Judge orders removal of all Wolfoo videos from online platforms after finding ‘prolific’ copyright infringement

The corporate owners of Peppa Pig have won a copyright battle against the copycat animation Wolfoo after a judge ruled the latter had illegally used audio from the famous cartoon pig.

The US-headquartered entertainment company Hasbro, which owns the rights to Peppa Pig, sued SConnect – the Vietnamese makers of Wolfoo – for copyright infringement regarding videos which used short audio clips of Peppa and her family saying words such as “Hooray!”

Former City trader’s weekly Gary’s Economics videos took off during the Covid pandemic

The City trader turned wealth tax campaigner Gary Stevenson has announced he is quitting the YouTube channel that made his name, citing health concerns.

His announcement, in a 48-minute address to camera, came after a mixed reaction to a televised documentary that brought him to a wider audience but drew some scepticism from left-leaning tax experts as well as more rightwing critics.

Streaming pioneer that transformed TV faces slowing growth and battle for viewers’ attention from YouTube

When Netflix offered viewers the chance to binge on an entire season of House of Cards it revolutionised the TV industry and started on a path to becoming the world’s most popular streaming service.

Almost 15 years on, however, the upstart’s strategy of pumping its service with an avalanche of content and an almost-as-rapid penchant for mercilessly cancelling shows has viewers reaching for the remote.

Pre-Covid, the movie landscape was dramatically different: YouTubers weren’t dominating the box office, video game spin-offs rarely made an impact and Winnie-the-Pooh wasn’t yet the star of a slasher movie. Why such a flurry of innovation – and what will be next?

Cinema has always been a medium of research and development. At any given point, the industry is searching for yet another breakthrough that can drive it into the future. Synchronised sound in the 1920s. Technicolor in the 1930s. The invention of the modern blockbuster in the 1970s.

Conversely, the consensus is that, if the 2020s has a defining trend, then it is one of decline. The theatrical experience is under attack from all angles: streaming, YouTube, a once-in-a-century health crisis that shut cinemas down entirely. And yet, if you look closer, this has actually been one of the most innovative decades that cinema has ever seen. Whether down to technology or desperation, the film industry has spent these last few years figuring out new ways to make films that simply could not have existed even at the turn of the decade.

From playing would you rather to ranking snacks, A-listers navigating the promo trail are now forced on a set schedule of silliness

This summer, we’ve been blessed with new movies from the legendary director Steven Spielberg and one of his biggest and most beloved successors, Christopher Nolan. In both cases, the movies have been heavily sold on the directors’ names, and, befitting two of the most famous film-makers to ever do it, Spielberg and Nolan have been making the press rounds. This has meant a wealth of interviews and insights – a bonus feature unfolding alongside the selling of the actual movies that will delight movie nerds the world over.

So at first, when I saw a 60-second video of Christopher Nolan answering a barrage of yes-or-no questions come across my social-media feed, of course I stopped and watched as a famously buttoned-up (if obviously still passionate) film-maker attempted some spontaneity with no danger of follow-up questions (or obligation to follow-up answers). From this, there is admittedly plenty of information to be gleaned: he has no designs on retiring, Tarantino-style. He will not make another superhero movie or a TV show. He’s fine with people watching movies on their phones or laptops. He will neither confirm nor deny that Interstellar is his favorite of his films. He will also neither confirm nor deny that he would like to make a Star Wars movie. (Perhaps the most intriguing, given that you’d rather expect that to be a firm “no”.)

Der börsennotierte Verlag hat lange gut verdient an romantischen Büchern für junge Frauen. Aber jetzt sinken die Umsätze. Wachstum soll auch eine neue Variante Hörbücher bringen.

Die Nutzung sozialer Medien und anderer digitaler Dienste sollte bis zu dieser Altersgrenze nur unter Aufsicht der Eltern oder in einem pädagogischen Kontext erfolgen, heißt es in einem in Brüssel vorgestellten Bericht.

When Mark Lanier and his young client Kaley faced the tech giants in an LA courtroom earlier this year, it seemed a bigger battle than David v Goliath. But they scored a landmark victory, proving that the social media giants had created ‘addiction machines’ that harmed mental health. How did they pull it off?

