The Garden Harvest: Discovery Problems, and Can YouTube Solve Indie Film Distribution?
Your weekly digest on the intersection of the Creator Economy and Legacy Media.
FRESH CLIPPINGS
The Discovery Problem
It’s no secret that discovery has become one of the hardest problems in the creator economy, and Natalie Jarvey has some insight into a startup that might be able to help alleviate this pain.
For all the talk of opportunity, most of the largest podcasts and YouTube channels have been building for a decade or more. Even on TikTok, where the algorithm can elevate a new voice overnight, the biggest accounts have been posting consistently since 2020.
The platforms feel open. But in reality, they are deeply saturated.
That saturation is pushing some talented creators out. Cookbook author Carla Lalli Music, for example, shut down her YouTube channel last year because the economics no longer justified the cost of high production. The audience was there. It just wasn’t big enough.
The startup in question is Chronicle Studios, a San Francisco startup that has raised $11.6 million in seed funding to tackle the discovery problem with AI tools. The pitch is straightforward: YouTube is the top of the funnel, but most creators and independent studios have not cracked how to scale there consistently.
And what makes this story notable is who Chronicle has brought in. The company has tapped Scott Greenberg and Brett Coker, the co-founders of Bob’s Burgers animation studio Bento Box Entertainment, as it expands its platform. These are not digital natives experimenting on the margins. They are legacy animation executives who built and sold a studio to Fox and are now stepping directly into the creator infrastructure layer.
Scott says: “If we can really help make social video accessible, I believe there’s a world where you can be an independent production company, and creators can own their content and really have a shot to make money.”
Let’s all hope he’s right.
A YouTube Rent/Buy Button?
Here’s an interesting idea making the rounds. I am not sure it is the answer, but it is exactly the kind of thinking this moment requires.
Filmmaker Jonah Feingold, whose credits span IFC releases and studio rom-coms to a sizable YouTube presence, wrote an open letter arguing that YouTube should become the true home base for independent film distribution. His ask is surprisingly simple: let creators add a rent or buy button directly to their own uploads on YouTube.
The argument is that the current indie landscape is fractured. At the top tier, you have well-capitalized distributors with real marketing muscle, but access is limited and economics are structured around institutional capital. In the middle, smaller distributors and aggregators take their slices while offering modest reach. And at the bottom, full self-distribution gives you ownership but no foot traffic.
Feingold’s thesis is that YouTube already solves reach, infrastructure, and audience behavior. The app is installed. The credit cards are on file. The algorithm can surface work at scale. What it does not currently offer creators is seamless transactional ownership within their own channels. Studios have that capability. Creators do not.
Whether or not this specific product tweak is the solution, the framing is useful. It forces the question of why the largest distribution platform in the world still separates the creator economy from premium film economics. If the future is audience-first IP, then tools that allow independent filmmakers to own both their work and their distribution layer start to look less radical and more inevitable.
From Online Lore to Theatrical IP
A24 just announced BACKROOMS, a feature adaptation of the viral internet horror phenomenon.
The Backrooms began as a 2019 post on 4chan describing an endless maze of empty yellow office rooms. Since then, creators across YouTube, gaming, and online fiction communities have expanded the lore into a full-blown digital mythology. It is not IP in the traditional sense. It is collective internet world-building.
Now A24 is turning it into a feature, directed by Kane Parsons, whose Backrooms found-footage short exploded on YouTube a few years back.
This follows the same pattern we’ve seen of online-native horror concepts becoming studio-backed theatrical bets.
Hollywood still needs built-in awareness to underwrite risk. And internet-born IP offers something interesting given that the internet has already decided it’s worth obsessing over.
In other words, digital IP may become the new way to fund riskier, original feature film projects.
GARDEN VIEW
Comedy streamer Dropout is experimenting with something that feels both backward and forward at the same time.
After releasing physical Blu-Rays of its series Game Changer (which quickly sold out), the company is now launching a 24/7 linear channel within DropoutTV. The channel will run continuously, programmed like traditional television. But without ads, since it’s supported by subscribers.
At a moment when streaming has trained audiences to expect infinite choice, Dropout is leaning into the opposite: a lean-back experience where you don’t have to decide what to watch.
It’s a reminder that new media models often circle back to old formats, just rebuilt for different economics and a different relationship with the audience.
HARVEST QUOTE
“We can stop writing memos to CEOs in our heads. We stop waiting for the cavalry of enlightened leadership. And start looking ahead to what comes next and start being part of the forces that shape the new Hollywood”
— Richard Rushfield, in his latest State of the Union for The Ankler.
A timely provocation.
It’s easy to narrate this moment as decline and imagine that if only the right executive showed up, the old system would snap back into place. Rushfield’s point is sharper: stop waiting.
Every collapse creates negative space. One model recedes, another has room to form.
The rebuild isn’t theoretical. It’s already happening in independent financing experiments, creator-led ownership models, and direct-to-audience relationships that don’t require institutional permission.
The cavalry isn’t coming.
Which means the opportunity belongs to the people willing to build something new.
Have a great weekend…