S.M.A.C.C. NEWS DESK | Friday, 6 November 2026
The traditional media establishment is losing its monopoly on audiences. Independent creators are becoming broadcasters, political commentators and influential voices in their own right. Meanwhile, artificial intelligence is challenging the very meaning of authorship, authenticity and truth.
Something significant is happening across the global media industry.
Television executives are admitting that they increasingly need successful content creators more than those creators need television.
Millions of Americans are watching elections through independent livestreamers rather than relying exclusively on traditional news broadcasters.
France’s most prestigious literary award is facing questions about the acceptable use of artificial intelligence after its winner acknowledged using ChatGPT.
And in Australia, political parties are using AI-generated videos to portray opponents saying things they never actually said.
Four different developments.
One fundamental change.
The power to create and distribute information is moving beyond traditional institutions. But the responsibility for what audiences see, hear and believe is becoming more complicated.
Welcome to Friday’s S.M.A.C.C. News Desk.
IN THIS EDITION
- TELEVISION NEEDS CREATORS MORE THAN CREATORS NEED TELEVISION. A leading British production company says the balance of power has shifted, with established broadcasters increasingly seeking the audiences that independent creators have already built.
- AMERICA’S ELECTION NIGHT BELONGS TO THE LIVESTREAMERS TOO. Millions followed the US midterm elections through online personalities, demonstrating how independent commentators are becoming influential political broadcasters.
- FRANCE’S BIGGEST LITERARY PRIZE FACES AN AI CONTROVERSY. One author was removed from consideration amid allegations of substantial AI-generated writing, while the eventual winner acknowledged using ChatGPT.
- POLITICAL PARTIES USE AI TO PUT WORDS INTO THEIR OPPONENTS’ MOUTHS. Australia’s Victorian election campaign demonstrates how synthetic videos are creating new challenges for political advertising, journalism and public trust.
THE BIG QUESTION: As creators become more powerful, who establishes the standards — and who takes responsibility when those standards fail?
1. TELEVISION NEEDS CONTENT CREATORS MORE THAN CONTENT CREATORS NEED TELEVISION
THE TABLES HAVE TURNED. THE GATEKEEPERS ARE LOSING CONTROL.
For decades, television executives decided who became famous.
They controlled the studios.
They controlled the production budgets.
They controlled access to national audiences.
And if an aspiring presenter, entertainer or filmmaker wanted to reach millions of viewers, getting commissioned by a television broadcaster was often the ultimate ambition.
That relationship is changing.
According to reporting published by The Guardian on 4 November, the chief executive of British production company After Party Studios believes traditional broadcasters increasingly need successful digital creators more than those creators need television.
Josh Barnett, whose company works with leading online personalities, argues that creators with established audiences are no longer automatically impressed by the prospect of appearing on conventional television.
Why should they be?
They may already reach millions of people through YouTube, TikTok and other digital platforms.
They may have sponsorship agreements.
They may own successful entertainment formats.
And they can often publish directly to their audiences without seeking permission from a broadcaster.
A completely different business model
After Party Studios, backed by Elisabeth Murdoch’s Sister Group, works across digital entertainment and traditional television.
Its productions have involved personalities including KSI and Formula One champion Max Verstappen.
The company demonstrates how creator-led entertainment is becoming a serious production business rather than simply an alternative to conventional broadcasting.
The distinction matters.
An established creator can arrive at a negotiating table with an audience already attached.
A television company may bring production finance, technical expertise and additional distribution.
Both sides have something valuable to offer.
But the broadcaster is no longer necessarily the dominant partner.
The audience has already moved
The Guardian’s reporting cites Ofcom figures showing that the proportion of people watching at least 15 minutes of scheduled television each week fell from 73% in 2024 to 70% in the latest figures.
Traditional broadcasters remain important.
They continue to produce major entertainment, drama, documentaries and live events.
But younger audiences increasingly consume content through online services.
And advertising expenditure follows audience attention.
That creates an opportunity for independent creators.
A successful creator does not necessarily need a television company to introduce them to an audience.
The audience may already be there.
But there is a catch
Having millions of followers does not automatically mean owning the relationship with those followers.
A creator may control their original productions while depending heavily on a platform’s recommendation systems for distribution.
An algorithm change can reduce visibility.
A suspended account can interrupt a business.
Changes to advertising policies can affect income.
And a creator who signs away intellectual-property rights in exchange for a television commission may surrender valuable future opportunities.
The gatekeepers may be changing, but gatekeeping has not disappeared.
Why this matters to independent creators
The commercial lesson is not simply to accumulate followers.