When Mark Zuckerberg walked into a Los Angeles courtroom on 18 February flanked by an entourage bedecked in Meta Ray-Bans, some people laughed. If this was an attempt at product placement for the company’s newest range of smart glasses, it was jarringly ill-judged: Zuckerberg was about to testify before a jury in a landmark lawsuit that sought to prove that Instagram and YouTube are addictive by design, and he had passed a throng of bereaved parents on his way into the courthouse. But the prosecution team, led by Mark Lanier, were not laughing.

This was a serious trial. For the first time, the most powerful names in social media were being held to account for the inherent design of their platforms, rather than the content hosted on them. They were accused of deliberately and maliciously building products that keep children hooked, with disastrous consequences for the mental wellbeing of young people. It was a landmark case – a big tobacco moment for big tech.

Last week, the prime minister, Keir Starmer, announced a sweeping ban on under-16s that would stop them accessing social media apps including Snapchat, TikTok, YouTube, Instagram, X and Facebook by 2027.

The move has been nicknamed an ‘Australia plus’ ban, after Australia became the first country to introduce a nation-wide ban on children accessing these apps at the end of last year.

But how is it actually going over there? Political correspondent Aletha Adu teamed up with Guardian Australia social media host and reporter Matilda Boseley to find out

Charlotte Ritchie presents a wildly ambitious and unapologetically brainy YouTube documentary that takes in Big Bang soundwaves, singing dolphins and an astonishing amount in between. Don’t miss it for the world

One of the big things to have come out of David Attenborough’s 100th birthday celebrations this year was the scale of ambition he had during his tenure behind camera. It was Attenborough who commissioned Kenneth Clark’s Civilisation and Jacob Bronowski’s The Ascent of Man, two vast documentary series that became defining texts on the history of art and science.

The consensus seemed to be that this sort of thing – huge, cerebral, expensive – would simply not get made today, unless it was dumbed down and cut-price and rebranded as Amanda Holden’s Top 10 Renaissance Willies. So it comes as something of a surprise to learn that the Cosmic Shambles Network’s new documentary series, For the Record: An Incomplete History of Music, takes its title as seriously as it does.

Company says it is taking the matter seriously after Today show host filmed himself walking down a London street with his arm slung around Robinson

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Nine Entertainment executives are meeting to consider the future of Channel Nine’s highest-paid presenter, Karl Stefanovic, after the Today show co-host published and then quickly deleted an interview with UK far-right activist Tommy Robinson.

Stefanovic, who is on leave from Today, filmed himself walking down a London street with his arm slung around Robinson, who has spearheaded recent nationalist demonstrations in the UK.

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Move for greater prominence on social media comes as ministers warn online misinformation risk becoming ‘existential for our democracy’

Plans to hand established broadcasters and media companies greater prominence on digital platforms such as YouTube and TikTok have been unveiled, as ministers warned online misinformation risked becoming “existential for our democracy”.

In proposals that set up a new clash with global tech companies, content from the likes of the BBC, ITV and Channel 4 would have to be awarded more promotion by their algorithms – with special rules considered for times of social unrest or crisis.

TV streamers and family shows set to benefit as brands cease marketing to teenagers on sites such as YouTube

• Analysis: impact of social media ban in UK hinges on how firm it is

Brands are expected to cut more than £1bn of digital advertising spending due to the UK’s ban on social media for under-16s, with streaming services tipped to benefit as advertisers try to reach large audiences of teenagers.

The ban, due to come into force early next year, will leave UK advertisers scrambling to reassess marketing plans as millions of under-16s effectively disappear as a demographic that can be marketed to on platforms including Facebook, Instagram, Snapchat and YouTube.

Liz Kendall also wants Ofcom to report to parliament every year on how effectively social media firms are keeping under-16s off their platforms

Starmer acknowledges some teenagers will get round these restrictons. But that does not make the rules pointless, he says.

Will it mean that no child ever looks at social media again? No.

But look, this might shock you, but it doesn’t shock parents of teenagers; they get around other laws too.

Some technology companies want us to think that social media is unchangeable, part of an almost natural order.

But we have to resist that kind of learned helplessness. We have agency, we can change it, and we will.

Meta, YouTube and Snapchat say ban, which would stop children using their platforms, will drive them to ‘less safe services’

• How will the ban work?

• UK parents: how do you feel about the ban?

Britain’s plans to ban social media for under-16s will push teenagers towards more harmful platforms, the world’s biggest technology companies have said as ministers push to enact the new restrictions by next spring.

Meta, YouTube and Snapchat have all criticised the ban, which was announced by Keir Starmer on Monday and would stop younger teenagers from using their services.

