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Joe Peyronnin, a professor of journalism at N.Y.U., was an early president of Fox News, in the mid-nineties. “I’ve never seen anything like it before,” he says of Fox. “It’s as if the President had his own press organization. It’s not healthy.”

Kristol contends that Shine’s White House appointment is a scandal. “It’s been wildly under-covered,” he said. “It’s astounding that Shine—the guy who covered up Ailes’s horrible behavior—is the deputy chief of staff!”

Jennifer Rubin, another conservative Never Trumper, used to appear on the network, but wouldn’t do so now. “Fox was begun as a good-faith effort to counter bias, but it’s morphed into something that is not even news,” she says. “It’s simply a mouthpiece for the President, repeating what the President says, no matter how false or contradictory.

Sean Hannity has told colleagues that he speaks to the President virtually every night, after his show ends, at 10 P.M. According to the Washington Post, White House advisers have taken to calling Hannity the Shadow Chief of Staff. A Republican political expert who has a paid contract with Fox News told me that Hannity has essentially become a “West Wing adviser,” attributing this development, in part, to the “utter breakdown of any normal decision-making in the White House.” The expert added, “The place has gone off the rails. There is no ordinary policy-development system.” As a result, he said, Fox’s on-air personalities “are filling the vacuum.”

Trump has told confidants that he has ranked the loyalty of many reporters, on a scale of 1 to 10. Bret Baier, Fox News’ chief political anchor, is a 6; Hannity a solid 10. Steve Doocy, the co-host of “Fox & Friends,” is so adoring that Trump gives him a 12.

Kushner now has an almost filial status with Murdoch, who turns eighty-eight this month, and numerous sources told me that they communicate frequently. “Like, every day,” one said.

Ailes told Murdoch, “Trump gets great ratings, but if you’re not careful he’s going to end up totally controlling Fox News.”

In private, Murdoch regarded Trump with disdain, seeing him as a real-estate huckster and a shady casino operator. But, for all their differences, the two men had key traits in common. They both inherited and expanded family enterprises—an Australian newspaper; an outer-borough New York City real-estate firm—but felt looked down upon by people who were richer and closer to the centers of power.

both men have tapped into anti-élitist resentment to connect with the public and to increase their fortunes. Trump and Murdoch also share a transactional approach to politics, devoid of almost any ideology besides self-interest.

In 1994, Murdoch laid out an audacious plan to Reed Hundt, the chairman of the Federal Communications Commission under President Bill Clinton

Murdoch led him outside to take in the glittering view of the Los Angeles Basin, and confided that he planned to launch a radical new television network. Unlike the three established networks, which vied for the same centrist viewers, his creation would follow the unapologetically lowbrow model of the tabloids that he published in Australia and England, and appeal to a narrow audience that would be entirely his. His core viewers, he said, would be football fans; with this aim in mind, he had just bought the rights to broadcast N.F.L. games. Hundt told me, “What he was really saying was that he was going after a working-class audience. He was going to carve out a base—what would become the Trump base.

he had entered our country and was saying, ‘I’m going to break up the three-party oligopoly that has governed the most important medium of communication for politics and policy in this country since the Second World War.’ It was like a scene from ‘Faust.’ What came to mind was Mephistopheles.”

“Fox’s great insight wasn’t necessarily that there was a great desire for a conservative point of view.” More erudite conservatives, he says, such as William F. Buckley, Jr., and Bill Kristol, couldn’t have succeeded as Fox has. Levin observes, “The genius was seeing that there’s an attraction to fear-based, anger-based politics that has to do with class and race.”

In 1996, Murdoch hired Roger Ailes to create a conservative TV news outlet. Ailes, who died in 2017, was a master of attack politics and wedge issues, having been a media consultant on several of America’s dirtiest and most divisive campaigns, including those of Richard Nixon. Ailes invented programming, Levin argues, “that confirmed all your worst instincts—Fox News’ fundamental business model is driving fear.

As Hundt sees it, “Murdoch didn’t invent Trump, but he invented the audience. Murdoch was going to make a Trump exist. Then Trump comes along, sees all these people, and says, ‘I’ll be the ringmaster in your circus!’ ”

Until then, the network had largely mocked birtherism as a conspiracy theory. O’Reilly called its promoters “unhinged,” and Glenn Beck, who at the time also hosted a Fox show, called them “idiots.” But Trump gave birtherism national exposure, and, in a sign of things to come, Hannity fanned the flames. Hannity began saying that, although he thought that Obama had been born in the United States, the circumstances surrounding his birth certificate were “odd.”

In certain instances, however, Fox executives enforced journalistic limits.

Such niceties no longer apply. In November, Hannity joined Trump onstage at a climactic rally for the midterm elections. Afterward, Fox issued a limp statement saying that it didn’t “condone any talent participating in campaign events” and that the “unfortunate distraction” had “been addressed.”

For all of Ailes’s faults, Van Susteren argues, he exerted a modicum of restraint. She believes that he would have insisted on at least some distance from President Trump, if only to preserve the appearance of journalistic respectability embodied in the motto Ailes devised for Fox: “Fair and Balanced.

Fox News was hardly fair and balanced under his leadership. Gabriel Sherman, in his biography, “The Loudest Voice in the Room,” reports that Ailes was so obsessed with bringing down Obama in 2012 that he declared to colleagues, “I want to elect the next President.”

Don’t kid yourself about his support for immigration,” she said of Murdoch. “Rupert is first about the bottom line. They’re all going out to play to their crowd, whether it’s Fox or MSNBC.” (After leaving Fox, Van Susteren was for a short time a host on MSNBC.) Fox’s mile-by-mile coverage of the so-called “migrant caravan” was an enormous hit: ratings in October, 2018, exceeded those of October, 2016—the height of the Presidential campaign.

Ailes and Trump were friendly. “They spoke all the time,” a former Fox executive says. They had lunch shortly before Trump announced his candidacy, and Ailes gave Trump political tips during the primaries. Ken LaCorte contends that Ailes took note of “Trump’s crazy behavior”; but Trump’s growing political strength was also obvious. According to the former Fox executive, Trump made Ailes “nervous”: “He thought Trump was a wild card. Someone Ailes could not bully or intimidate.”

in 2016 that the network’s executives “made a business decision” to give on-air stars “slack” to choose their candidates. Hannity was an early Trump supporter; O’Reilly was neutral; Megyn Kelly remained skeptical

Kelly kept pressing Trump: “You once told a contestant on ‘Celebrity Apprentice’ it would be a pretty picture to see her on her knees. Does that sound to you like the temperament of a man we should elect President?” But he’d already won over Republican viewers. (Fox received a flood of e-mails, almost all of them anti-Kelly.) The showdown helped shape Trump’s image as shamelessly unsinkable.

Fox, however, may have given Trump a little help. A pair of Fox insiders and a source close to Trump believe that Ailes informed the Trump campaign about Kelly’s question. Two of those sources say that they know of the tipoff from a purported eyewitness. In addition, a former Trump campaign aide says that a Fox contact gave him advance notice of a different debate question, which asked the candidates whether they would support the Republican nominee, regardless of who won. The former aide says that the heads-up was passed on to Trump, who was the only candidate who said that he wouldn’t automatically support the Party’s nominee—a position that burnished his image as an outsider.

Ailes, meanwhile, joined Trump’s debate team, further erasing the line between Fox and conservative politicians. Ailes also began developing a plan to go into business with Trump. The Sunday before the election, Ailes called Steve Bannon, Trump’s campaign chairman, and said that he’d been talking with Trump about launching Trump TV, a nationalist competitor to Fox. Ailes was so excited that he was willing to forfeit his severance payment from Fox, which was attached to a non-compete agreement. He asked Bannon to join the venture and to start planning it as soon as Trump lost the election.

Any hopes that Fox would clean house after Ailes’s departure vanished on August 12, 2016, when Fox named two Ailes loyalists as co-presidents: Jack Abernethy, an executive who managed Fox’s local stations, and Bill Shine. The opinion side of Fox News, which Shine had run, had won out, as had his friend Sean Hannity.

For years, Ailes had been the focus of liberal complaints, and so when Fox pushed him out many people thought that the channel would change. They were right. The problem, Fox’s critics say, is that it’s become a platform for Trump’s authoritarianism. “I know Roger Ailes was reviled,” Charlie Black, the lobbyist, said. “But he did produce debates of both sides. Now Fox is just Trump, Trump, Trump.” Murdoch may find this development untroubling: in 1995, he told this magazine, “The truth is—and we Americans don’t like to admit it—that authoritarian societies can work.

News of Trump’s payoffs to silence Daniels, and Cohen’s criminal attempts to conceal them as legal fees, remained unknown to the public until the Wall Street Journal broke the story, a year after Trump became President.

Murdoch “was gone a lot,” adding, “He’s old. He likes the idea that he’s running it, but the lunatics took over the asylum.”

