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VidCon 2025 liveblog: All the latest from your favorite creators

VidCon 2025 liveblog: All the latest from your favorite creators

Tech-news

Featured creators announced include major names like A.J. & Big Justice, Anthpo, DadLifeJason, Kalen Allen, KreekCraft, KREW, Hannahxxrose, Jenny Hoyos, and jmancurly, among dozens of others. You can check out the full list of participating creators here.

High-profile speakers and panelists from brands and platforms include Dhar Mann, Alex & Leila Hormozi, Grace Wells, Cassey Ho, Courtney Hirsch, Nick Witters, plus executives from YouTube, Spotify, Hasbro, Disney+, Meta, and TikTok.

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#VidCon #liveblog #latest #favorite #creators

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Flextail pump.

Don’t over-inflate: Insulated sleeping pads work by putting air and material between you and the cold ground, but that doesn’t mean you need to inflate it until it’s taut. It varies by pad. I generally find that the best method is to inflate it taut, and then start to let out air, lying down to test it until you get to where it feels comfortable. The downside to this method is that your pad isn’t that thick and you’re more likely to bottom out if you let out too much air. I find this isn’t much of an issue for stomach or back sleepers, but if you’re a side sleeper it might take some time to find the sweet spot between comfort and warmth.

Carry a patch kit: Most sleeping pads these days include a patch kit. I rarely bring these kits and instead carry a small roll of Tenacious Tape ($6), which will solve rips and tears in everything from sleeping pads to tents. Make sure to test a small piece of tape on your pad beforehand to make sure the tape sticks, and bring an alcohol wipe to clean the affected area.

Women need higher R-value pads: Women generally have lower body mass than men, which means women should add roughly 1 R-value to get the same amount of insulation in the same situation. (I also recommend upping the R-value if you’re a cold sleeper in general.)

Sleeping bag ratings assume R5 pads: Most temp ratings you see on sleeping bags are true only if you’re using a sleeping pad with an R-value of 5 or higher (they also assume you’re wearing a base layer). If your pad is less, you will need to adjust your sleeping bag temp rating accordingly. For example, using your 30 degree quilt with a R4 pad will likely leave you cold if you encounter freezing temps. In that situation you’d want to either up the R-value of the pad, or bring a warmer sleeping bag.

#Ive #Slept #Countless #Backpacking #Pads #Worth #Carryingshopping,outdoors,buying guides,backpacking">I’ve Slept on Countless Backpacking Pads. These Are the Ones Worth CarryingI’ve had very few problems with any inflatable sleeping pad I’ve tested. Some have lost air, but I’ve never had one deflate completely (knock on wood). That said, there are some tricks to getting the best night’s sleep and having a pleasant trip.Don’t inflate your pad with your mouth: For one thing, some of these pads are huge, and it’s just a pain, but also your breath is warm and moist and you’re injecting into nylon, which is a recipe for mildew and mold. This worry may be somewhat overblown—a few people have cut open pads they’ve inflated by mouth for years and found no sign of mold—but considering what a pain it is to do anyway, it seems easier to just avoid it. Most manufacturers include some kind of pump sack these days, which makes quick work of inflating your pad. There are also motorized pumps that only weigh an ounce or two, like the Flextail pump.Don’t over-inflate: Insulated sleeping pads work by putting air and material between you and the cold ground, but that doesn’t mean you need to inflate it until it’s taut. It varies by pad. I generally find that the best method is to inflate it taut, and then start to let out air, lying down to test it until you get to where it feels comfortable. The downside to this method is that your pad isn’t that thick and you’re more likely to bottom out if you let out too much air. I find this isn’t much of an issue for stomach or back sleepers, but if you’re a side sleeper it might take some time to find the sweet spot between comfort and warmth.Carry a patch kit: Most sleeping pads these days include a patch kit. I rarely bring these kits and instead carry a small roll of Tenacious Tape (), which will solve rips and tears in everything from sleeping pads to tents. Make sure to test a small piece of tape on your pad beforehand to make sure the tape sticks, and bring an alcohol wipe to clean the affected area.Women need higher R-value pads: Women generally have lower body mass than men, which means women should add roughly 1 R-value to get the same amount of insulation in the same situation. (I also recommend upping the R-value if you’re a cold sleeper in general.)Sleeping bag ratings assume R5 pads: Most temp ratings you see on sleeping bags are true only if you’re using a sleeping pad with an R-value of 5 or higher (they also assume you’re wearing a base layer). If your pad is less, you will need to adjust your sleeping bag temp rating accordingly. For example, using your 30 degree quilt with a R4 pad will likely leave you cold if you encounter freezing temps. In that situation you’d want to either up the R-value of the pad, or bring a warmer sleeping bag.#Ive #Slept #Countless #Backpacking #Pads #Worth #Carryingshopping,outdoors,buying guides,backpacking

