On their fast-growing hub that falls squarely inside YouTube’s ‘couple channel’ style, Charles Davis and Alyssa Hyde have amassed almost 1.7 million subscribers in two brief years on the energy of their vlogs, challenges, and viral pranks — with a few of their largest hits to this point together with Hickey Prank On Boyfriend and Break Up Prank On Girlfriend (Gone Too Far).
Inspired by household vlogger powerhouse The Ace Family (who nets upwards of 20 million views a month), the duo attributes the success of Charles And Alyssa Forever — which boasts 5 million month-to-month views on YouTube — to chronicling each side of their relationship, warts and all.
“We like exhibiting the great, unhealthy, and ugly of the connection,” Davis, 28, tells Tubefilter. “We like exhibiting those that on a regular basis, simply because we’re on social media, every thing isn’t good in our relationship.”
But whereas YouTube marks their main social outlet, it isn’t their largest. After being approached final November to hitch forces with digital media agency Jellysmack, Davis and Hyde say they’ve constructed an immensely lucrative Facebook empire on prime of their YouTube success.
Jellysmack, formerly known as Keli Network, was co-founded in 2016 by entrepreneurs Michael Philippe, Robin Sabban, and Swann Maizil. Today, the corporate makes use of its “proprietary video optimization” expertise to make the most of the increasingly fruitful advertising revenue that video sharing websites are providing creators. Jellysmack helps creators who’re profitable on one platform diversify their portfolio onto further platforms they haven’t but mastered — be it Facebook, Instagram, Snapchat, TikTok, Twitter, or YouTube.
Jellysmack started its life in 2016 because the creator of its personal video properties — together with Beauty Studio, soccer-focused Oh My Goal, and gaming-centric Gamology — which it nonetheless operates. By 2018 it started to take learnings from these channels and use them to assist creators like Davis and Hyde of their development.
“There are creators which are tremendous profitable on one platform, however are nonetheless having a tough time being profitable in every single place, as a result of each platform is completely different,” Philippe explains. “They don’t essentially have the time, the abilities, and the assets to develop in every single place.”
That’s the place Jellysmack is available in. And as Davis and Hyde inform it, the agency supercharged their fortunes after it launched their Facebook account final November. The web page, which is sort of solely managed by Jellysmack — although the couple does seem commonly to host reside streams and work together with followers — has now amassed 7.4 million followers and counting in lower than six months.
“We have been doing good on YouTube and we have been making residing,” Davis says. “But you’ll be able to go on YouTube and make three months’ value of checks, and also you’ll make that in a single month working with Jellysmack.”
Davis provides that, because of Jellysmack, the couple is making a minimum of $100,000 per 30 days on Facebook alone. “We went from driving a 2009 Lexus and a 2017 Camaro to now we now have a paid-off Range Rover and a McLaren.”
In addition to the staggering monetary uptick, the couple’s Facebook web page development has considerably expanded the demographics of the Charles and Alyssa Forever fanbase. While their YouTube channel tends to skew youthful, their Facebook followers range in age. This is essential, Davis says, as a result of youthful YouTube viewers are usually extra fickle in maintaining with completely different channels, whereas older followers on Facebook stay loyal over time.
Jellysmack generated $100,000 in incremental income for two-thirds of its creators final yr
Jellysmack works with a complete of 150 creators on this approach, helming cross-platform development for the likes of YouTube megastars PewDiePie, (with whom it signed an exclusive, multiyear Facebook distribution deal in January), Bailey Sarian, Brad Mondo, Reaction Time, and Emmymade.
Beyond its spectacular outcomes for Davis and Hyde, the corporate says it constructed hair creator Brad Mondo’s Facebook following from zero to eight.6 million followers in a single yr. He counts as we speak 9.7 million followers on the platform as we speak. It additionally created and pitched an authentic Snapchat collection for Mondo that has netted 4.5 million subscribers.
Similarly, Jellysmack created and pitched a Snapchat undertaking for Lauren ‘LaurDIY’ Riihimaki that has amassed 838,000 subscribers in seven months, and amplified YouTube foodie Emmymade’s Facebook following from fewer than 200,000 followers to over 4.3 million followers in ten months.
All instructed, Philippe says that Jellysmack generated $100,000 in incremental gross revenues for roughly two-thirds of the creators that it labored with in 2020.
The firm’s expertise, he explains, contains 4 key pillars: the flexibility to detect trending creators with whom to associate, the flexibility to hone content material optimization throughout completely different platforms, a consumer acquisition software to gas channel development, and the flexibility to furnish matter and pattern suggestions for future content material plans.
In addition to figuring out which further platforms may need the largest development potential for a creator, Jellysmack says it might determine a creator’s prime movies after which tailor them to subsequent platforms, operating A/B exams on enhancing, thumbnails, and taglines to publish probably the most participating model. Jellysmack workforce members additionally deal with neighborhood interplay on new pages, and the corporate purchases video campaigns to bolster development.
“We are one of many solely firms doing what we’re doing as a result of we began as creators ourselves,” Philippe says. “And that’s why we hold these channels. Because that is how we expect we’re going to maintain enhancing our expertise and hold understanding what creators want.”
Jellysmack’s owned-and-operated properties Beauty Studio and Gamology, as an example, each generate 1 billion views per 30 days, whereas Oh My Goal generates 600 million month-to-month views. Basketball-focused House Of Bounce and Binge Society, a fandom hub for movie and TV, each generate 400 million month-to-month views. The firm says it’s incubating new verticals for content material developments it has recognized in true crime, cooking, auto, and comedy.
Including third-party and owned-and-operated content material, Jellysmack says it clocks 10 billion video views — and 125 million distinctive U.S. viewers — each month.
A risk-free proposition for companions
Philippe explains that Jellysmack — which might deal with as a lot or as little of a creator’s presence on a brand new platform as they resolve — can also be a risk-free proposition for companions. This is as a result of the corporate invests its personal assets and takes a minimize of any earnings by way of a performance-based, revenue-sharing mannequin on the back-end.
The firm declined to reveal the monetary phrases of its creator offers.
Looking forward, Jellysmack says it needs so as to add extra creators to its secure, with a world eye to influencers in Europe, India, Southeast Asia, and Latin America. The firm has simply began to work with 15 creators in France to nice success, Philippe says, together with Chef Michel Dumas, meals creator Florian On Air, and Cauet.
It additionally not too long ago employed on-line video veteran Lauren Schnipper to function its VP of creator enterprise growth. Schnipper will concentrate on figuring out potential partnerships, merchandise, and tech for creators.
In onboarding new creators, the corporate says it seems for plenty of elements, together with how briskly a channel is rising, engagement charges, its content material library (together with pace of manufacturing, the scale and high quality of the library, and the size of the movies), and subscriber counts.
“There are so many creators on the market which have lots of expertise, however as we speak it’s simply so laborious to develop by yourself,” Philippe concluded. “This is admittedly why we consider a lot in what we do — as a result of we all know that expertise is just not sufficient on these platforms, and we all know that we might help detect and develop the subsequent massive creators.”