Falzone’s story didn’t run—it kept being passed off from one editor to the next. After getting one noncommittal answer after another from her editors, Falzone at last heard from LaCorte, who was then the head of FoxNews.com. Falzone told colleagues that LaCorte said to her, “Good reporting, kiddo. But Rupert wants Donald Trump to win. So just let it go.” LaCorte denies telling Falzone this, but one of Falzone’s colleagues confirms having heard her account at the time.

” The celebrity opinion-show hosts who drive the ratings became unbridled and unopposed. Hannity, as the network’s highest-rated and highest-paid star, was especially empowered—and, with him, so was Trump.

Richie told me, “Fox News was culpable. I voted for Trump, and I like Fox, but they did their own ‘catch and kill’ on the story to protect him.” He said that he’d worked closely with Falzone on the article, and that “she did her homework—she had it.” He says he warned her that Fox would never run it, but “when they killed it she was devastated.” Richie believes that the story “would have swayed the election.

Shine became “an expert in collecting and enforcing soft power,” adding, “He was responsible for on-air contributors to programs, so ultimately you were auditioning for Bill Shine. He was the one who would give you the lucrative contract. He controlled the narrative that way.

some people at Fox called him Bill the Butler, because he was so subservient to Ailes. A former Fox co-host says, “He’s perfect for the White House job. He’s a yes-man.” Another Fox alumnus said, “His only talent was following orders, sucking up to power, and covering up for people.”

Ailes and a small group kept a close eye on internal talent. “We had a file on pretty much everyone,” the former Fox executive said, adding that Ailes talked about “putting hits” in the media on anyone who “got out of line.”

If a woman complained about being sexually harassed, he said, Shine or other supervisors intimidated her into silence, reduced her air time, or discontinued her contract. The former executive recalls, “Shine would talk to the woman with a velvet glove, saying, ‘Don’t worry about it’—and, if that didn’t work, he’d warn her it would ruin her career.”

Judd Burstein, an attorney whose client was interviewed by prosecutors, told me, “I don’t think someone can be a serial sexual abuser in a large organization without enablers like Shine.”

Two months after Shine left Fox, Hannity became a matchmaker, arranging a dinner with the President at the White House, attended by himself, Shine, and Scaramucci, at that time Trump’s communications director. Hannity proposed Shine as a top communications official, or even as a deputy chief of staff. A year later, Shine was both.

Murdoch appears to have been wise in securing a rapprochement. Telecommunications is a highly regulated industry, and under Trump the government has consistently furthered Murdoch’s business interests, to the detriment of his rivals. Hundt, the former F.C.C. chairman, told me that “there have been three moves that have taken place in the regulatory and antitrust world” involving telecommunications “that are extremely unusual, and the only way to explain them is that they’re pro-Fox, pro-Fox, and pro-Fox.”

Last June, after only six months of deliberation, the Trump Administration approved Fox’s bid to sell most of its entertainment assets to Disney, for seventy-one billion dollars. The Murdoch family will receive more than two billion dollars in the deal, and will become a major stockholder in the combined company

In July, the F.C.C. blocked Sinclair Broadcast Group, a conservative rival to Fox, from combining with the Tribune Media Company. The F.C.C. argued that the deal would violate limits on the number of TV stations one entity can own, upending Sinclair’s hope of becoming the next Fox.

The Justice Department, meanwhile, went to court in an effort to stop A. T. & T.’s acquisition of Time Warner, which owns CNN

“There may be innocent explanations.” But, he adds, “Trump famously said you’re going to get sick and tired of winning, and that may not be true for the rest of America, but it sure is true of Murdoch.” He says of Murdoch, “He’s an incredibly cunning political player. He leaves no fingerprints. He’s been in the game of influencing government behavior to his benefit longer than most of us have been alive.”

Ann Coulter, who has been feuding with Trump over his immigration policy, said that the President told her that “Murdoch calls me every day.” She recalled that, “back when Trump was still speaking to me,” she complained to him that Fox was no longer inviting her to appear. She said that Trump told her, “Do you want me to call Murdoch and tell him to put you on?” Coulter accepted Trump’s offer. He may have called Hannity, not Murdoch, she says, but in any case she was invited back on Fox “within twelve hours.”

“Fox’s most important role since the election has been to keep Trump supporters in line.” The network has provided a non-stop counternarrative in which the only collusion is between Hillary Clinton and Russia; Robert Mueller, the special counsel, is perpetrating a “coup” by the “deep state”; Trump and his associates aren’t corrupt, but America’s law-enforcement officials and courts are; illegal immigration isn’t at a fifteen-year low, it’s “an invasion”; and news organizations that offer different perspectives are “enemies of the American people.”

Benkler’s assessment is based on an analysis of millions of American news stories that he and two co-authors, Robert Faris and Hal Roberts, undertook for their 2018 book, “Network Propaganda: Manipulation, Disinformation and Radicalization in American Politics.” Benkler told me that he and his co-authors had expected to find “symmetric polarization” in the left-leaning and the right-leaning media outlets. Instead, they discovered that the two poles of America’s media ecosystem function very differently. “It’s not the right versus the left,” Benkler says. “It’s the right versus the rest.”

Most American news outlets try to adhere to facts. When something proves erroneous, they run corrections, or, as Benkler and his co-authors write, “they check each other.” Far-left Web sites post as many bogus stories as far-right ones do, but mainstream and liberal news organizations tend to ignore suspiciously extreme material.

Conservative media outlets, however, focus more intently on confirming their audience’s biases, and are much more susceptible to disinformation, propaganda, and outright falsehoods (as judged by neutral fact-checking organizations such as PolitiFact). Case studies conducted by the authors show that lies and distortions on the right spread easily from extremist Web sites to mass-media outlets such as Fox, and only occasionally get corrected

Sometimes such pushback has a salutary effect. Recently, Chris Wallace told Sarah Sanders that her claim that “nearly four thousand known or suspected terrorists come into our country illegally” every year was wildly inaccurate. Showing Fox’s clout, the White House has dropped the talking point.

Unlike Glenn Beck, Hannity has been allowed to spew baseless conspiracy theories with impunity. For more than a year, Hannity and other hosts spread the lie that the hacking of Democratic Party e-mails during the 2016 campaign was an inside job. Hannity claimed that the hacking had been committed not by Russian cyber-warfare agents, as the U.S. intelligence community concluded, but by a Democratic staffer named Seth Rich, who had been murdered by unknown assailants on a D.C. street. Benkler and his co-authors studied Fox’s coverage, and found that not only did the channel give the Seth Rich lie a national platform; it also used the conspiracy story as a distraction, deploying it as a competing narrative when developments in Mueller’s investigation showed Trump in a bad light. In 2017, after Rich’s parents demanded an apology and advertisers began shunning the network, Fox finally ran a retraction, and Hannity dropped the story.

By then, Fox hosts had begun pushing a different conspiracy: the “Uranium One” story, which Hannity called “the biggest scandal ever involving Russia.” On an October, 2017, broadcast, Hannity claimed that Hillary Clinton, when she was Secretary of State, had given “to Vladimir Putin and Russia twenty per cent of America’s uranium, which is the foundational material to make nuclear weapons.” Ostensibly, the deal was in exchange for giant payments to the Clinton Foundation. Hannity also claimed that “the corrupt, lying mainstream media” was withholding this “bombshell” from Americans, because it was “complicit” in a “huge coverup.”

other reporting had poked holes in it, revealing that multiple government agencies had approved the deal, and that the quantity of uranium was insignificant. Yet Fox kept flogging it as the real national-security scandal involving Russia.

Alisyn Camerota was a co-host on “Fox & Friends” for years before joining CNN, in 2014

 ‘Fox & Friends’ was a fun show, but it was not a news show,” she says. “It regularly broke the rules of journalism. It was basically Roger’s id on TV. He’d wake up in the morning with some bee in his bonnet, spout it off to Bill Shine, and Shine would tell us to put it on TV.” She says that the show’s producers would “cull far-right, crackpot Web sites” for content, and adds, “Never did I hear anyone worry about getting a second source. The single phrase I heard over and over was ‘This is going to outrage the audience!’ You inflame the viewers so that no one will turn away. Those were the standards.”

Fox co-host Kimberly Guilfoyle often prepared for “The Five” by relying on information provided to her by an avid fan: a viewer from Georgia named David Townsend, who had no affiliation either with Fox News or with journalism.

Aki Peritz, a former C.I.A. analyst who is an adjunct professor at American University, has written that Fox News has become an inviting target for foreign spy agencies, because “it’s what the President sees.

a source who spoke to me about Guilfoyle and Townsend says, “It’s even worse than a conspiracy of the dark Web, or something trying to manipulate Fox. It was just a guy in his underwear in Georgia who had influence over Fox News! And Fox News influences the President!”