It is to build a sustainable business.
That means understanding intellectual-property ownership, distribution agreements, licensing, sponsorship, audience relationships and the value of original formats.
Independent creators should consider whether they are building assets they control or businesses that depend entirely on third-party platforms.
The S.M.A.C.C. question
If television broadcasters now need independent creators to attract audiences, shouldn’t those creators have a stronger negotiating position over ownership, royalties and commercial rights?
And perhaps an even more important question:
Are creators building their own media businesses — or simply providing valuable content to a different generation of gatekeepers?
Original reporting:
The Guardian, 4 November 2026 — Broadcasters need content creators more than creators need them
2. AMERICA’S ELECTION NIGHT: THE LIVESTREAMERS ARE CHALLENGING TRADITIONAL NEWS
MILLIONS WATCHED THE ELECTION THROUGH INFLUENCERS. WHO NEEDS A NEWS ANCHOR?
American election coverage has traditionally been dominated by major television networks.
Election-night broadcasts bring together political correspondents, polling experts, presenters and analysts.
The networks invest substantial resources in collecting results, examining voting patterns and explaining what those results mean.
But the 2026 US midterm elections demonstrated how significantly the media landscape is changing.
According to Reuters, millions of Americans followed the elections through livestreams hosted by their preferred online personalities.
Some of those livestreamers attracted audiences comparable with major established news programmes.
The numbers are extraordinary
Reuters reported that political livestreams generated approximately 10.27 million viewing hours across more than 2,500 channels during the 30 days before the election.
That was around four and a half times the equivalent figure ahead of the 2022 midterms.
Political streamer Hasan Piker attracted a peak audience of approximately 241,783 concurrent viewers during his election-night coverage.
His broadcast generated around 1.75 million viewing hours.
These are not insignificant audiences.
They demonstrate that individual creators can compete for attention with established media organisations.
However, traditional broadcasters also performed strongly.
NBC News’ election-related livestreaming included its popular Kornacki Cam, which generated approximately 29 million views.
The distinction is therefore not simply traditional television versus the internet.
It is a competition between different kinds of broadcasters, many of whom now operate on the same digital platforms.
Why are audiences choosing influencers?
Part of the explanation is familiarity.
A viewer may follow the same political commentator every day.
They become familiar with that person’s personality, arguments and interpretation of events.
They may participate in livestream chats.
They may feel part of a community.
That creates a relationship different from watching an unfamiliar television presenter deliver a conventional bulletin.
For some audiences, the livestreamer is not simply reporting the news.
They are interpreting it through an established personal relationship with viewers.
But there is a serious editorial question
A traditional newsroom generally operates through an editorial structure.
Reporters gather information.
Editors examine claims.
Legal teams may review sensitive material.
Corrections can be issued through established procedures.
Those systems are not perfect.
Traditional media organisations make mistakes, sometimes serious ones.
But they provide identifiable processes for editorial responsibility.
An independent political livestreamer may have no comparable structure.
They may be the presenter, producer, researcher, editor and publisher.
And they may be broadcasting continuously for hours.
That creates opportunities for immediacy and independent commentary.
It also creates risks.
Election projections can be mistaken for confirmed results.
Unverified claims can spread rapidly.
Political opinions can be presented without sufficient distinction from factual reporting.
And audiences may not always know whether commentators have financial or political relationships relevant to their coverage.
The political influence question
Reuters also examined the growing relationships between influential streamers and political candidates.
That raises questions about whether independent commentators are simply reporting political developments or becoming participants in political campaigns.
There is nothing inherently improper about expressing political opinions.
Independent creators have freedom of expression, subject to applicable laws.
But transparency matters.
Audiences should be able to distinguish independent reporting, political advocacy, sponsored communication and personal opinion.
Why this matters to independent creators
This development is not limited to politics.
The same transformation is occurring in business reporting, technology journalism, sport, entertainment and specialist news.
A knowledgeable independent creator can establish a substantial audience without owning a television station or newspaper.
But influence brings responsibility.
Accuracy matters.
Sources matter.
Corrections matter.
And commercial relationships should be transparent.
The S.M.A.C.C. question
When an influencer attracts an audience comparable with a television news programme, should audiences expect comparable standards of accuracy and accountability?
And if so, who should establish those standards?
The government?
The platform?
An independent professional organisation?
Or the creators themselves?
Original reporting:
Reuters, 5 November 2026 — Democrats swept the midterms. Millions watched on livestreams with their favorite influencers.
