Through the UK government’s £2 billion Kickstart Scheme, LADbible plans to introduce thirty new 6-month placement roles in 2021, ranging from marketing to creative positions in both their Manchester and London offices for young people aged 16-24.

As LADbible themselves say, “with great social power comes great social responsibility.”

Scroll through Twitter and there are any number of “I told you so”’s assigning blame hither and thither as to why Quibi, the short-form video streaming service, recently collapsed despite having splurged $1bn since its launch in April. But why did the platform with such promise crash and burn so swiftly?

GB News wants to take on the BBC and Sky News and is expected to be right-leaning, combatting perceived left-wing bias at the BBC. It aims to reach people who feel underserved and unheard by their media. So can four wealthy white male media veterans mix things up for the better?

A recent Women in Journalism report reveals that over the course of a week, there was not a single news story written by a Black reporter on the front page of any of the UK’s newspapers

With the release of Reed Hastings’ Netflix book, ‘No Rules Rules,’ the promo pieces obviously cover Netflix, its rise, culture and extraordinary success, and Hastings as CEO but what they miss or skim over is the man at the centre of it all - Hastings - being a brilliant human being.

Just how elitist is the UK’s media industry? A mere 7% of the UK’s population is privately educated but a report from The Sutton Trust shows how the privately educated are disproportionately represented across the UK media industry.

A study by the International Women’s Media Foundation found that women represent only one third of the full-time journalists across the 522 companies surveyed. Undoubtedly, gender inequality is an issue worldwide but what is being done about it within media?

There are already 60.5 million Disney+ subscribers, smashing Disney’s goal of 60-90 million users four years early. Whilst this rapid growth could be attributed to the rather unusual circumstances of late, with a touch of beginners’ luck - if we can get away with calling Disney a beginner - there’s certainly potential for the platform to rival the leading players in the field.

Through new immersive technologies such as virtual, augmented and mixed reality you, dear reader, will soon be able to become totally immersed in your favourite TV programme, production, sport or museum exhibit.

‘Copycat culture’ - the lack of innovation - seems to be the latest social media trend. Until companies such as Facebook decide otherwise, it seems like it’s here to stay. 

Whilst there is no doubt that the BBC has had a place in the heart of the nation for decades, there is significant argument circulating that the BBC is becoming increasingly irrelevant. Yet, in the same way that the importance and value of the NHS has come to light in Britain’s darkest days, the need and desire for public service broadcasting has been highlighted since the pandemic struck the UK in March.

In the wake of what is perhaps the largest political movement in US history, businesses are facing demands to ‘pull up’ and publicly release the number of Black employees at corporate level. One way we can try to separate those brands whose integrity and principles lie on the right side of the movement from those simply engaging in performative and optical allyship is by examining their approach to influencer marketing.

The COVID-19 lockdown has made many people furloughed, redundant and/or unemployed. As we come out the other side, it will be interesting to see how effective the diversity strategies are at getting people in minority groups – including those with a lower-socioeconomic background – back into the creative sector.  

Iconic Labs, which is run by three former UNILAD execs - Liam Harrington, John Quinlan and Samuel Regan-Asante - has signed a deal with Greencastle Capital to manage all parts of the JOE business for a monthly management fee of £50,000 plus external costs. It will also receive 25% of profits if certain revenue and profit targets are met.

Since 2012, the Chines company, ByteDance, has rapidly grown to be worth $78 billion thanks to a range of successful apps, the most famous of which is TikTok.

TikTok’s algorithm understands what content you interact with the most, down to the phrases that appear in the videos you watch. The more you comment, like, and watch, the more personalised your ‘For You’ page is. And while this is convenient, there is a much darker side to the algorithm: Shadowbanning. Shadowbanning is not an unfamiliar process to social media users, but the very term itself has become more widespread thanks to TikTok.

Beginning its life as just another video-sharing app, TikTok has exploded into an 800 million active user platform known for its viral dances and comedy. So, how can brands master it?

News of the rapid growth of SVoD (Subscription Video on Demand, in case you’ve ever wondered) services amidst the lockdown has become commonplace across the mediascape during the last few months.

In 2016, the BBC stated that by 2020, they would have a workforce at least as diverse, if not more so, than any other in the industry. With less than half a year to go before the end of 2020, we take a look at their progress so far.

Microtransactions - or Loot Boxes - are the “big evil” in the video game industry right now. Gamers of Star Wars Battle Front 2 did the maths and found it would take a total of 4,500 hours of gaming or spending $2,100 to unlock everything in the game.