People really seem to love it, and that’s putting is mildly. Even Vogue published a story calling Cooper’s words “the Pe

“That is the president of the United States. That is the most powerful person in the world, and we see him, like an obese turtle on his back, flailing in the hot sun, realizing his time is over. But he just hasn’t accepted it, and he wants to take everybody down with him, including this country.”

Ever since Anderson made those comments, people have been absolutely giddy at the image. Social media is filled with people cheering on Gloria Vanderbilt’s journalist son, some even joking that he’s now a poet laureate.

Interactive content is nothing new at this point. From Netflix’s intriguing attempts at creating choose-your-own-adventure episodes, to HBO’s more elaborate attempt at non-linear content with Mosaic, content creators have been experimenting with new formats to boost viewer engagement. However, 2D interactive content lacks the kind of immersion that a 3D interactive experience can offer. Today, video games often produce some of the most engrossing fictional narratives that the entertainment industry has to offer, and the rise of metaverse will make that more evident, forcing content creators to contend with the power of immersive storytelling.

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e tools you’re familiar with to mold some of those ideas to work well with what you know. In fact, I’d even encourage you to not use my template and build your own as just by doing that exercise, you’ll get more clarity on what matters most to you.

For experience-based entertainment, the metaverse provides an immersive channel to scale audience reach beyond venue capacity and geographic barriers. It can be co-opted as an extension of the offline events and experiences to entice customers who could not have otherwise attended in person, or positioned as a lower-cost alternative to upsell prospective customers of in-person experiences. The biggest hurdle to success here remains the quality of virtual events. Just broadcasting the offline event on a 2D screen in a virtual environment won’t be enough; the digital experience will need to be a close replica of the offline experience, granting virtual participants similar degrees of interactivity and agency as an in-person attendee would have.

Virtual reality content has been applauded by many for the total immersion it enables, and there is a far-off version of the metaverse that will be accessible via VR. However, the reach of VR content will remain limited until VR hardware adoption picks up. So the discussion around the metaverse tends to concentrate on gaming environments for now.

At this point, Anderson Cooper’s recent viral video has been seen more than 10 million times. In it, he talks about Trump’s absurd claims of election cheating by likening the president to… an obese turtle:

Entertainment is a sprawling industry that covers a wide range of sectors. Overall, the industry’s offering could be divided into two broad categories: content and experiences. The content side of the business, regardless of format, has been shifting towards digital channels for two decades, whereas the experiences are only starting to shift from offline, out-of-home channels to virtual spaces.

Storytelling forms the basis for the content business, regardless of its format or distribution channel. Metaverses supercharge the storytelling capability with deep immersion and interactivity, gamifying the narratives to aid the suspension of disbelief and build affinity. Instead of passively consuming a piece of content, viewers are to become spectators or even active participants in the narrative, leading to a heightened sense of agency and emotional investment. The line between entertainment content and experience would be a rather blurred one in metaverses.

The additive value the metaverse can create for entertainment brands essentially boils down to three main functions: immersive storytelling, world-building, and unlocking fan creativity. Each of these three features complements the franchise-building process and enhances audience engagement, two top priorities for any modern entertainment brand.

Metaverses will also enable experience-oriented entertainment brands to test out virtual venues that transcend the limitations of physical venues and unlock new types of experiences. Everyone can get a front row seat in the metaverse, but the real fun will stem from things that would be possible in virtual environments but difficult to implement in the offline world. For instance, attending Coachella in metaverses would provide unobstructed views and queue-less access to merchandise without losing the rush of raving with fellow attendees. Instead of the kind of flattened 2D experience that live streams provide, attendees get an immersive simulation of the real-world event. Interestingly, Fortnite is already hoping that its Party Royale island would become a regular tour stop for artists, completed with a plug-and-play production studio to bring performers onto its virtual stages in a standardized yet customizable fashion.

“I don’t think we’ve ever seen anything like this from a president of the United States. And, I think, like Jake said, it is sad, and it is truly pathetic. And of course it is dangerous, and of course it will go to courts, but you’ll notice the president did not have any evidence presented at all. Nothing.

According to Forbes, Jeff Bezos is today the wealthiest person on earth with an estimated wealth of $200 billion. This is nearly $90 billion more than the second wealthiest person on earth, Bill Gates. He is also $100 billion wealthier than Mark Zuckerberg (founder of Facebook) and Warren Buffett (the legendary investor).

According to Forbes, Jeff Bezos is today the wealthiest person on earth with an estimated wealth of $200 billion. This is nearly $90 billion more than the second wealthiest person on earth, Bill Gates. He is also $100 billion wealthier than Mark Zuckerberg (founder of Facebook) and Warren Buffett (the legendary investor).

‘What’s actually happened over the last 25 years is way beyond my expectations. I was delivering the packages myself, we were selling books. I was hoping to build a company, but not the company you see today’, he said in the same interview