3. FRANCE’S BIGGEST LITERARY PRIZE FACES AN AI DOUBLE-STANDARD DEBATE
ONE AUTHOR REMOVED OVER SUSPECTED AI WRITING. ANOTHER ADMITS USING CHATGPT — AND WINS.
How much artificial intelligence can an author use before a book stops being considered their own work?
France’s prestigious Prix Goncourt has found itself at the centre of precisely that debate.
The 2026 winner, Philippe Jaenada, acknowledged using ChatGPT during the writing of his award-winning novel, L’Inconnue du quai de Javel.
He told French radio that he had used the technology on three occasions.
According to reporting published on 5 November, those uses included research, incorporating an AI-generated sentence as a literary device and including AI-generated material to illustrate the technology’s limitations.
Jaenada has openly defended using AI as a tool while maintaining that genuine literary creativity depends on human experience.
The admission might not have attracted so much attention had another author not been removed from the prize’s longlist earlier in the year.
The controversy
Canadian-Haitian novelist Thélyson Orélien had been considered for the prize for his debut novel, C’était ça ou Mourir.
His book was subsequently removed from consideration after allegations that substantial portions had been generated using artificial intelligence.
The allegations were partly informed by AI-detection analysis.
Orélien denied that his novel had been written by a machine.
His publisher later stated that it had obtained evidence contradicting his assurances about AI use and ended its relationship with him.
These circumstances are important.
The two cases are not necessarily equivalent.
Limited and acknowledged use of AI for research or specific literary effects is materially different from allegations that a substantial proportion of a book was generated by AI and that the author’s explanation of the writing process was inaccurate.
Nevertheless, the contrasting outcomes have generated public criticism and accusations of inconsistent treatment.
The real question is authorship
Writers have always used tools.
Dictionaries.
Reference books.
Research assistants.
Editors.
Spelling and grammar software.
Digital transcription.
Search engines.
And now artificial intelligence.
But the existence of a tool does not resolve the question of authorship.
Consider four different situations.
A novelist uses AI to research a historical date.
A journalist uses AI to transcribe an interview.
A screenwriter asks AI to suggest alternative dialogue.
Another person asks AI to generate an entire novel and publishes it under their own name.
These activities involve very different degrees of human creative contribution.
Yet public discussion frequently treats them as though they were interchangeable.
What about AI detectors?
The French controversy also highlights the limitations of automated AI-detection software.
Such systems may produce incorrect assessments.
A detection result should not automatically be treated as conclusive evidence of how a work was created.
The circumstances, underlying evidence and author’s account all matter.
Professional organisations need clear policies rather than relying exclusively on software classifications.
Why this matters to creators
The issue extends far beyond literature.
Photographers use AI-assisted editing tools.
Filmmakers use automated production software.
Journalists use transcription and research systems.
Designers use generative tools to explore visual concepts.
Musicians use digital composition and production software.
The relevant questions include how much creative work was performed by a person, whether AI-generated material was disclosed where required, whether third-party rights were respected and whether the final work meets the standards of the profession.
The S.M.A.C.C. question
Should creators be required to disclose every use of artificial intelligence — or only uses that materially affect the authorship and authenticity of the finished work?
And should professional awards establish clear, consistent rules before judging work that may involve AI?
There is a substantial difference between using technology to support creativity and representing machine-generated work as entirely human-authored.
But defining that difference fairly will become increasingly important.
Original reporting:
The Guardian, 5 November 2026 — Winner of the Prix Goncourt literary prize admits to using AI
4. POLITICAL PARTIES USE AI TO PUT WORDS INTO THEIR OPPONENTS’ MOUTHS
THE POLITICIAN NEVER SAID IT. THE VIDEO SHOWS THEM SAYING IT. WHAT HAPPENS TO THE TRUTH?
Political advertising has always involved exaggeration, selective presentation and attempts to influence public opinion.
But artificial intelligence introduces a different capability.
It can generate realistic video of a person appearing to say something they never actually said.
And that is precisely the issue emerging in the Australian state of Victoria.
Ahead of the state election, political parties and campaign groups have circulated AI-generated videos depicting political opponents in fabricated situations.
One advertisement published by Labor portrayed Liberal opposition leader Jess Wilson discussing hypothetical American-style healthcare charges.
The synthetic video showed her apparently describing enormous medical bills, including a $150,000 heart-attack treatment.
Wilson did not actually deliver those statements in the video.
The advertisement was intended to criticise her party’s healthcare policies.
Wilson rejected the political characterisation and described the campaign as a smear.
Labor defended its advertising.
