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Kareem Rahma on treating ordinary people like celebrities and bypassing industry gatekeepers. Aug 24, 2026 ] minute read Listen to article Your browser does not support the audio element. Producer, comedian, poet, indie rock musician: Kareem Rahma will try his hand at almost anything. Except, that is, chasing perfection. For Rahma, the solution to creative paralysis is moving fast and using what’s right there in front of you. As he explains it, “doing what’s right right now.” That mindset was the foundation for creating SubwayTakes. Shot entirely on moving train cars with cinema-grade rigs, the popular comedy show puts everyday New Yorkers and A-list guests in the hot seat to argue their weirdest, most passionate takes. Despite launching on YouTube without studio backing, Rahma recently earned a Primetime Emmy nomination for Outstanding Short Form Series — a landmark recognition for a creator-led show. We caught up with Kareem to discuss creative constraints, legacy media and what, exactly, is right for him right now. I have to ask, how often in these interviews are you asked ‘What’s your take?’ Kareem: 90% of the time, but I usually decline. That said, I have a good one today. They should standardize sizing across

Click to enter your existing username and password or create a new account. Click to purchase an individual user subscription with your credit card. News Social Media The ruling in the U.S. District Court for the Middle District of Tennessee is serving as a case study for questions such as what constitutes defamation and how far protections extend for an individual’s opinions when they run up against provable facts. 6 minute read August 25, 2026 at 11:59 AM Image from court documents After a 16-year-old girl disappeared in the Northern California mountains in 2022, the host of a popular true crime YouTube channel denounced the case as a hoax. He said the girl never existed and that people claiming to be her relatives were perpetrating a scam to draw online donations.

Az előfizetéssel rendelkezőknek októbertől, az előfizetni készülőknek azonban már most a magasabb árat kell kifizetniük a YouTube Premium szolgáltatásáért. Az előfizetőknek küldött tájékoztató szerint a magyarországi előfizetőknek drágább lesz a YouTube Premium. Az egyéni előfizetés havi díja 2390-ről 2690 forintra emelkedik, a családi csomagért pedig az eddigi 4790 helyett 5390 forintot kell majd fizetni. Az árváltozás októbertől lép hatályba, tehát szeptemberben még a régi havi díjat számolják fel. Az új előfizetőktől azonban már azonnal az emelt havi díjat vonja le a cég. Legutóbb 2024-ben emeltek az árakon, akkor az egyéni YouTube Premium ára 1790 forintról 2390 forintra, a családi 2690 forintról 4790 forintra, a diák pedig 1090 forintról 1490 forintra emelkedett. (Borítókép: Anna Barclay / Getty Images)

Earlier this year, YouTube launched a new feature called ‘Stations’ on its service. They were old-school MTV-style linear channels of music videos that broadcast 24/7, launching initially with around 40 artists including Bruno Mars and various Coachella performers. Now ‘Stations’ is expanding both in the number of creators who have access to it, and the nature of those channels. YouTube said that it’s rolling out “to include new formats like creator content, media channels, podcasts, and select new music artists… While we started this pilot with a small group of music artists, you’ll now start seeing Stations for a wide variety of new types of content”. Its update also explained the idea behind ‘Stations’, which is that fans watch videos “as an always-on, lean-back viewing experience” including chatting with other people who are watching at the same time – “making it feel like a shared viewing room”. This is quite important. It’s YouTube’s latest attempt to replicate the ‘watch party’ dynamic that’s been so key to Twitch  over the years (and arguably Discord too). It’s also a way to turn passive catalogue videos into round-the-clock viewing – that artists and YouTube alike can make money from. It’s also a way to cement YouTube’s position on

When most people think Duke buzzer beaters, they immediately go to Christian Laettner gutting the entire state of Kentucky in 1992. And fair enough, that was an iconic play. There are so many other buzzer beaters in Duke history though, and this video runs them down. It starts with Gene Banks’ big shot to put the UNC game into overtime in 1981 and just rolls on from there. Then there’s Laettner’s first great buzzer beater against UConn in 1990. Jeff Capel’s runner against UNC in 1995 is here, along with Ricky Price’s dagger at Maryland in 1996. Chris Duhon had two classic plays at Duke, one at Wake and one at UNC, and they’re both here Nate James had a devastating play against Maryland in the 2001 ACC Tournament, as is Sean Dockery’s shot to send Virginia Tech home in 2005. And of course, the two great buzzer beaters - well, three - by Austin Rivers and Tre Jones/Wendell Moore - are here as well. It’s honestly hard to pick a favorite here, but the most surprising isn’t: it’s Dockery. That one was really sweet because Virginia Tech was up, 75-74, and Coleman Collins was talking a lot of trash.

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By Nicholas Quah , a Vulture critic who covers podcasts, television, and pop culture A win for SubwayTakes would not be what it seems. Photo: SubwayTakes/YouTube With SubwayTakes, YouTube is having its breakthrough moment — a tipping point that, years from now, will mark the moment the television Establishment finally welcomed the creator economy, or at least its more polished YouTube-facilitated shows, into Hollywood as its equal. That’s certainly the story YouTube would like to tell, anyway. CEO Neal Mohan argued in a May guest column for The Hollywood Reporter that creators “deserve the same acclaim as other creative professionals.” So when SubwayTakes landed a Primetime Emmy nomination for Outstanding Short Form Comedy, Drama or Variety Series last month, it seemed to offer an end to years of supposed snubbing. “A milestone for the entire creator community,” host Kareem Rahma called it. But the Emmy nod isn’t, in itself, a milestone. What it actually represents is much smaller: a win for YouTube’s awards campaigning, confined for now to a category that’s spent most of its existence as the Emmys’ junk drawer. It may well be a prelude to YouTube becoming a larger force in Emmys land, but there’s no guarantee