Judging from the timing of Trump’s tweets, Gertz believes that the President records “Fox & Friends” and views it from the beginning, often with a slight delay. As Trump watches, he frequently posts about points that he agrees with. Since August, 2018, Media Matters has tallied more than two hundred instances of Trump disseminating Fox News items to his fifty-eight million Twitter followers. “Trump serves as a carnival barker for Fox,” Levin says, giving invaluable promotional help to the channel.

Fox hosts sometimes reverse their opinions in order to toe the Trump line: Hannity, who in the Obama era called negotiations with North Korea “disturbing,” now calls such efforts a “huge foreign-policy win.” But Gertz has come to believe that Fox drives Trump more than Trump drives Fo

White House aides confirm that Trump has repeatedly walked away from compromises at the last moment because Fox hosts and guests opposed the deals.

According to a Senate staffer, one high-profile Republican senator claims that his preferred way of getting the President’s ear is by going on Fox. He calls a friendly host and offers to appear on the air; usually, before he’s taken his makeup off in the greenroom Trump is calling him

Fox hosts played a key part in driving Trump’s recent shutdown of the government and his declaration of a national emergency on the southern border. Hannity and Dobbs urged Trump nightly on their shows to make these moves; according to press reports, they also advised Trump personally to do so.

For the next thirty-five days, Hannity and the other Fox hosts kept cheering Trump on, even as polls showed that the American public was increasingly opposed to the shutdown. Oliver Darcy, of CNN, says that Democrats, rather than negotiating with Trump, “might as well call Sean Hannity and get him on the phone,” adding, “It seems we sort of elected Sean Hannity when we elected Trump.”

“The President’s world view is being specifically shaped by what he sees on Fox News, but Fox’s goals are ratings and money, which they get by maximizing rage. It’s not a message that is going to serve the rest of the country.

Trump and Fox are employing the same risky model: inflaming the base and intensifying its support, rather than building a broader coalition. Narrowcasting may generate billions of dollars for a cable channel, but as a governing strategy it inevitably alienates the majority. The problem for Trump, as one former Fox host puts it, is that “he can’t afford to lose Fox, because it’s all he’s got.”

Similarly, Fox has a financial incentive to make Trump look good. Cable ratings at both Fox and MSNBC dip when the news is bad for their audience’s side. Van Susteren likens the phenomenon to audiences turning away when their sports team is losing

A source close to Trump says that the President has been complaining that Shine hasn’t been aggressive enough. Late last year, Trump told the source, “Shine promised me my press coverage would get better, but it’s gotten worse.” The source says, “Trump thought he was getting Roger Ailes but instead he got Roger Ailes’s gofer.”

Shine has practically ended White House press briefings. Trump prefers to be his own spokesman. “He always thought he did it the best,” a former senior White House official says. “But the problem is that you lose deniability. It’s become a trapeze act with no net, 24/7. The shutdown messaging was a crisis. There was no exit strategy.”

“It was always clear that this wasn’t just another news organization,” Rosenberg told me. “But when Ailes departed, and Trump was elected, the network changed. They became more combative, and started treating me like an enemy, not an opponent.” With Shine joining Trump at the White House, he said, “it’s as if the on-air talent at Fox now have two masters—the White House and the audience.” In his view, the network has grown so allied with the White House in the demonization of Trump’s critics that “Fox is no longer conservative—it’s anti-democratic.”

For two years, the network has been priming its viewers to respond with extraordinary anger should the country’s law-enforcement authorities close in on the President. According to Media Matters, in the first year after Mueller was appointed Hannity alone aired four hundred and eighty-six segments attacking the federal criminal investigation into Russian interference in the 2016 election; thirty-eight per cent of those segments claimed that law-enforcement officials had broken the law.

Hannity has spoken of “a coup,” and a guest on Laura Ingraham’s program, the lawyer Joseph diGenova, declared, “It’s going to be total war. And, as I say to my friends, I do two things—I vote and I buy guns.”

“In a hypothetical world without Fox News, if President Trump were to be hit hard by the Mueller report, it would be the end of him. But, with Fox News covering his back with the Republican base, he has a fighting chance, because he has something no other President in American history has ever had at his disposal—a servile propaganda operation.”

In the epic’s first season, episodes averaged 9.3 million viewers

it pales in comparison to the final episodes of other iconic shows such as “M*A*S*H,” which drew 105.9 million viewers, and “Cheers,” which attracted 80 million viewers.

More recently, the CBS hit sitcom “The Big Bang Theory” ended its 12-season run with 18 million tuning in for the final episode.

The political comedy “Veep” ended its run last week with a season-high 1.1 million viewers

When I printed these confessions in Hoax, I wrote that everyone at Fox was “profoundly afraid of losing the audience and the resulting piles of cash.” I cited the former morning-show producer, who told me, “We were deathly afraid of our audience leaving, deathly afraid of pissing them off.”

why the new legal filing by Dominion is such a showstopper. We can read exactly what the leaders and stars of Fox News really think. This is my biggest takeaway: In the days after Biden won the election, while Trump tried to start the steal by shouting “Stop the Steal,” the most powerful people at Fox News were not concerned about the health of U.S. democracy. They were concerned about Fox’s brand and their own bottom line.

here were spontaneous celebrations in major cities and long faces across Fox’s airwaves. The consensus view both inside and outside the network was that Fox’s acknowledgment of reality—and specifically its early projection that Biden had won Arizona—had turned the audience against the network.

According to the Dominion filing, Carlson texted his producer that weekend and said, “Do the executives understand how much credibility and trust we’ve lost with our audience? We're playing with fire, for real....an alternative like newsmax could be devastating to us.”

One snippet of texts shows Scott telling Lachlan that viewers were “going through the 5 stages of grief.” Angling to impress her boss, she said the Arizona projection was damaging, “but we will highlight our stars and plant flags letting the viewers know we hear them and respect them.”

inside Fox, which is first and foremost a provider of entertainment, respect meant something else. Reading the texts and emails, I was reminded of another thing the Fox & Friends producer had said. “We were deathly afraid” of the audience, he admitted, “but we also laughed at them. We disrespected them. We weren’t practicing what we preached.”

That’s what Dominion is arguing in the legal realm—that Fox’s leaders were saying one thing privately and another thing publicly.

The other crucial metric Fox leaders were watching, of course, was the Nielsen ratings chart. The Dominion filing contains snippets of conversations from later in November that showcase Hannity’s alarm. “The network is being rejected,” he texted Carlson and Ingraham, to which Carlson responded, “I’ve heard from angry viewers every hour of the day all weekend, including at dinner tonight.” So they each found ways to wink and nod to voting irregularities and unfair systems—showing “respect” to viewers by actively misinforming them.

In a separate thread, on November 24, one of Hannity’s producers cited minute-by-minute ratings from the prior week’s episodes and said, “Our best minutes from last week were on the voting irregularities.” The conspiracy-laden segments continued on Fox through December, the ratings improved, and the country’s political divide deepened

Inside Fox, the prime-time stars and senior executives raged against the network’s reporters not because they doubted that Biden had won, but because the truth was too disturbing to the audience that had made them rich. Fox’s postelection strategy, the texts and emails suggest, was to stop rubbing Biden in its viewers’ faces. But in their effort to show their viewers “respect,” they ultimately disrespected both their audience and the American experiment they claim to protect.

In December of last year, Netflix provided an unprecedented map of its library by releasing a comprehensive look at its viewer data for the very first time. It comes as an Excel file, less than a megabyte, and ranks 18,214 pieces of content in Netflix’s gargantuan library by the number of hours viewed during the first six months of 2023, rounded to the nearest 100,000

Netflix excluded titles with fewer than 50,000 viewer hours. At the top was “The Night Agent,” a sub-Clancy-quality thriller about an F.B.I. guy, with more than 812 million hours viewed. At the bottom was “선생 김봉두 (My Teacher, Mr. Kim),” a South Korean comedy from 2003 with 100,000 hours, though this placement is an artifact of Excel’s sorting through the vastness of the catalog. Roughly the last four thousand entries all have 100,000 hours viewed — this is as low as the scale goes — and are arranged alphabetically

Outside the very top, which is dominated by Netflix Originals and kids’ movies, it’s not totally clear why anything winds up anywhere.

to scan through it is to appreciate how the library’s sheer size has heightened the importance of chance in our consumption habits.

Your view into the catalog may feel like a grand vista, but in actuality you are peering through a keyhole. When I open up Netflix on my TV, I am immediately met with a carousel of 75 shows and movies New on Netflix; then the Top 10 TV Shows in the U.S. Today; beneath that a carousel of another 75 suggestions Because You Watched “Rebel Ridge”; beyond that, an algorithmic selection of 33 Today’s Top Picks for You; then Bingeworthy TV Dramas, 75 of them. Then there’s Your Next Watch, a combination of stuff my kid watches and stuff I might, 75 more. Next: The last 10 things we didn’t finish; then, a list of 75 more titles because I watched “Shot Caller.” Beyond that, no fewer than 30 more carousels of about 75 titles each. That’s a whole lot of TV, but it’s still just a small slice of the catalog.

