We are bags of meat with supercomputers in our heads that the greatest scientists in the world can’t fully understand.

But we don’t use them well.

Our memory is so-so, our logic skills are garbage, and we have to sleep, like, at least 25% of the day.

So this weekend I set out to answer: can me, with minimal coding skills and an average control of the super-computer in my head, vibe-code a solution to take over most of my job?

I’m pretty sure I can beat a robot I created, right?

I spent 20 hours this weekend dodging my family and vibe-coding up a storm to handle what I estimate to be 80% of my work week: adding value to our creators, pitching brands, and building businesses in the creator economy.

Am I toast or am I the toaster?

Also in this edition:

🤔 All Creators are Under-Monetized (Thoughts Are My Own)

🧑🏻‍🔬 Mark Rober’s Netflix Bump

🎭 Google Joins the Microdrama Drama

🌅 Meta Horizons Leaves VR Then Didn’t

🌙 Night Media Launches Their Own Movie

💪🏼 Jobs from Sixteenth, Lucid Motors, and United Talent Agency

🎭 …and a dank meme from yours truly!

Let’s get into it.

TLDR:

It began with a busy week. I had to take inventory of everything I did and think, “Is this moving the needle more than any other thing I could be doing?”

And since it’s 2026, then my mind immediately moved on to: can’t AI just do it?

Those who have been reading for a while know I have a complex relationship with AI. I love AI when it helps me with Excel formulas. I hate it when it writes poetry.

So I tried an experiment this weekend. After taking inventory of my non-meeting work over the week, I found three tasks that took up 80% of my time.

And I wanted to see if I could vibe-code something to take this work off my plate.

If someone wants to skip straight to the punchline, this is the result.

This is the only product I’ve ever vibe-coded then released into the wild. I haven’t coded software since my computer science classes in 2003. And 48 hours ago from the time of this writing, a hadn’t even started yet.

I’ll spare you the gory details, but I decided to make this a chat interface trained on the following: all of Stealth Talent’s agreements, all of our pitch decks, my e-mails where I pitched, transcripts of conversations when I was pitching, our deal flow from our CRM, all of the internal creator and brand data we have, and my newsletters.

Within 5 hours of starting, I had a usable piece of software.

After 12 hours of testing and debugging, it worked most of the time.

After 3 hours of debugging based on some friends that tried it (thanks Mohammad Fattal, Larry Shapiro, Kevin Herrera, and Ryan Fenwick!), it was working end-to-end.

And this is what it does:

In other words, this is a tool that can be used externally or internally to complete all three of the tasks that took up most of my non-meeting time.

Now here’s the rub: most people who have seen this tool say they would rather just talk it through.

Efficiency removes all soft-skills in the process and people love soft skills.

In fact, most creators and managers who have seen this product told me they would never use it, their creators would never use it, and brands would never use it.

So, efficiency aside, the creator economy folks I interface with day to day are completely disinterested.

In the end, was I able to replace myself in 20 hours of vibe-coding? Absolutely! If you remove all of the relationship parts of this relationship business.

But if you think AI is going to replace us, you’ll need a lot more people who don’t mind doing business with bots. That will be generational.

Now that you’ve read it, if you want to check it out, here you go.

I was talking to a creator this week (not a Stealth Talent client) with a massive following who said they’ve had one $800 brand deal all year across over 100 million shortform video views.

Insane, right?

You’d think so. But her boyfriend was also a creator, almost the same size, and hasn’t closed anything this year. And he’s even bigger.

Considering short-form content monetizes very little and in many cases doesn’t monetize at all, that’s a lot of work for literally no pay.

Now there’s an enterprise value argument to be made. They’re building profiles that can be monetized, sold, leveraged for other opportunities, etc.

But you can’t buy gas with enterprise value.

I wanted to make sure I wasn’t crazy, so I looked at around 20 people with over 1 million followers making Instagram Reels and checked how many #ad, #sponsored, etc. posts they had.

Granted, many creators stink at FTC compliance, but the results were the same across all profiles.

Most had between 0 and 3 sponsored posts in 2026.

Okay, so what? You can’t make magically make 20 more brand deals happen per month.

But you can start monetizing your content on your own terms.

Most creators need to think more like businesses. Figure out how many videos you want to monetize per month so you don’t risk offending your audience, then sell that inventory.

If nobody will buy at that rate, discount it as the date gets closer.

If it still doesn’t sell, have something else to sell!

More videos with brand integrations or captured sales data = more to pitch = more deals.

Or, if you can’t convert on anything, at least you know that you can just sell awareness and you should probably discount your rate.

Either way, the goal shouldn’t be complaining about how no brands want to buy your TikTok for $20,000, the goal should be more money in your pocket at the end of the month.

What creators, brands, governments, and platforms are making waves this week in the name of fortune, fame, and fun?

🧑🏻‍🔬 Netflix’s leader, Ted Sarandos, told Politico that Mark Rober’s CrunchLabs products saw a huge boost after launching on Netflix, despite his large and dedicated fanbase online. This should be obvious as he’s reaching completely new audiences in a new way on Netflix, but also a great reminder that perception matters, and being on Netflix is a profile booster.

🎭 Google’s production arm 100 Zeroes is producing micro-dramas in partnership with Range Media Partners. Finally, we’ll see a new girl in a big city fall in love with a sexy full-stack PHP developer.

🌅 Meta Horizons, the ill-fated, highly-funded metaverse play that caused Facebook’s parent company’s name change, announced it will be sunsetting on VR devices with a new focus on mobile, only to announce that it will actually stay on VR. That’s the sound of five people who spent tons of money on their digital avatars sighing a breath of relief.

🌙 Night Media, the creator management and all-around influencer business org, launched a movie with Theo Vonn and David Space called BUSBOYS, circumventing traditional Hollywood by going straight to theaters after self-financing. If I can’t get another Joe Dirt movie, this is the next best thing!

Senior Talent Manager, Sixteenth

Sixteenth is a talent management company that was acquired by Whalar a few years back, so they have resources expanding across tech (Foam), physical events (Lighthouse), and advertising (Whalar). In other words, if you’re someone who knows how to get attention in a large org, this could be a breakthrough role. And you get to work for RJ Larese so I’d be jealous.

Creator Specialist, Lucid Motors

You may be asking yourself: what does a ‘creator specialist’ within an automotive challenger brand do? Based on the post, it sounds like the answer is ‘everything’. If you need a place to drive impact across micro-to-macro creators, agencies, brands, strategy, celebrity, and more, this is for you. But for me, this looks like about 5 jobs rolled into one.

Coordinator, Social Media Production, United Talent Agency

If you want all of the pressure of Hollywood but with zero budget wherein you’re forced to shoot and edit videos on your phone, UTA is ready for you! Social media production experts are in high demand right now as traditional film and television production folks are expensive and slow, and scrappy 24-year-olds who know how to do crazy stuff with an iPhone and CapCut can make a viral video per day. Seriously, this would be a great training ground.