.

Don’t over-inflate: Insulated sleeping pads work by putting air and material between you and the cold ground, but that doesn’t mean you need to inflate it until it’s taut. It varies by pad. I generally find that the best method is to inflate it taut, and then start to let out air, lying down to test it until you get to where it feels comfortable. The downside to this method is that your pad isn’t that thick and you’re more likely to bottom out if you let out too much air. I find this isn’t much of an issue for stomach or back sleepers, but if you’re a side sleeper it might take some time to find the sweet spot between comfort and warmth.

Carry a patch kit: Most sleeping pads these days include a patch kit. I rarely bring these kits and instead carry a small roll of Tenacious Tape ($6), which will solve rips and tears in everything from sleeping pads to tents. Make sure to test a small piece of tape on your pad beforehand to make sure the tape sticks, and bring an alcohol wipe to clean the affected area.

Women need higher R-value pads: Women generally have lower body mass than men, which means women should add roughly 1 R-value to get the same amount of insulation in the same situation. (I also recommend upping the R-value if you’re a cold sleeper in general.)

Sleeping bag ratings assume R5 pads: Most temp ratings you see on sleeping bags are true only if you’re using a sleeping pad with an R-value of 5 or higher (they also assume you’re wearing a base layer). If your pad is less, you will need to adjust your sleeping bag temp rating accordingly. For example, using your 30 degree quilt with a R4 pad will likely leave you cold if you encounter freezing temps. In that situation you’d want to either up the R-value of the pad, or bring a warmer sleeping bag.

#Ive #Slept #Countless #Backpacking #Pads #Worth #Carryingshopping,outdoors,buying guides,backpacking">I’ve Slept on Countless Backpacking Pads. These Are the Ones Worth Carrying

I’ve had very few problems with any inflatable sleeping pad I’ve tested. Some have lost air, but I’ve never had one deflate completely (knock on wood). That said, there are some tricks to getting the best night’s sleep and having a pleasant trip.

Don’t inflate your pad with your mouth: For one thing, some of these pads are huge, and it’s just a pain, but also your breath is warm and moist and you’re injecting into nylon, which is a recipe for mildew and mold. This worry may be somewhat overblown—a few people have cut open pads they’ve inflated by mouth for years and found no sign of mold—but considering what a pain it is to do anyway, it seems easier to just avoid it. Most manufacturers include some kind of pump sack these days, which makes quick work of inflating your pad. There are also motorized pumps that only weigh an ounce or two, like the Flextail pump.

Don’t over-inflate: Insulated sleeping pads work by putting air and material between you and the cold ground, but that doesn’t mean you need to inflate it until it’s taut. It varies by pad. I generally find that the best method is to inflate it taut, and then start to let out air, lying down to test it until you get to where it feels comfortable. The downside to this method is that your pad isn’t that thick and you’re more likely to bottom out if you let out too much air. I find this isn’t much of an issue for stomach or back sleepers, but if you’re a side sleeper it might take some time to find the sweet spot between comfort and warmth.

Carry a patch kit: Most sleeping pads these days include a patch kit. I rarely bring these kits and instead carry a small roll of Tenacious Tape ($6), which will solve rips and tears in everything from sleeping pads to tents. Make sure to test a small piece of tape on your pad beforehand to make sure the tape sticks, and bring an alcohol wipe to clean the affected area.

Women need higher R-value pads: Women generally have lower body mass than men, which means women should add roughly 1 R-value to get the same amount of insulation in the same situation. (I also recommend upping the R-value if you’re a cold sleeper in general.)