What we’re paying for, in the end, is not any one show, or any three or 10 or 50 shows, but rather this fathomless sense of abundance.

Matt Stoller, the anti-monopolist writer, cited this same story in a blog post about Hollywood’s travails. His theory was that Hollywood has gotten so big that it can’t even discover what people really want anymore

As a contrast, he cites the success of “Back to the Future,” an odd movie that became an enormous hit, eventually earning hundreds of millions. But as Stoller points out, in 1985, this happened slowly: It opened small in July, in about 1,400 theaters, and crept up to 1,550 theaters by the end of August, staying in at least 1,000 theaters until the Christmas season. (A big-budget Hollywood movie released today typically opens in about 4,000 theaters and is gone in a few weeks.

The movie, Stoller writes, “was put into a market, where information circulated among buyers and sellers.” There was a constant interplay between the art and the audience (and the middlemen) that determined its reach and legitimacy. Now, in Stoller’s eyes, the public is instead subject to something like content gavage, delivered 4,000 theaters at a time.

Which isn’t to say that the streamers don’t make hits and that people don’t watch and enjoy a lot of streaming television, as Netflix’s 183 billion viewer hours in 2023 can attest.

The producer and writer James Schamus has lamented what he calls the “Uberfication” of Hollywood under the streamers: Netflix and the others have demoted the creative talent from sharing in profits to working for hire, like Uber drivers

he leash has been off for a decade now, and eventually you face the same problem Richie Rich did: When you’re drowning in cash, it’s always tempting to say yes.

to look at these Netflix numbers is to realize that high-quality television is not the necessary outcome of the streaming model but possibly the happy byproduct of an industry in transition — and at this point maybe something like a small subculture.

It was practically a rounding error in comparison to “FUBAR,” an Arnold Schwarzenegger series I’d never heard of, and the first season of a show called “Ginny & Georgia,” which came out in 2021 and is apparently one of the most popular shows on Netflix, with both seasons appearing in the Top 10, together accounting for nearly a billion viewer hours. Never heard of it. Don’t know anyone who has. Maybe that’s my problem, because I’m an out-of-touch magazine editor. But maybe it’s yours too.

the fact of the matter is that we all spent years basically having no idea what was going on in there and taking guidance from friends, social media, newspapers, magazines and websites — all similarly blinded

it makes you wonder about the Talmudic discourse that surrounds every episode of buzzy television shows, trying to use them to make sense of the zeitgeist. What if the geist of our zeit mostly involves bingeing some British murder mystery based on a Harlan Coben (?!) novel called “Fool Me Once”? That was the most-watched show on Netflix in the first half of this year.

There are some economists who fretted about ZIRP because it can enable so-called “zombie businesses”: companies that survive only because of the availability of cheap capital, who stagger along, refinancing debt, never failing — artificial, undead things. And I think about this concept when I look back at the tech world’s takeover of culture

these business strategies, and this river of money diverted to bring them to fruition, created a sort of zombie discourse in our culture, one that appeared vital and real, and then — coincidentally or not, over the last few years — started to dissolve before our eyes.

just as the old market signals had become obsolete, an entire meaning-making apparatus arose to take its place

New, synthetic replacements were conjured, with a constantly expanding supply of televised content to direct them at. And social media feeds made up of highly nonrepresentative samples of the public to put all of this back into, spraying the messages around this new ecosystem like light from a disco ball.

It’s hard not to wonder, looking back at it all, if this situation created a pack of zombies, and they started to follow one another down a strange course, one paved with a whole lot of, you know, “Nanette” — titles that implicate the viewer in ways that are more interesting to write about than they are to watch

All we can say for sure is that the gulf between elite and popular discourse that so famously opened up during this era was helped along by the intrusion of the tech world into pop culture.

But it can certainly account for the rise of so-called Mid TV: shows that look expensive, are reasonably smart and packed with talent and somehow manage to be, in the Times TV critic James Poniewozik’s words, “. . . fine?”

Uber, the undisputed heavyweight champion of the ZIRP era, has similarly ushered in a world that is obviously superior in many ways and subtly, almost imperceptibly worse in others — less distinct, less interesting and sometimes even less useful.

According to the latest data, there are now more than 100,000 ride-share vehicles in New York City, and Manhattan’s streets have never been harder to traverse

Ambulance response times are getting measurably worse by the month

more than half the cars on the road are for-hire: the city’s iconic yellow cabs now engulfed by an anonymous fleet of sedans and S.U.V.s summoned seamlessly through apps, serving the market so well that the streets have nearly ceased to function.

perhaps that is what will become of our entertainment landscape too: There’s always something available. More of it than ever before. More than you could have dreamed of. And it’s available to you at the tap of a button, like magic. The way you always hoped it would be. Whether it can always get you where you want to go is another question

“You basically have Republican primary candidates trying to explain to Republican primary voters that they are going to be on their side when it comes to the cultural cold civil war that’s being fought right now,”

Within hours after the Texas shooting, shaken Democrats in Washington vowed to try again to pursue a compromise with Republicans on gun legislation that could move through the divided Senate. But the challenges were immediately evident, and Democratic outrage and frustration were palpable.

How or whether the Texas school shooting, the deadliest since Sandy Hook, will change the midterm election landscape remains unclear.

Ads for Josh Mandel, the former Ohio treasurer who lost the Republican primary for Senate, used the tagline “Pro-God, pro-gun, pro-Trump.”

“Babies, borders, bullets”

In New York, Representative Thomas Suozzi, who is waging a long-shot primary campaign against Gov. Kathy Hochul, is highlighting her support years ago from the National Rifle Association. For her part, a Hochul ad cites her work “cracking down on illegal guns to make our neighborhoods safer.”

On the campaign trail, though, Mr. Fetterman has faced scrutiny over a 2013 incident in which, as mayor of Braddock, Pa., he brandished a shotgun to stop and detain an unarmed Black jogger, telling police he had heard gunshots. He has declined to apologize or say he did anything wrong.

“We are exhausted,” she continued, “because we cannot continue to be the only country in the world where we let this happen again and again and again.”

In the three years since Google Brain began making smart recommendations, watch time from the YouTube home page has grown 20-fold. More than 70 percent of the time people spend watching videos on YouTube, they spend watching videos suggested by Google Brain.

The more videos that are watched, the more ads that are seen, and the more money Google makes.

“We also wanted to serve the needs of people when they didn’t necessarily know what they wanted to look for.”

Last week, The New York Times reported that YouTube’s algorithm was encouraging pedophiles to watch videos of partially-clothed children, often after they watched sexual content.

o YouTube’s nuance-blind algorithm — trained to think with simple logic — serving up more videos to sate a sadist’s appetite is a job well done.

The result? The algorithm — and, consequently, YouTube — incentivizes bad behavior in viewers.

the algorithm relies on snapshots of visual content, rather than actions. If you (or your child) watch one Peppa Pig video, you’ll likely want another. And as long as it’s Peppa Pig in the frame, it doesn’t matter what the character does in the skit.

it didn’t take long for inappropriate videos to show up in YouTube Kids’ ‘Now playing’ feeds

Using cheap, widely available technology, animators created original video content featuring some of Hollywood’s best-loved characters. While an official Disney Mickey Mouse would never swear or act violently, in these videos Mickey and other children’s characters were sexual or violent

there’s a 3.5 percent chance of a child coming across inappropriate footage within 10 clicks of a child-friendly video.

Just four in 10 parents always monitor their child’s YouTube usage — and one in 20 children aged 4-to-12 say their parents never check what they’re watching.

At the height of the panic around Mr. Crowder’s videos, YouTube’s public policy on hate speech and harassment appeared to shift four times in a 24-hour period as the company sought to clarify what the new normal was.

One possible solution that would address both problems would be to strip out YouTube’s recommendation altogether. But it is highly unlikely that YouTube would ever do such a thing: that algorithm drives vast swaths of YouTube’s views, and to take it away would reduce the time viewers spend watching its videos, as well as reduce Google’s ad revenue.

it must, at the very least, make significant changes, and have greater human involvement in the recommendation process. The platform has some human moderators looking at so-called “borderline” content to train its algorithms, but more humanity is needed in the entire process.

Currently, the recommendation engine cannot understand why it shouldn’t recommend videos of children to pedophiles, and it cannot understand why it shouldn’t suggest sexually explicit videos to children. It cannot understand, because the incentives are twisted: every new video view, regardless of who the viewer is and what the viewer’s motives may be, is considered a success.

The water had lowered just an inch, if that.

After a few hours of this, he realized his plan wasn't working.

