Sponsored by RockWater

Let’s talk talent discovery.

Back when I was a comedian, I auditioned (what we called ‘showcased’) for Saturday Night Live.

I had to get on a stage in front of a few people that didn’t laugh (at least…you know…for me), do my best three minutes with a few different bits, then walk away asking, “Was that as brutal for everyone else?”

Clearly not. If I made it on that year I would have joined Sudeikis, Wiig, Poehler, Forte, and Seth Meyers, and I fully realize I wasn’t ready for that at the age of 25.

I’m not even sure they still have live auditions. The game has changed.

Now a few killer TikTok characters or appearances on Kill Tony can be enough.

So should up-and-coming talent ditch the theater shows and double-down on social?

Also in this edition:

• The Curator Economy

• Gymshark Gets Sorority Girls

• How to OWM Equity as a Creator

• Can ‘No Tax on Tips’ Legislation Help Creators?

• Job ops from Social Agent, Meta, and NextDoor

• …and a dank creator economy meme by yours truly!

Let’s get into it.

NEWS:

Live from The Internet—

As a recovering comedian and current digital wonk, I’ve got lots of opinions on this.

During COVID, almost all of the top improv comedy venues in Los Angeles closed for good: the iO West (actually happened slightly before COVID), Second City Hollywood (my alma mater), and many Upright Citizens Brigade theater spaces.

If you wanted to be a comedic actor in Hollywood these used to be your first stops.

More and more, they’re optional.

The new cast of SNL is full of people where I struggle to find many live performance experience. Tricky since they have to get up in front of a live audience, read cue cards, and still get laughs!

But…do they?

Here’s what I think SNL gains and loses from digital first talent.

GAINS

There has been a 50% drop in live viewership in the 18-49 demo between 2005 and 2025, from a 3.6 rating to less than 1.8.

But SNL is still getting viewed by a heck of a lot of young people.

On socials.

Every Sunday, I catch up on SNL online (always too tired to stay up) and I seldom see an episode that didn’t have at least one sketch that got over 1 million views on one platform in the first 24 hours.

Sometimes YouTube. Sometimes TikTok. Sometimes I even see one on Facebook catch fire.

So if Lorne Michaels (SNL’s longtime showrunner) worries less about ad revenue from TV and works harder on in-sketch branded integrations, something they’re done a lot in the past decade, this is the best way to get the most eyeballs and, therefore, the most ad revenue possible.

And I see far more pre-recorded sketches, like those from the recent success of Please Don’t Destroy, do far better than many of the crusty ‘three cameras on a set’ sketches.

The exception is Weekend Update, which is essentially a series of two-liner news jokes and big character desk pieces.

But where do I see those go viral?

TikTok!

Where a hilarious 25 second moment has a fighting chance!

So digital-first creators who understand the online viewer mindset is a great move to catch more attention with the youth.

LOSSES

We’re losing the art of performance.

Watch an SNL sketch from the 90’s with Hartman and Farley and Sandler then watch one from last season.

In the older one, you’ll see well-crafted actors who have memorized their lines falling deeply into their character and creating magic moments.

Now, you’ll see people on stage practically bug-eyed staring at cue cards (so characters never look at each other, which feels super weird), breaking character constantly, and spend more time doing verbal jokey-jokes than fun memorable characters that can withstand the test of time.

Maybe I’m an old man shaking my fist at clouds, but I think comedians spending 10 years grinding out Sunday shows at The Groundlings is a better way to create elite comedy chops than looking for whomever had the most virals in the last two years.

It reminds me of AI in a lot of ways. We’re getting something optimized, fast, cheap, and satisfying, but at the expense of true innovation.

And I worry this will continue to hurt both the legitimacy of the comedy world and the online creator world.

Short story: last week I was talking to someone in my office who works with a lot of filmmaking talent. They asked if I had anyone that was getting one million views per video that I think was ready for their own TV show.

I have some that I think have the talent, but not the proof.

I know they’re smart, charming, fun, funny, but not that they can handle the pressure of going into episode six with a script deadline in two days where they need to be able to go line-for-line against a Guilliard-trained actor who has deeply researched their character.

And as YouTube takes over more of the TV audience, we need more masters of their craft.

SPONSORED BY ROCKWATER

How to prep your creator business for a sale.

RockWater advises owners in the creator economy on the sale of their business. We have the largest buyer network, and negotiate the best deals possible for our clients. We’re proud to be the industry’s top M&A advisor.

We recently advised Lionize, an influencer marketing platform, on their sale to gen.video. We’ve also advised Long Haul Mgmt (sold to Wasserman), Bottle Rocket Mgmt (sold to Night), Bounty (sold to gen.video), and have many more deals yet to be announced.

If you want a POV on your company’s valuation and readiness for a sale, reach out to to [email protected] to setup an intro call.

GROW 1%:

Phil Ranta’s weekly social media growth newsletter with one actionable tip to grow.

This week’s ‘Grow 1%’ is titled The Curator Economy and discusses the power of reposting.

Here’s an excerpt, and you can read the entire edition in the link above:

I don't feel like writing a post.

But I have to post.

So I have two options:

1. I can write something uninspired to get something out that my audience will see and say, "Ugh...fine."

2. I can create like a creator, which sometimes means not creating at all. I can repost.

Why do we give people Hallmark cards for their birthdays? I didn't write that sentiment in the card, but I picked it up at the store, read it, and thought, "That sounds like something they would like to hear from me."

That's what a repost/retweet/resend/repin is!

As you're building your brand, it's important to see other outlets creating within the ecosystem of your brand.

Continue reading here.

FAME & FORTUNE:

Gymshark, the activewear company that has popped recently due to their, let’s say, ‘booty emphasizing’ designs, has seen huge viral hits sponsoring sorority dance videos. Looks like we finally found a reason for future creators to go to college!

OWM helps creators and companies come together to create equity-based relationships to improve longterm outcomes for creators. Who needs a brand deal when you’re going after that Ryan Reynolds x Mint Mobile-style exit!

Speaking of Mint Mobile, MrBeast was clearly taking notes. He’s raising money through a pitch deck that mentions starting his own Mint Mobile competitor. Suddenly a ‘call to action’ takes on a whole different meaning…

Like the video? Leave a tip. Creators and influencers are listed as being part of Trump’s legislation for ‘No Tax on Tips’, so time to start asking for a like, subscribe, and a few bucks in the till!

INDUSTRY HIRING:

Social Agent needs a Content Creator. If you can’t edit on CapCut like a 14 year old, don’t bother applying.

Meta is looking for an Creative Director, Content Studio. Must be able to make Mark Zuckerberg look as close to human as possible.

NextDoor wants a Creative Strategist who can tell my neighbor to stop putting his garbage cans so close to my driveway so I have to move them every morning! THERE’S AN ENTIRE CURB, BOB!

MEME ZONE:

Thank you for reading! If you enjoyed this edition, give it a share and if you get someone to sign up, I’ll send you my ‘10 Rep-Friendly Ways to Monetize Today!’ deck!

Until next time, protect yo rep.