Sleeping bag ratings assume R5 pads: Most temp ratings you see on sleeping bags are true only if you’re using a sleeping pad with an R-value of 5 or higher (they also assume you’re wearing a base layer). If your pad is less, you will need to adjust your sleeping bag temp rating accordingly. For example, using your 30 degree quilt with a R4 pad will likely leave you cold if you encounter freezing temps. In that situation you’d want to either up the R-value of the pad, or bring a warmer sleeping bag.

#Ive #Slept #Countless #Backpacking #Pads #Worth #Carryingshopping,outdoors,buying guides,backpacking

Xtra, the camera company that suddenly popped up last year, is canceling preorders and issuing refunds for its upcoming Xtra Muse 2 Pro gimbal camera.

“After reviewing our product and launch readiness, XTRA has decided to pause the current Early Bird program,” the company said in a statement posted on its website and in emails sent to customers viewed by Mashable. “Because we are unable to confirm a reliable launch timeline at this stage, we do not believe customers’ funds should remain on hold.”

Xtra customers had put down a $20 reservation for the Xtra Muse 2 Pro in exchange for a pre-order and an early bird discount of $60 off the camera when it went on sale. Along with a refund, Xtra is also issuing a 10 percent off coupon to customers that can be used on their current line of products.

Despite taking preorders, Xtra never shared a prospective launch date for the camera, which was a major point of criticism for customers across social media.

Why did Xtra cancel camera preorders?

Xtra says the refunds were due to “product and launch readiness” and didn’t provide any further explanation. However, the preorder cancellations come shortly after the FCC announced investigations into eight companies, including Xtra.

DJI, the popular China-based drone and action camera company, has effectively been banned in the U.S. As Mashable previously reported, the ban started late last year after Trump’s FCC cited national security concerns and data-spying issues. DJI products that were for sale before the ban can still be sold for now. Consumers with DJI devices can still use them. However, the U.S. government has not approved any new DJI products, so they can’t be imported into the country.

Enter Xtra. Xtra came onto the scene last year with its lines of cameras that appear to be clones of DJI’s line of cameras. The company is rumored to be a “DJI front company,” or a company explicitly set up to import DJI’s banned products into the U.S. Online sleuths and outlets such as The Verge have previously looked into Xtra’s potential relations with DJI and found numerous similarities and connections. Xtra’s Muse 2 Pro camera, for example, looks exactly like DJI’s new Osmo Pocket 4 Pro camera aside from a few design alterations.

In addition, DJI has gone after competitors like Insta360 with legal claims involving its camera patents. Yet, DJI has remained mum on Xtra’s products, which would appear to infringe way more than others.

The eight companies under investigation were previously asked to provide information on whether any of the products it sells should be on the list of banned items. However, none of these companies apparently responded to the FCC. As a result, the FCC is demanding the information and has levied a $25,000 fine against each of them, including Xtra.

The FCC is now looking into retroactively banning Xtra’s previously approved products as well.

At this point, the status of the Xtra Muse 2 Pro is unclear. The company is not outright canceling the launch; however, the preorder cancellations and the FCC news point to a potentially grim outcome for U.S. consumers. For now, at least, U.S. consumers looking to buy an Xtra Muse 2 Pro or DJI Osmo Pocket 4 Pro can look into the Insta360 Luna Ultra, which is not banned in the country.