Days after the video was posted, Oliveira apologized

"To be honest, this video was a really bad idea," he told his viewers. "I was caught up in the idea of making a banger and I didn't really consider the net consequence on the world around me... I deserve the criticism on this one!"

Oliveira said he donated $1,000 to the Australian Red Cross organization and asked his viewers to donate as well. He noted that all proceeds will go to the emergency teams that are fighting the "bushfires we're currently seeing across NSW."

Trump, who is livid at Fox for calling Arizona for Biden on Election Night and for not supporting him as slavishly as he would like, has been encouraging those viewers to change the channel and tune into Newsmax or OAN. 

the propagandists on Fox, like Tucker Carlson and Sean Hannity, continue to undercut their own network's reporting by ludicrously suggesting that Trump could be correct to assert that something nefarious did actually take place to rig the election in favor of Biden.

Shows on Newsmax that were averaging less than 100,000 viewers are now amassing audiences several times as large. Last week, one show even crossed over one million viewers.

Fox has primed viewers to distrust journalists and it has disseminated disinformation and promoted conspiracy theories that support the President. Now, Trump and these fledgling networks are wielding these tactics like a weapon against Fox. In some cases they're also using former Fox personalities against them.

If Fox executives are frustrated or perplexed by a the portion of their audience protesting the channel, they need only to look in the mirror to understand who bears the main share of the responsibility. 

Newsmax's narrative is that the election is not over, the media is wrong, Biden is weak, and Trump is strong.

The channel's CEO Chris Ruddy says "Newsmax will accept state results and the Electoral College when certified," but until then it is operating in a fictional universe where Trump still has a path to victory

One minute he self-assuredly said "it's not over yet" and "these things are still under review" and, regarding Biden, "I don't think he will be president." The next minute he ignorantly asked why Trump's "I won" posts were being flagged by Twitter, but Biden's posts were not, when Twitter's policy about election claims is public for all to see.

complete with aggrieved banners like "TRUMP SUPPORTERS ATTACKED" and "MICHELLE OBAMA IS SO BORING."

there is nothing controversial about media figures covering Trump's lies.

According to Newsmax's talk shows, the president is still in it to win it, and big breaking news might be right around the corner

Kelly assured the audience that "the president has some of the best lawyers in the country working for him." Morris boldly stated that "I believe that this election was absolutely stolen." Kelly responded, "I agree with you," and "I feel like something is going to break our way, in a big way, very very soon." Later in the hour, he told Ellis that "tens of millions are rooting for you."

Some shows have emphasized that OANN hasn't called the election yet. (This claim is meaningless since the channel doesn't have a decision desk.)

A fantasyland where, in the words of 8pm host Grant Stinchfield's first guest, convicted liar Roger Stone, "it's pretty evident that President Trump actually won a majority of all legal votes cast."

he claimed, without a shred of evidence, that "more than a million Trump supporters descended on DC" over the weekend

Trump has promoted OANN more than Newsmax over the years, and he did so again on Monday, tweeting "Try watching @OANN. Really GREAT!"

In the real world, Trump's longshot lawsuits are falling apart.

Some talk show hosts have moved on and attacked Biden's transition team, while others have zoomed in on voter fraud fantasies. "We must stop the steal now," 9pm host Kara McKinney said in a promo on Monday.

At 7pm on Friday, for instance, Kelly averaged 168,000 viewers in the key cable news demo of 25- to 54-year-olds, while Martha MacCallum's Fox show "The Story" averaged 328,000 viewers in the demo. CNN was way ahead of both channels with 651,000 viewers in the demo for "Erin Burnett OutFront."

Fox is not used to being in this position -- losing to CNN, and feeling pressure from far-right challengers

Tucker Carlson on Fox News Monday night: "Over the weekend we got a lot of calls asking if we're leaving Fox News. Ironically, at that very moment, we were working on a project to expand the amount of reporting and analysis we do in this hour across other parts of the company."

"This show is not going anywhere. It's getting bigger. The people who run Fox News want more of it, not less, and we are grateful for that. We'll have specifics soon." Okay, how soon?

that’s what I felt back in those days,” he said, “that everything was for sale — it was all about distraction, it didn’t seem serious. It all felt foolish and headed for a crash.”

Younger viewers do not have to fear Chase’s wrath, because they are not so obviously its object. They are also able to watch the show for hours on end, which makes the subtext and themes more apparent. Perhaps all of this has offered clarity that was not possible when the show aired. Perhaps it is easier now to see exactly who — or what — Chase was angry at.

it is easily one of the most written-about TV shows in the medium’s short history. But more than the shows that have emerged in its wake, which are subjected to close readings and recaps in nearly every major publication, “The Sopranos” has a novelistic quality that actually withstands this level of scrutiny. It’s not uncommon to hear from people who have watched the series several times, or who do so on a routine basis — people who say it reveals new charms at different points in life

Perhaps the greatest mystery of all, looking back on “The Sopranos” all these years later, is this: What was Chase seeing in the mid-’90s — a period when the United States’ chief geopolitical foe was Serbia, when the line-item veto and school uniforms were front-page news, when “Macarena” topped the charts — that compelled him to make a show that was so thoroughly pessimistic about this country?

“I don’t think I felt like it was a good time,” he told me. He is 76 now, and speaks deliberately and thoughtfully. “I felt that things were going downhill.” He’d become convinced America was, as Neil Postman’s 1985 polemic put it, “Amusing Ourselves to Death,” not an easy thing for a journeyman TV writer to accept.

“There was nothing but crap out there. Crap in every sense. I was beginning to feel that people’s predictions about the dumbing-down of society had happened and were happening, and I started to see everything getting tawdry and cheap.”

Expanded access to credit had cut into what mobsters call the shylock business; there’s no need to go to a loan shark when the payday lender will offer you similarly competitive rates. Gambling was legalized in many states and flourishes on many reservations; nearly every state in the Union has a lottery, which decimated the numbers racket. Italian American neighborhoods have emptied out — as Jacobs writes, “radically diminishing the pool of tough teenagers with Cosa Nostra potential”; this is dramatized brilliantly in the final episode of the series, when a mobster from a New York family hurries through Little Italy on an important phone call and, when the call ends, looks around to see he’s wandered into an encroaching and vibrant Chinatown. And, Jacobs notes, union membership has been decimated. “In the mid-1950s, about 35 percent of U.S. workers belonged to a union,” he writes. “In recent years, only 6.5 percent of private-sector workers have been union members.”

I was about to change the subject when he hit on something. “Have you noticed — or maybe you haven’t noticed — how nobody does what they say they’re going to do?” he said, suddenly animated. “If your sink gets jammed up, and a guy says he’s going to be out there at 5:30 — no. Very few people do what they say they’re going to do. There is a decline in goods and services that is enormous.”

Chase told me the real joke of the show was not “What if a mobster went to therapy?” The comedic engine, for him, was this: What if things had become so selfish and narcissistic in America that even the mob couldn’t take it? “That was the whole thing,” he said. “America was so off the rails that everything that the Mafia had done was nothing compared to what was going on around them.”

In “The Mafia: A Cultural History,” Roberto M. Dainotto, a professor of literature at Duke, writes that one thing our cinematic Mafiosi have that we admire, against our better judgment, is access to structures of meaning outside of market forces: the church, family, honor. The Mafia movie often pits these traditional values against the corrosive and homogenizing effects of American life.

What “The Sopranos” shows us, Dainotto argues, is what happens when all that ballast is gone, and the Mafia is revealed to be as ignoble as anything else. “Life is what it is,” he writes, “and repeats as such.”

The show puts all this American social and cultural rot in front of characters wholly incapable of articulating it, if they even notice it.

What is, for me, one of the show’s most memorable scenes has no dialogue at all. Tony and his crew have just returned from a business trip to Italy, during which they were delighted with the Old Country but also confronted with the degree of their alienation from their own heritage. They’re off the plane, and in a car traveling through Essex County. As the camera pans by the detritus of their disenchanted world — overpasses, warehouses — Tony, Paulie and Christopher are seeing their home with fresh eyes, and maybe wondering if their ancestors made a bad trade or if, somewhere along the line, something has gone horribly wrong. But we don’t know: For once, these arrogant, stupid and loquacious men are completely silent.

Around the time “The Sopranos” premiered, the N.Y.U. Law professor James B. Jacobs wrote a paper, along with a student, arguing that the Mafia, though weakened by decades of prosecutions, could come roaring back. By 2019, though, he had published a new paper called “The Rise and Fall of Organized Crime in the United States,” declaring the Mafia all but finished. “The world in which the Cosa Nostra became powerful is largely gone,” he wrote. And he cites a litany of factors that aided its collapse, a mix of technological advances, deregulation and financialization — many of the same forces that have created the stratified economy of today.