After falling for a scam call, ‘The Tech Chap’ host Tom Honeyands realised he’d given away vital details in social media posts

When Tom Honeyands realised he had been defrauded out of £70,000 he was furious and embarrassed – and left wondering if he had given away too many details on his social media vidoes.

Honeyands was on a work trip to Tokyo when he got a call from someone claiming to be from Lloyds bank. The caller asked if he had made a recent transaction in Singapore and when he said no, the scammer said his account had been compromised and that security details needed to be reset.

Measures to include restrictions on ‘safe’ social media apps, with some fearing banning some platforms and not others will lead to legal challenges

Teenagers under the age of 16 are to be banned from accessing “high-risk” social media apps while safer platforms will be subjected to restrictions, under a sweeping government crackdown.

Under-18s will also be banned from using romantic or sexual AI chatbots after a consultation on keeping children safe online.

Analysts say Alphabet-owned platform’s evolution is one of the defining media shifts of the decade

YouTube has overtaken Netflix in average daily viewing among users around the world, according to analysis that reveals the digital platform’s ever greater media muscle.

A major shift to watching YouTube on television has fuelled a growing rivalry between the world’s pre-eminent digital and streaming platforms. “YouTube is not just cat videos any more,” Netflix’s co-chief executive, Ted Sarandos, said recently. “YouTube is TV.”

With the constant risk of being recorded, many young people are afraid of showing enthusiasm – let alone doing something so potentially embarrassing as dancing in public. Is there a way to set themselves free?

In a video posted to TikTok, where Katie Whitney has 2.5 million followers, she says to camera, bluntly: “This video is for Cynthia Erivo. If you’re not Cynthia Erivo … you can keep on scrolling.” Her demeanour then shifts, her voice becomes softer; more the way a person might talk to their puppy: “Hi Cynthia. Hi baby. Hey baby. How are you?” It’s toe-curling – or, in modern parlance, cringe – to watch. “I feel traumatised,” says one commenter. Others post photos of a stunned-looking Erivo and imagine: “What if the Wicked star were to actually watch this video?” Cringe!

Now 25, but having started making this kind of content – “weird skits” – at 20, Whitney is part of what is known online as CringeTok, a subsection of the internet that deals in content designed to make your toes curl. It’s in many ways a reaction to a fear of being “cringe”, which is seeping into all parts of life – from social media to classrooms to the workplace.

Record-breaking box office for Backrooms and Obsession has opened the door for twentysomething YouTube creators as the industry rethinks what audiences want

At this time last year, the idea of a wide-release feature film-maker cutting their teeth on YouTube was, if not unheard of, certainly still a niche origin story. Siblings Michael and Danny Philippou had just released Bring Her Back, the follow-up to their surprise horror hit Talk to Me, to pretty-good reviews and OK box office; clearly they would continue to work, but the slightly diminished returns didn’t predict a YouTube explosion. Nor did the outright lousiness of Shelby Oaks, from longtime YouTube film critic Chris Stuckmann, when it premiered in theaters later in 2025. Generous horror-festival buzz died down as more people actually laid eyes on the movie; Stuckmann was an obvious enthusiast, and some saw promise in his first effort, but a clumsy found-footage pastiche without much emotional sense didn’t seem like the next big thing, either.

But in 2026, something has shifted. In January, YouTuber Markiplier self-released his adaptation of the video game Iron Lung to theaters, and it outgrossed any number of big-studio titles. Then Curry Barker, whose comedy sketches have been a YouTube fixture, unveiled his feature debut Obsession. The film, made for under a million dollars, has become the box office phenomenon of the summer so far, managing a virtually unheard-of feat when its second and third weekends actually outgrossed its first. Obsession is sharing multiplex space with Backrooms, directed by 20-year-old Kane Parsons, who previously brought the spooky internet meme to life in a series of YouTube shorts. Despite being set in a series of purgatorial, sparsely furnished, fluorescent-lit “liminal spaces”, it was the top movie at the North American box office this weekend, poised to become the biggest-grossing movie from distributor A24 in a matter of days. Backrooms also opened to bigger numbers than any number of starrier or bigger-brand 2026 titles like Wuthering Heights, Scream 7, The Devil Wears Prada 2 or the last Pixar movie. That makes three YouTube-trained film-makers who have presided over some of this year’s biggest and/or most surprising hits. With them have come countless social media posts about how YouTube, not film school, provides the real training tomorrow’s directors need.