#Xtra #suddenly #cancels #preorders #clone #banned #DJI #Osmo #Pocket #Pro #camera">Xtra suddenly cancels preorders for its clone of banned DJI Osmo Pocket 4 Pro camera Xtra, the camera company that suddenly popped up last year, is canceling preorders and issuing refunds for its upcoming Xtra Muse 2 Pro gimbal camera.“After reviewing our product and launch readiness, XTRA has decided to pause the current Early Bird program,” the company said in a statement posted on its website and in emails sent to customers viewed by Mashable. “Because we are unable to confirm a reliable launch timeline at this stage, we do not believe customers’ funds should remain on hold.”Xtra customers had put down a reservation for the Xtra Muse 2 Pro in exchange for a pre-order and an early bird discount of off the camera when it went on sale. Along with a refund, Xtra is also issuing a 10 percent off coupon to customers that can be used on their current line of products. Despite taking preorders, Xtra never shared a prospective launch date for the camera, which was a major point of criticism for customers across social media.Why did Xtra cancel camera preorders?Xtra says the refunds were due to “product and launch readiness” and didn’t provide any further explanation. However, the preorder cancellations come shortly after the FCC announced investigations into eight companies, including Xtra. Mashable Light Speed DJI, the popular China-based drone and action camera company, has effectively been banned in the U.S. As Mashable previously reported, the ban started late last year after Trump’s FCC cited national security concerns and data-spying issues. DJI products that were for sale before the ban can still be sold for now. Consumers with DJI devices can still use them. However, the U.S. government has not approved any new DJI products, so they can’t be imported into the country.Enter Xtra. Xtra came onto the scene last year with its lines of cameras that appear to be clones of DJI’s line of cameras. The company is rumored to be a “DJI front company,” or a company explicitly set up to import DJI’s banned products into the U.S. Online sleuths and outlets such as The Verge have previously looked into Xtra’s potential relations with DJI and found numerous similarities and connections. Xtra’s Muse 2 Pro camera, for example, looks exactly like DJI’s new Osmo Pocket 4 Pro camera aside from a few design alterations. In addition, DJI has gone after competitors like Insta360 with legal claims involving its camera patents. Yet, DJI has remained mum on Xtra’s products, which would appear to infringe way more than others.The eight companies under investigation were previously asked to provide information on whether any of the products it sells should be on the list of banned items. However, none of these companies apparently responded to the FCC. As a result, the FCC is demanding the information and has levied a ,000 fine against each of them, including Xtra.The FCC is now looking into retroactively banning Xtra’s previously approved products as well.At this point, the status of the Xtra Muse 2 Pro is unclear. The company is not outright canceling the launch; however, the preorder cancellations and the FCC news point to a potentially grim outcome for U.S. consumers. For now, at least, U.S. consumers looking to buy an Xtra Muse 2 Pro or DJI Osmo Pocket 4 Pro can look into the Insta360 Luna Ultra, which is not banned in the country. #Xtra #suddenly #cancels #preorders #clone #banned #DJI #Osmo #Pocket #Pro #camera

in a statement posted on its website and in emails sent to customers viewed by Mashable. “Because we are unable to confirm a reliable launch timeline at this stage, we do not believe customers’ funds should remain on hold.”

Xtra customers had put down a $20 reservation for the Xtra Muse 2 Pro in exchange for a pre-order and an early bird discount of $60 off the camera when it went on sale. Along with a refund, Xtra is also issuing a 10 percent off coupon to customers that can be used on their current line of products.

Despite taking preorders, Xtra never shared a prospective launch date for the camera, which was a major point of criticism for customers across social media.

Why did Xtra cancel camera preorders?

Xtra says the refunds were due to “product and launch readiness” and didn’t provide any further explanation. However, the preorder cancellations come shortly after the FCC announced investigations into eight companies, including Xtra.

DJI, the popular China-based drone and action camera company, has effectively been banned in the U.S. As Mashable previously reported, the ban started late last year after Trump’s FCC cited national security concerns and data-spying issues. DJI products that were for sale before the ban can still be sold for now. Consumers with DJI devices can still use them. However, the U.S. government has not approved any new DJI products, so they can’t be imported into the country.

Enter Xtra. Xtra came onto the scene last year with its lines of cameras that appear to be clones of DJI’s line of cameras. The company is rumored to be a “DJI front company,” or a company explicitly set up to import DJI’s banned products into the U.S. Online sleuths and outlets such as The Verge have previously looked into Xtra’s potential relations with DJI and found numerous similarities and connections. Xtra’s Muse 2 Pro camera, for example, looks exactly like DJI’s new Osmo Pocket 4 Pro camera aside from a few design alterations.

In addition, DJI has gone after competitors like Insta360 with legal claims involving its camera patents. Yet, DJI has remained mum on Xtra’s products, which would appear to infringe way more than others.

The eight companies under investigation were previously asked to provide information on whether any of the products it sells should be on the list of banned items. However, none of these companies apparently responded to the FCC. As a result, the FCC is demanding the information and has levied a $25,000 fine against each of them, including Xtra.