In his first therapy session with Dr. Melfi, Tony tries to explain why he thinks he has panic attacks, why he suffers from stress. “The morning of the day I got sick, I’d been thinking: It’s good to be in something from the ground floor,” he says. “I came too late for that, I know. But lately, I’m getting the feeling that I came in at the end. The best is over.” Melfi tells him that many Americans feel that way. Tony presses on: “I think about my father: He never reached the heights like me, but in a lot of ways he had it better. He had his people, they had their standards, they had their pride. Today, what do we got?”

You can see this world — one in which no one can be squeezed because everyone is being squeezed — starting to take shape from the very beginning of the show. In the pilot, Tony is fending off competition from a new waste-hauling business undercutting his company’s extortionate fees, and trying to figure out how he can get a piece of the similarly extortionate costs his health insurer paid for his M.R.I. — a procedure he had because the stress in his life had given him a panic attack.

The bien-pensant line on Tony remains that he’s a sociopath, and only used therapy to become a better criminal. This is an idea spoon-fed to the viewer in the final episodes by a contrite Dr. Melfi, in a show that spoon-feeds almost nothing to the viewer. Melfi herself might call this a coping mechanism to avoid the messier reality, which is that Tony lives in an immoral world nestled within another immoral world, both of which have only grown more chaotic because of forces outside his control.

Because of this, you can see how he reasons himself into more and more heinous crimes, justifying each and every one of them to himself. Perhaps to you too — at least, up to a point. That sympathy for Tony led contemporaneous critics to ask if people were watching the show in the wrong way, or if our enjoyment pointed to a deficiency of the heart.

t is this quality of Tony’s — this combination of privilege and self-loathing — that I suspect resonates with a younger generation, whether we want to admit it or not. He’s not so different from us, after all. He has an anxiety disorder. He goes to therapy and takes S.S.R.I.s, but never really improves — not for long, anyway. He has a mild case of impostor syndrome, having skipped some key steps to becoming boss, and he knows that people who hold it against him are sort of right. He’s still proud of his accomplishments in high school. He does psychedelics in the desert, and they change his perspective on things. He often repeats stuff he half-remembers someone smarter than him saying. He’s arguably in an open marriage with Carmela, if a rather lopsided one. He liked listening to “Don’t Stop Believin’” in 2007. He’s impulsive and selfish and does not go to church, though he does seem open to vaguer notions of spirituality. He wishes his career provided him with meaning, but once he had the career, he discovered that someone had pulled the rug out at some point, and an institution that had been a lodestar to him for his whole life was revealed to be a means of making money and nothing more. Does this sound at all familiar to you?

Like many young people, Tony is a world-historically spoiled man who is nevertheless cursed, thanks to timing, to live out the end of an enterprise he knows on some level to be immoral.

It gives him panic attacks, but he’s powerless to find a way out. Thus trapped — and depressed — it’s not so hard for him to allow himself a few passes, to refuse to become better because the world is so rotten anyway.

Tony’s predicament was once his to suffer alone, but history has unfolded in such a way as to render his condition nearly universal.

That the people in power truly had insulated themselves in a fantasy environment — not just in the realm of foreign policy, but also, more concretely, in the endless faux-bucolic subdivisions that would crater the economy. We were living in a sort of irreality, one whose totality would humiliate and delegitimize nearly every important institution in American life when it ended, leaving — of all people — the Meadows and A.J.s of the world to make sense of things.

if people still see a monster in Tony, then the monster is themselves: a twisted reflection of a generation whose awakening to the structures that control them came in tandem with a growing aversion to personal accountability in the face of these systems.

Whether that’s true or not, it offers us all permission to become little Tonys, lamenting the sad state of affairs while doing almost exactly nothing to improve ourselves, or anything at all.

This tendency is perhaps most pronounced online, where we are all in therapy all day, and where you can find median generational opinions perfectly priced by the marketplace of ideas — where we bemoan the wrongs of the world and tell ourselves that we can continue being who we are, and enjoy the comforts we’ve grown accustomed to.

In the show’s finale, as the extended Soprano family gathers to mourn the death of Bobby Baccalieri, we find Paulie Walnuts stuck at the kids’ table, where A.J., newly politically awakened, charges into a rant. You people are screwed, he says. “You’re living in a dream.” Bush let Al Qaeda escape, he tells them, and then made us invade some other country? Someone at the table tells him that if he really cares, he should join up. A.J. responds: “It’s more noble than watching these jackoff fantasies on TV of how we’re kicking their ass. It’s like: America.” Again, he’s interrupted: What in the world does he mean? He explains: “This is still where people come to make it. It’s a beautiful idea. And then what do they get? Bling? And come-ons for [expletive] they don’t need and can’t afford?”

However inartfully, A.J. was gesturing at something that would have been hard for someone his age to see at the time, which is that the ’00s were a sort of fever dream, a tragic farce built on cheap money and propaganda.

The notion that individual action might help us avoid any coming or ongoing crises is now seen as hopelessly naïve, the stuff of Obama-era liberalism.

. The “leftist ‘Sopranos’ fan” is now such a well-known type that it is rounding the corner to being an object of scorn and mockery online.

One oddity that can’t be ignored in this “Sopranos” resurgence is that, somewhat atypically for a TV fandom, there is an openly left-wing subcurrent within it

If OnlyFans’s creator earnings were taken as a whole, the company would rank around No. 90 on Forbes’s list of the biggest private companies in America by revenue, ahead of Twitter (now called X), Neiman Marcus Group, New Balance, Hard Rock International and Hallmark Cards.

Many creators now operate like independent media companies, with support staffs, growth strategies and promotional budgets, and work to apply the cold quantification and data analytics of online marketing to the creation of a fantasy life.

The subscription site has often been laughed off as a tabloid punchline, a bawdy corner of the internet where young, underpaid women (teachers, nurses, cops) sell nude photos, get found out and lose their jobs.

pressures to perform for a global audience; an internet that never forgets. “There is simply no room for naivety,” one said in a guide posted to Reddit’s r/CreatorsAdvice.

America’s social media giants for years have held up online virality as the ultimate goal, doling out measurements of followers, reactions and hearts with an unspoken promise: that internet love can translate into sponsorships and endorsement deals

But OnlyFans represents the creator economy at its most blatantly transactional — a place where viewers pay upfront for creators’ labor, and intimacy is just another unit of content to monetize.

The fast ascent of OnlyFans further spotlights how the internet has helped foster a new style of modern gig work that creators see as safe, remote and self-directed,

Creators’ nonchalance about the digital sex trade has fueled a broader debate about whether the site’s promotion of feminist autonomy is a facade: just a new class of techno-capitalism, selling the same patriarchal dream.

But OnlyFans increasingly has become the model for how a new generation of online creators gets paid. Influencers popular on mainstream sites use it to capitalize on the audiences they’ve spent years building. And OnlyFans creators have turned going viral on the big social networks into a marketing strategy, using Facebook, Twitter and TikTok as sales funnels for getting new viewers to subscribe.

many creators, she added, still find it uniquely alluring — a rational choice in an often-irrational environment for gender, work and power. “Why would I spend my day doing dirty, degrading, minimum-wage labor when I can do something that brings more money in and that I have a lot more control over?”

it is targeting major “growth regions” in Latin America, Europe and Australia. (The Mexican diver Diego Balleza said he is using his $15-a-month account to save up for next year’s Paris Olympics.)

“Does an accountant always enjoy their work? No. All work has pleasure and pain, and a lot of it is boring and annoying. Does that mean they’re being exploited?”

Adams’s operation is registered in state business records as a limited liability company and offers quarterly employee performance reviews and catered lunch. It also runs with factory-like efficiency, thanks largely to a system designed in-house to track millions of data points on customers and content and ensure every video is rigorously planned and optimized.

Since sending her first photo in 2021, Adams’s OnlyFans accounts have earned $16.5 million in sales, more than 1.4 million fans and more than 11 million “likes.” She now makes about $30,000 a day — more than most American small businesses — from subscriptions, video sales, messages and tips, half of which is pure profit

Adams’s team sees its business as one of harmless, destigmatized gratification, in which both sides get what they want. The buyers are swiped over in dating apps, widowed, divorced or bored, eager to pay for the illusion of intimacy with an otherwise unattainable match. And the sellers see themselves as not all that different from the influencers they watched growing up on YouTube, charging for parts of their lives they’d otherwise share for free.

“This is normal for my generation, you know?

“I can go on TikTok right now and see ten girls wearing the bare minimum of clothing just to get people to join their page. Why not go the extra step to make money off it?”

the job can be financially precarious and mentally taxing, demanding not just the technical labor of recording, editing, managing and marketing but also the physical and emotional labor of adopting a persona to keep clients feeling special and eager to spend.

enix International Limited, is based, the company said its sales grew from $238 million in 2019 to more than $5.5 billion last year.

Its international army of creators has also grown from 348,000 in 2019 to more than 3 million today — a tenfold increase.