Other AI-generated campaign material has depicted Labor Premier Ben Carroll in fabricated situations.
Political groups outside the major parties have also used synthetic imagery.
The result is a growing argument about the boundaries between political satire, persuasive advertising and misleading representations.
Political satire is not new
Cartoonists have exaggerated politicians’ appearances for centuries.
Comedians imitate political leaders.
Satirical television programmes portray public figures saying absurd things.
These forms of expression can serve an important democratic purpose.
They allow people to criticise those in power.
But realistic AI-generated video creates a different challenge.
A viewer encountering a short clip without its original context may not immediately recognise that it is fabricated.
The video may look like an authentic recording.
The voice may sound convincing.
And the material may be shared repeatedly after any original disclaimer has disappeared.
The problem is context
A clearly labelled parody is one thing.
A synthetic recording presented in a way that encourages viewers to believe it is genuine is another.
The distinction becomes particularly important during election campaigns.
Political messages are often deliberately provocative.
They may be distributed rapidly.
And they may be designed to produce an immediate emotional reaction.
When the audience cannot distinguish authentic recordings from synthetic fabrications, the risk of misunderstanding increases.
What should the law do?
Transparency advocates in Australia are calling for clearer rules governing AI-generated political advertising.
South Australia has introduced restrictions addressing certain forms of synthetic election material and disclosure requirements.
Victoria does not have identical arrangements.
Campaigners argue that stronger labelling and truth-in-political-advertising rules are needed.
Others warn that excessively broad restrictions could interfere with legitimate political criticism and satire.
Both concerns deserve consideration.
Why this matters to independent creators
The consequences extend beyond political campaigns.
A filmmaker may create a convincing synthetic scene involving a public figure.
A comedian may produce AI-assisted satire.
A journalist may publish manipulated footage to explain how deepfakes operate.
An advertiser may generate a fictional endorsement.
A malicious actor may create a fabricated recording intended to damage someone’s reputation.
These are not equivalent activities.
Context, presentation, consent, applicable law and the potential for deception all matter.
Creators need to understand that the ability to generate realistic synthetic material does not automatically establish the right to publish it in every context.
Defamation and reputation
Synthetic media can also raise questions about defamation and misrepresentation.
A realistic video falsely attributing damaging statements or conduct to an identifiable person may create legal risks.
Whether a particular publication is defamatory will depend on the facts and applicable law.
Political speech and satire can receive significant protection in democratic societies.
But those protections do not necessarily extend to every misleading or harmful representation.
The S.M.A.C.C. question
Should political campaigns be permitted to publish realistic AI-generated videos of opponents saying things they never said?
If the answer is yes, what disclosure should be required?
And if the answer is no, how should legislation distinguish deceptive fabrications from legitimate satire?
The challenge is to protect freedom of expression without allowing synthetic content to undermine public understanding of genuine events.
Original reporting:
The Guardian Australia, 5 November 2026 — Victoria’s major parties trade blows over AI-generated videos of leaders in election ads
Australian Financial Review, 5 November 2026 — Attack ads featuring deepfake Jess Wilson and Ben Carroll drive calls for ban
THE BIGGER PICTURE
THE MEDIA REVOLUTION IS NO LONGER COMING. IT IS ALREADY HERE.
These four stories illustrate a fundamental transformation in the way information is created, distributed and consumed.
Traditional broadcasters no longer control every route to a mass audience.
Independent commentators can reach millions of viewers during major political events.
Artificial intelligence is challenging conventional definitions of authorship.
And synthetic media is making it increasingly difficult to distinguish authentic recordings from fabricated ones.
But there is something else connecting these developments.
The distinction between being able to publish something and being responsible for publishing it.
For decades, the established media industry operated through recognisable structures.
Broadcasters employed journalists, presenters and producers.
Publishers commissioned authors and editors.
Advertising agencies created campaigns for identifiable clients.
Those structures did not guarantee accuracy, fairness or responsible conduct.
But they established professional roles and systems of accountability.
Today, one person with a smartphone can perform many of those functions.
They can record.
Edit.
Publish.
Broadcast live.
Attract sponsors.
Sell products.
And reach an international audience.
That is an extraordinary opportunity.
It is one of the most important developments in the history of mass communication.
But it also changes the responsibilities associated with publishing.
FREEDOM OF EXPRESSION AND PROFESSIONAL RESPONSIBILITY
Independent creators should enjoy the freedom to express opinions, criticise institutions and challenge established narratives.
They should not be expected to reproduce every convention of traditional broadcasting.
