a porch and a garage. It is the home that Candice and Fidel García Sánchez, a Mexican American couple, have spent the past five years building after he was deported from the United States and she chose to move with him to a rural area of the Mexican state of Puebla. Their building project has unfolded in full view of the public: half a million YouTube subscribers and more than 1.5 million people on TikTok are following the house’s progress.

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© Nayeli Cruz (EL PAÍS)

© Nayeli Cruz

© Nayeli Cruz (EL PAÍS)

© Nayeli Cruz (EL PAÍS)

© Nayeli Cruz (EL PAÍS)

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© Montserrat Lemus