The company paid its owner, the Ukrainian American venture capitalist Leonid Radvinsky, $338 million in dividends last year.)

portion of its creator base and 70 percent of its annual revenue

When Tim Stokely, a London-based operator of live-cam sex sites, founded OnlyFans with his brother in 2016, he framed it as a simple way to monetize the creators who were becoming the world’s new celebrities — the same online influencers, just with a payment button. In 2019, Stokely told Wired magazine that his site was like “a bolt-on to your existing social media,” in the same way “Uber is a bolt-on to your car.”

Before OnlyFans, pornography on the internet had been largely a top-down enterprise, with agents, producers, studios and other middlemen hoarding the profits of performers’ work. OnlyFans democratized that business model, letting the workers run the show: recording their own content, deciding their prices, selling it however they’d like and reaping the full reward.

The platform bans real-world prostitution, as well as extreme or illegal content, and requires everyone who shows up on camera to verify they’re 18 or older by sending in a video selfie showing them holding a government-issued ID.

OnlyFans operates as a neutral marketplace, with no ads, trending topics or recommendation algorithms, placing few limitations on what creators can sell but also making it necessary for them to market themselves or fade away.

After sending other creators’ agents their money over PayPal, Adams’s ad workers send suggestions over the messaging app Telegram on how Bryce should be marketed, depending on the clientele. OnlyFans models whose fans tend to prefer the “girlfriend experience,” for instance, are told to talk up her authenticity: “Bryce is a real, fit girl who wants to get to know you

Like most platforms, OnlyFans suffers from a problem of incredible pay inequality, with the bulk of the profits concentrated in the bank accounts of the lucky few.

the top 1 percent of accounts made 33 percent of the money, and that most accounts took home less than $145 a month

Watching their partner have sex with someone else sometimes sparked what they called “classic little jealousy issues,” which Adams said they resolved with “more communication, more growing up.” The money was just too good. And over time, they adopted a self-affirming ideology that framed everything as just business. Things that were tough to do but got easier with practice, like shooting a sex scene, they called, in gym terms, “reps.” Things one may not want to do at first, but require some mental work to approach, became “self-limiting beliefs.”

They started hiring workers through friends and family, and what was once just Adams became a team effort, in which everyone was expected to workshop caption and video ideas. The group evaluated content under what Brian, who is 31, called a “triangulation method” that factored their comfort level with a piece of content alongside its engagement potential and “brand match.” Bryce the person gave way to Bryce the brand, a commercialized persona drafted by committee and refined for maximum marketability.

One of the operation’s most subtly critical components is a piece of software known as “the Tool,” which they developed and maintain in-house. The Tool scrapes and compiles every “like” and view on all of Adams’s social network accounts, every OnlyFans “fan action” and transaction, and every text, sext and chat message — more than 20 million lines of text so far.

It houses reams of customer data and a library of preset messages that Adams and her chatters can send to fans, helping to automate their reactions and flirtations — “an 80 percent template for a personalized response,” she said.

And it’s linked to a searchable database, in which hundreds of sex scenes are described in detail — by price, total sales, participants and general theme — and given a unique “stock keeping unit,” or SKU, much like the scannable codes on a grocery store shelf. If a fan says they like a certain sexual scenario, a team member can instantly surface any relevant scenes for an easy upsell. “Classic inventory chain,” Adams said.

The systemized database is especially handy for the young women of Adams’s chat team, known as the “girlfriends,” who work at a bench of laptops in the gym’s upper loft. The Tool helped “supercharge her messaging, which ended up, like, 3X-ing her output,” Brian said, meaning it tripled.

Keeping men talking is especially important because the chat window is where Adams’s team sends out their mass-message sales promotions, and the girlfriends never really know what to expect. One girlfriend said she’s had as many as four different sexting sessions going at once.

Adams employs a small team that helps her pay other OnlyFans creators to give away codes fans can use for free short-term trials. The team tracks redemption rates and promotional effectiveness in a voluminous spreadsheet, looking for guys who double up on discount codes, known as “stackers,” as well as bad bets and outright fraud.

Many OnlyFans creators don’t offer anything explicit, and the site has pushed to spotlight its stable of chefs, comedians and mountain bikers on a streaming channel, OFTV. But erotic content on the platform is inescapable; even some outwardly conventional creators shed their clothes behind the paywall

Creators with a more hardcore fan base, meanwhile, are told to cut to the chase: “300+ sex tapes & counting”; “Bryce doesn’t say no, she’s the most wild, authentic girl you will ever find.”

The $18 an hour she makes on the ad team, however, is increasingly dwarfed by the money Leigh makes from her personal OnlyFans account, where she sells sex scenes with her boyfriend for $10 a month. Leigh made $92,000 in gross sales in July, thanks largely to revenue from new fans who found her through Adams or the bikini videos Leigh posts to her 170,000-follower TikTok account

“This is a real job. You dedicate your time to it every single day. You’re always learning, you’re always doing new things,” she said. “I’d never thought I’d be good at business, but learning all these business tactics really empowers you. I have my own LLC; I don’t know any other 20-year-old right now that has their own LLC.”

The team is meeting all traffic goals, per their internal dashboard, which showed that through the day on a recent Thursday they’d gained 2,221,835 video plays, 19,707 landing-page clicks, 6,372 new OnlyFans subscribers and 9,024 new social-network followers. And to keep in shape, Adams and her boyfriend are abiding by a rigorous daily diet and workout plan

They eat the same Chick-fil-A salad at every lunch, track every calorie and pay a gym assistant to record data on every rep and weight of their exercise.

But the OnlyFans business is competitive, and it does not always feel to the couple like they’ve done enough. Their new personal challenge, they said, is to go viral on the other platforms as often as possible, largely through jokey TikTok clips and bikini videos that don’t give away too much.

the host told creators this sales-funnel technique was key to helping build the “cult of you”: “Someone’s fascination will become infatuation, which will make you a lot of money.”

Adams’s company has worked to reverse engineer the often-inscrutable art of virality, and Brian now estimates Adams makes about $5,000 in revenue for every million short-form video views she gets on TikTok.

Her team has begun ranking each platform by the amount of money they expect they can get from each viewer there, a metric they call “fan lifetime value.” (Subscribers who click through to her from Facebook tend to spend the most, the data show. Facebook declined to comment.)

The younger workers said they see the couple as mentors, and the two are constantly reminding them that the job of a creator is not a “lottery ticket” and requires a persistent grind. Whenever one complains about their lack of engagement, Brian said he responds, “When’s the last time you posted 60 different videos, 60 days in a row, on your Instagram Reels?”

But some have taken to it quite naturally. Rayna Rose, 19, was working last year at a hair salon, sweeping floors for $12 an hour, when an old high school classmate who worked with Adams asked whether she wanted to try OnlyFans and make $500 a video.

Rose started making videos and working as a chatter for $18 an hour but recently renegotiated her contract with Adams to focus more on her personal OnlyFans account, where she has nearly 30,000 fans, many of whom pay $10 a month.

One recent evening this summer, Adams was in the farm’s gym when her boyfriend told her he was headed to their guest room to record a collab with Rose, who was wearing a blue bikini top and braided pigtails.

“Go have fun,” Adams told them as they walked away. “Make good content.” The 15-minute video has so far sold more than 1,400 copies and accounted for more than $30,000 in sales.

Rose said she has lost friends due to her “lifestyle,” with one messaging her recently, “Can you imagine how successful you would be if you studied regularly and spent your time wisely?”

The message stung but, in Rose’s eyes, they didn’t understand her at all. She feels, for the first time, like she has a sense of purpose: She wants to be a full-time influencer. She expects to clear $200,000 in earnings this year and is now planning to move out of her parents’ house.

“I had no idea what I wanted to do with my life. And now I know,” she said. “I want to be big. I want to be, like, mainstream.”

“Choosing not to do stories is a form of bias,”

Four outlets mentioned the lawsuit in some way, but did not mention the comments from Fox News hosts. One of those, The Gateway Pundit, published three articles that included additional unfounded allegations about Dominion, including a suggestion that security vulnerabilities at one election site using Dominion machines could have led to some fraud, despite no evidence that votes were mismanaged.

The majority — 18 in all, including Fox News itself — did not cover the lawsuit at all with their own staff.

The lone on-air mention of the case on Fox News has been by Howard Kurtz, who hosts the weekly Fox News show “MediaBuzz.” He addressed the Dominion case on the air this week, telling viewers: “I believe I should be covering it.”“But,” he continued, “the company has decided as part of the organization being sued, I can’t talk about it or write about it, at least for now. I strongly disagree with that decision, but as an employee I have to abide by it.”

Mainstream news organizations often report on themselves when they are at the center of a scandal, Mr. Rosenstiel said, because they get “much more credit when they expose the lens on themselves as aggressively as they would anyone else.”