The FCC is now looking into retroactively banning Xtra’s previously approved products as well.

At this point, the status of the Xtra Muse 2 Pro is unclear. The company is not outright canceling the launch; however, the preorder cancellations and the FCC news point to a potentially grim outcome for U.S. consumers. For now, at least, U.S. consumers looking to buy an Xtra Muse 2 Pro or DJI Osmo Pocket 4 Pro can look into the Insta360 Luna Ultra, which is not banned in the country.

#Xtra #suddenly #cancels #preorders #clone #banned #DJI #Osmo #Pocket #Pro #camera">Xtra suddenly cancels preorders for its clone of banned DJI Osmo Pocket 4 Pro camera

Xtra, the camera company that suddenly popped up last year, is canceling preorders and issuing refunds for its upcoming Xtra Muse 2 Pro gimbal camera.

“After reviewing our product and launch readiness, XTRA has decided to pause the current Early Bird program,” the company said in a statement posted on its website and in emails sent to customers viewed by Mashable. “Because we are unable to confirm a reliable launch timeline at this stage, we do not believe customers’ funds should remain on hold.”

Xtra customers had put down a $20 reservation for the Xtra Muse 2 Pro in exchange for a pre-order and an early bird discount of $60 off the camera when it went on sale. Along with a refund, Xtra is also issuing a 10 percent off coupon to customers that can be used on their current line of products.

Despite taking preorders, Xtra never shared a prospective launch date for the camera, which was a major point of criticism for customers across social media.

Why did Xtra cancel camera preorders?

Xtra says the refunds were due to “product and launch readiness” and didn’t provide any further explanation. However, the preorder cancellations come shortly after the FCC announced investigations into eight companies, including Xtra.

DJI, the popular China-based drone and action camera company, has effectively been banned in the U.S. As Mashable previously reported, the ban started late last year after Trump’s FCC cited national security concerns and data-spying issues. DJI products that were for sale before the ban can still be sold for now. Consumers with DJI devices can still use them. However, the U.S. government has not approved any new DJI products, so they can’t be imported into the country.

Enter Xtra. Xtra came onto the scene last year with its lines of cameras that appear to be clones of DJI’s line of cameras. The company is rumored to be a “DJI front company,” or a company explicitly set up to import DJI’s banned products into the U.S. Online sleuths and outlets such as The Verge have previously looked into Xtra’s potential relations with DJI and found numerous similarities and connections. Xtra’s Muse 2 Pro camera, for example, looks exactly like DJI’s new Osmo Pocket 4 Pro camera aside from a few design alterations.

In addition, DJI has gone after competitors like Insta360 with legal claims involving its camera patents. Yet, DJI has remained mum on Xtra’s products, which would appear to infringe way more than others.

The eight companies under investigation were previously asked to provide information on whether any of the products it sells should be on the list of banned items. However, none of these companies apparently responded to the FCC. As a result, the FCC is demanding the information and has levied a $25,000 fine against each of them, including Xtra.

The FCC is now looking into retroactively banning Xtra’s previously approved products as well.

At this point, the status of the Xtra Muse 2 Pro is unclear. The company is not outright canceling the launch; however, the preorder cancellations and the FCC news point to a potentially grim outcome for U.S. consumers. For now, at least, U.S. consumers looking to buy an Xtra Muse 2 Pro or DJI Osmo Pocket 4 Pro can look into the Insta360 Luna Ultra, which is not banned in the country.

#Xtra #suddenly #cancels #preorders #clone #banned #DJI #Osmo #Pocket #Pro #camera

This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube">The vertical video takeover is hereThis is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators. All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.David PierceCloseDavid PiercePosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by David PierceColumnCloseColumnPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ColumnCreatorsCloseCreatorsPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All CreatorsFacebookCloseFacebookPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All FacebookInstagramCloseInstagramPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All InstagramMetaCloseMetaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All MetaSocial MediaCloseSocial MediaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Social MediaStreamingCloseStreamingPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All StreamingTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TechThe StepbackCloseThe StepbackPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All The StepbackTikTokCloseTikTokPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TikTokYouTubeCloseYouTubePosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All YouTube#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube

The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube">The vertical video takeover is here

This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
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