Different formats and perspectives are part of what makes independent media valuable.
But freedom of expression does not remove the importance of accuracy, transparency and accountability.
A creator reporting election results should distinguish verified information from speculation.
An author entering a professional literary competition should understand the rules governing AI assistance.
A political advertiser using synthetic video should consider whether audiences could mistake it for an authentic recording.
And a creator entering a commercial agreement with a broadcaster should understand who will own the resulting intellectual property.
These are practical questions, not theoretical ones.
THE COMMERCIAL OPPORTUNITY
The growing influence of creators also represents a substantial commercial opportunity.
Independent production companies can develop their own formats.
Journalists can establish direct relationships with subscribers.
Specialist commentators can reach international audiences.
Photographers and filmmakers can build businesses around their original work.
And professional creators can negotiate partnerships with organisations that previously controlled access to the market.
But commercial independence requires more than audience numbers.
It requires an understanding of contracts, licensing, intellectual property, disclosure, reputation and professional conduct.
Creators who understand these issues will be better positioned to benefit from the opportunities emerging across the industry.
THE S.M.A.C.C. CONCLUSION
CREATORS HAVE GAINED INFLUENCE. NOW THEY MUST HELP SHAPE THE RULES.
The traditional media industry is changing.
That is no longer seriously in doubt.
What remains uncertain is how the new media economy will be governed.
Will creators establish stronger professional standards?
Will technology platforms continue to determine the rules?
Will governments introduce increasingly restrictive legislation?
Or can creators, platforms, publishers and regulators develop a more balanced approach?
At S.M.A.C.C., we believe independent creators should have a meaningful voice in those discussions.
The creator economy is not simply a collection of influencers posting photographs and videos.
It includes journalists.
Filmmakers.
Photographers.
Writers.
Broadcasters.
Designers.
Educators.
Researchers.
Production companies.
And countless independent professionals whose work now reaches audiences around the world.
These people contribute to public discussion, cultural development and economic activity.
They deserve recognition.
They deserve opportunities.
And they deserve a voice in the decisions shaping their industries.
But professional recognition also brings professional responsibility.
We cannot demand greater influence while refusing to discuss accountability.
We cannot demand respect for original work while ignoring questions of authorship.
And we cannot demand freedom of expression without recognising the importance of accuracy and responsible publication.
The challenge is to create an environment in which independent creators can innovate, compete and succeed without abandoning the standards that help audiences trust what they see.
OUR QUESTION TO THE INDUSTRY
If independent creators are becoming the new broadcasters, journalists and cultural influencers, shouldn’t they also have a greater say in the professional standards governing the digital economy?
And one final question:
WHO CONTROLS THE MESSAGE — THE CREATOR, THE PLATFORM, THE POLITICIAN OR THE AUDIENCE?
We welcome your views.
ABOUT S.M.A.C.C.
S.M.A.C.C. — Social Media and Content Creators Global Community
S.M.A.C.C. is an international community dedicated to supporting the people and businesses shaping the global digital media industry.
We bring together social-media professionals, independent content creators, filmmakers, photographers, journalists, writers, digital publishers and organisations working across the creator economy.
Our objectives include:
- Promoting professional recognition and responsible content creation.
- Supporting creator rights, intellectual property and fair commercial opportunities.
- Encouraging transparency, accountability and ethical professional standards.
- Connecting creators with suppliers, sponsors, industry partners and potential collaborators.
- Providing a global community where creators can exchange knowledge, develop opportunities and participate in discussions affecting their industries.
S.M.A.C.C. is developing a global community, professional directory and Code of Conduct designed to encourage responsible and commercially sustainable content creation.
JOIN S.M.A.C.C. — MEMBERSHIP IS FREE
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Visit: https://www.smac.pro
Join the community. Develop your professional profile. Connect with other creators. Help shape the future of digital media.
EDITORIAL DISCLAIMER
This article is published by S.M.A.C.C. for information, analysis and professional discussion.
Information has been drawn from publicly available reporting and identified sources. The article distinguishes established facts from allegations, opinions, predictions and editorial interpretation.
References to legal disputes, political controversies and alleged misconduct do not imply that disputed claims have been established by a court or other competent authority.
The discussion of artificial intelligence, copyright, political advertising and defamation is general commentary and does not constitute legal advice.
S.M.A.C.C. does not endorse any political party, candidate or political organisation mentioned in this article.
Views expressed in the editorial analysis are intended to encourage informed discussion about professional standards, creator rights and the development of the digital media industry.
Readers are encouraged to consult the linked original reporting and form their own conclusions.
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