“The things you ignore and the things you choose to highlight are an important part of how you show whether you are a serious news organization.”

There are no legal orders barring media organizations from covering lawsuits they are involved in. And Mr. Rosenstiel pointed to a long history of past suits and scandals covered by the news organizations involved. The Washington Post, for example, ran a deeply reported article on how and why a reporter had made up a character in an article that won a Pulitzer Prize in 1981. The prize had been withdrawn a few days earlier after the fraud was uncovered

Fox’s lawyers might fear that anything said on the air could be used against the company at the trial

“From an ethical perspective, I’d say it’s a real disservice to their viewers on Fox not to be covering this,” she said.

Newsmax and The Washington Examiner — two of the four outlets reviewed by The Times that mentioned Dominion’s lawsuit but not the specific comments by Fox News’s hosts — have focused on Rupert Murdoch’s private messages, including that he saw Newsmax as a potential threat to Fox News

The hosts’ comments have also not been a focus of users on right-wing social media. Instead, many users on sites like Gab and Truth Social accused Mr. Murdoch of disloyalty to former President Donald J. Trump

One of the articles by The Gateway Pundit that advanced voter fraud narratives about Dominion was the most-shared story about the case on right-wing social media, according to data from Pyrra Technologies, a company that monitors the right-wing internet.

When users on right-wing social networks discussed the Fox News hosts, many criticized Mr. Carlson, Mr. Hannity and others for not fully believing the election fraud lies they appeared to endorse, Pyrra found.

That was both political and practical. Political because obviously they didn’t want to be seen as piling on President George W. Bush; practical because it wasn’t nearly as depressing.

Just as important, Mr. Ailes encouraged his hosts to let their personalities and patriotism show through in their coverage. “I” was a typical refrain. “We” and “us” often referred to the United States (something that most mainstream media entities dropped during the 1960s).

Media critics, amateur and professional, could, and did, assail him and his on-air talent, especially Bill O’Reilly. In response, Fox News would simply ignore them or hit back harder, on the air or through its relentless public relations department. There were no objective norms, no establishment rules, no journalistic sanctity. Just Roger’s rules.

even today, every cable network is, in many ways, a Roger Ailes production. The search for hosts with “something to say,” the talking heads, the talking head butting, the over-the-top breaking news graphics, the invocations of “America,” the saturation coverage of events — all of it was either created or fully exploited by Fox News.

We will never know to what extent Fox created or merely reported on the factor that turned out to be so decisive in the election: that to be white and conscious in America was to be in a constant state of rage.

In the middle of all this, feeding clips of ammo into the hot Fox News machine, was Megyn Kelly. To watch her, during one of her interviews on the subject of race and policing, interrupt a black guest to ask her whether she’d ever called white people “crackers” was to see Kelly in action, fired up and ready to go. In some respects, she was an independent actor at Fox, with her own show and ultimate control of its editorial content. But she was also a cog in something turning, and what the great machine ultimately produced was President Donald Trump.

As she tells it, one of the first questions Ailes asked her was “how the daughter of a nurse and a college professor understood anything other than left wing dogma.” She replied that although she’d been raised in a Democratic household, she had always been apolitical. She got the job.

he wanted people who hadn’t been tainted by the left-wing media machine, so they could be trained in the attitudes and opinions the network had been founded to advance.

Kelly is an unbelievably talented broadcaster—smart, funny, quick-witted, and able to handle a bit of fluff with as much zeal as she tackles a serious story. There can’t have been anyone more telegenic in the history of the business.

Her understanding of the legal aspects of news stories and her tendency to conduct interviews as hostile cross-examinations (“Stay in bounds!” “I’ve already ceded the point!” “Don’t deflect!”) made her a riveting journalist-entertainer

she evinced her signature political stance: free-market enthusiasm combined with Nixonian law-and-order conservatism. “Enjoy prison!” she would call out after showing a video of an especially inept criminal enterprise.

She popped off the screen—fun, sexy, tough—and became popular not just with conservatives but also (in the mode of a guilty pleasure) with many progressives, including her sometime nemesis Jon Stewart, who once said she was his favorite Fox personality.

to see her segments on Black Lives Matter—which first aired as the primaries were getting under way and continued until the general election itself—was to see how Fox often stirred up racial anger among its viewers, a kind of anger that was crucial fuel for the Republican outcome Roger Ailes so desired.

hen Kelly was a litigator in high-stakes lawsuits, she learned a skill of the trade: taunting her adversaries until they snapped. “I might say something passive-aggressive just to get opposing counsel mad,” she writes. “And then when he got worked up about it, I would say calmly, ‘You seem upset. Do you need a break? We can take a moment if you’d like to step outside and get yourself together.’ ” She became “an expert in making them lose their cool.”

n her regular application of it to black activists, she contributed to an ugly mood that was the hallmark of Fox all last year: one of white aggrievement at a country gone mad, led by a radical black president supported by irrational black protesters who were gaining power.

, she introduced her TV audience to Malik Shabazz, the president of Black Lawyers for Justice and a former president of the New Black Panthers Party. Shabazz is a radical—an anti-Zionist who believes that Jews dominated the Atlantic slave trade and were involved in the 9/11 attacks, he is in a sense far more radical than Bill Ayers—but Kelly did not tell the audience that. Nor did she tell them that she had had Shabazz on her show in the past. The two proved useful to each other; he got to go deep behind enemy lines to spread his theories, while she got to show her audience members a black man who really does hate them. But to the casual viewer, he seemed like merely another Black Lives Matter supporter, no more or less extreme in his views than D. L. Hughley.

This was Fox News last spring and summer and into the fall: a place where black guests were always a few prodding questions away from telling the audience what they really felt about whites, and a place where white hosts were quick to defend other members of their race from unfair accusations of bias. These tactics were integral to the network’s mission: to get conservative ideas out there, to help elect a Republican president, and to make exciting television while doing it. Kelly proved adept on all fronts.

n’t add up any more.”

that doesn’t mean a smallish number of videos can’t assemble a vast audience, some of whom are led further into the lizard-person weirdness of the fringe.

The deeper argument that YouTube is making is that conspiracy videos on the platform are just a kind of mistake.

But the conspiratorial mind-set is threaded through the social fabric of YouTube. In fact, it’s intrinsic to the production economy of the site.

YouTube offers infinite opportunities to create, a closed ecosystem, an opaque algorithm, and the chance for a very small number of people to make a very large amount of money

Add in certain kinds of grievance politics, and you have the perfect recipe for hundreds of videos about YouTube “censoring” people or suppressing their views in some way.

The internet was supposed to set media free, which, for the content creator, should have removed all barriers to fame. But it did this for everyone, and suddenly every corner of the internet was a barrel of crabs, a hurly-burly of dumb, fierce competition from which only a select few scrabble out. They are plucked from above by the recommendation algorithm, which bestows the local currency (views) for reasons that no one can quite explain

“Our ancestors’ legacy to us is a brain programmed to see coincidence and infer cause.

what that means, Brotherton says, is that “sometimes, it would seem, buying into a conspiracy is the cognitive equivalent of seeing meaning in randomness.”

Google and Twitter spawned verbs, but YouTube created a noun: YouTuber. YouTube mints personalities engaged in great dramas among networks of other YouTubers

Creators are, in fact, responsible for YouTube’s massive revenues, and yet they are individually powerless to dictate the terms of their relationship, even strung together in so-called multichannel networks of creators. YouTube wants views where it makes money; YouTubers want views on their content, whether it is to YouTube’s benefit or not.

While these conditions of production—which incentivize content creation at a very low cost to YouTube—exist on other modern social platforms, YouTube’s particular constellation of them is special

Crucially, YouTubers must get viewers to emotionally invest in them, because they need people to “like, comment, and subscribe.” The dedicated community around YouTubers has to support them with concrete actions to pull them up the rankings

But because of that very accessibility, many, many people see the videos on YouTube and say, “I could do that.

The content-production system has created a kind of conspiracist politics that is native to YouTube

Richard Hofstadter identified “the paranoid style” in American politics decades ago. The “paranoid spokesman” was “overheated, oversuspicious, overaggressive, grandiose, and apocalyptic in expression,” seeing himself as the guardian of “a nation, a culture, a way of life” against “the hostile and conspiratorial world.

This audience of the aggrieved just happens to be the perfect group for successful YouTubers to find

Once something is known to work in the YouTube world—once it’s clear that the demand is out there—the supply side of video makers kicks in. Each is trying to find just the right conspiracy and spin on a conspiracy to move up the logarithmic scale of YouTube popularity

Now that YouTube corporate is attempting to use its levers to tamp down the worst conspiratorial thinking, isn’t that exactly what the conspiracists would predict would happen to the truth?

it’s not only that conspiracy content made YouTube viewers more prone to believe conspiracies. It’s that the economics and illusions of content production on YouTube itself made conspiracy content more likely to be created and viewed.