An anonymous reader quotes a report from Wired: As you're hunting through real estate listings for a new home in Franklin, Tennessee, you come across a vertical video showing off expansive rooms featuring a four-poster bed, a fully stocked wine cellar, and a soaking tub. In the corner of the video, a smiling real estate agent narrates the walk-through of your dream home in a soothing tone. It looks perfect -- maybe a little too perfect. The catch? Everything in the video isAI-generated. The real property is completely empty, and the luxury furniture is a product of virtual staging. The realtor's voice-over and expressions were born from text prompts. Even the camera's slow pan over each room is orchestrated by AI, because there was no actual video camera involved.

Any real estate agent can create "exactly that, at home, in minutes," says Alok Gupta, a former product manager at Facebook and software engineer at Snapchat who cofounded AutoReel, an app that allows realtors to turn images from their property listings into videos. He said that between 500 and 1,000 new listing videos are being created with AutoReel every day, with realtors across the US and even in New Zealand and India using the technology to market thousands of properties. This is one of many AI tools, including more familiar ones like OpenAI's ChatGPT and Google's Gemini, that are quickly reshaping the real estate industry into something that isn't necessarily, well, real. "People that want to buy a house, they're going to make the largest investment of their lifetime," said Nathan Cool, a real estate photographer who runs an educational YouTube channel. "They don't want to be fooled before they ever arrive."

Can YouTube capture the hours people spending watching "traditional" TV? YouTube's CEO recently said its viewership on TV sets has "surpassed mobile and is now the primary device for YouTube viewing in the U.S.," writes The Hollywood Reporter. And YouTube is shelling out big money to stay on top: It's come a long way since the 19-second "me at the zoo" video was uploaded in April 2005. Now, per a KPMG report released Sept. 23, YouTube is second only to Comcast in terms of annual content spend, inclusive of payments to creators and media companies, paying out as much as Netflix and Paramount combined, $32 billion... The only question is what genres it will take over next, and how quickly it will do so. From talk shows to scripted dramas to, yes, live sports, there are signs that the platform's ambitions will collide with the traditional TV business sooner rather than later...

YouTube has slowly, then all at once, become the de facto home for what had been late night, not only for the shows on linear TV, but for an emerging crop of new talent born on the platform. As it happens, late night itself transformed YouTube when the Saturday Night Live skit "Lazy Sunday" went viral 20 years ago on the platform, which had only been live for a few months... As consumer preferences collide with a burgeoning ecosystem of video podcasts (YouTube now claims more than 1 billion podcast users monthly), the world of late night, and for that matter TV talk shows more generally, increasingly revolves around the platform. One current late night producer says that almost every A-list booking now includes some sort of sketch or bit that they think will play well on YouTube, but booking those guests in the first place has become less of a sure thing. A veteran Hollywood publicist says that for many of their clients, they are now recommending that YouTube podcasts or shows become the first stop, or at least a major stop, on press tours...

Nielsen has been tracking the streaming platforms that consumers watch on their TV screens ever since it launched what it calls The Gauge in 2021. But over the past year, YouTube's domination of The Gauge has unnerved executives at some competitors. The most recent Gauge report showed that YouTube was by far the most watched video platform, holding 13.1 percent share. Netflix, in second place, was at 8.7 percent.
The article suggests YouTube's last challenge may be "scripted" entertainment — where their business model is different than Netflix or HBO.

"On YouTube, it is up to the creator to finance and produce their content, and while the platform regularly releases new tools to help them (including AI-enabled tech that suggests video ideas and can create short background videos for use in Shorts), scripted entertainment is a particularly tricky challenge, requiring writers, directors, sets, costumes, lighting, editing, special effects and other production requirements that may go beyond the typical creator-led show."

Data centers were typically "hulking, chilly buildings lined with stacks of computing gear and bundles of wiring," writes the Washington Post. But "AI experts say that the hubs for computers that power AI are different from the data centers that deliver your Netflix movies and Uber rides. They use a different mix of computer chips, cost a lot more and need a lot more energy.

"The question is whether it's necessary and illuminating to rebrand AI-specialized data centers, or if calling them 'AI factories' is just marketing hogwash." The AI computer chip company Nvidia seems to have originated the use of "AI factories." CEO Jensen Huang has said that the term is apt because similar to industrial factories, AI factories take in raw materials to produce a product... The term is spreading. Sam Altman, CEO of ChatGPT parent company OpenAI, recently said that he wants a "factory" to regularly produce more building blocks for AI. Crusoe, a start-up that's erecting a mammoth "Stargate" data center in Texas, calls itself the "AI factory company." The prime minister of Bulgaria recently touted an "AI factory" in his country...

Alex Hanna, director of research at the Distributed AI Research Institute and co-author the book, "The AI Con," had a more pessimistic view of the term "AI factories." She said that it's a way to deflect the negative connotations of data centers. Some people and politicians blame power-hungry computing hubs for driving up residential electric bills, spewing pollution, draining drinking water and producing few permanent jobs.

Halo Studios (formerly 343 Industries) has announced Halo: Campaign Evolved, a full Unreal Engine 5 remake of the original Halo: Combat Evolved campaign, coming in 2026 for Xbox Series X, Windows PC, and -- shockingly -- PlayStation 5. "It's really a new era -- Halo is on PlayStation going forward," Halo Studios community director Brian Jarrard said on a livestream today. Polygon reports: Halo: Campaign Evolved is a from-the-ground-up remake of the first Halo game's campaign. It's being built in Unreal Engine 5 -- unlike previous Halo games, which have been developed with proprietary software. It aims to modernize the game without changing it on a fundamental level. [...]

As signaled by the name, Campaign Evolved will not feature PvP multiplayer, as its focus is on the campaign (Combat Evolved had splitscreen competitive multiplayer modes). However, you'll still be able to play Halo: Campaign Evolved with your buddies. It'll support splitscreen two-player local co-op as well as four-player online. Most notably, it'll support full crossplay and cross-progression.

Gameplay is being changed in ways that are more aligned with later entries in the series. Master Chief will be able to pick up and use enemy weapons that he couldn't use until later Halo games, like the iconic Energy Sword. He'll be able to pilot the Covenant Wraith tank in the original game for the first time, and can hijack vehicles (or get hijacked). Campaign Evolved is also implementing a sprint button, altering the way players can move about the battlefield. You can watch a reveal video for the game on YouTube.

Hackers have been spreading malware through more than 3,000 YouTube videos advertising cracked software and game hacks, cybersecurity firm Check Point warned this week. The campaign, active since at least 2021, tripled its video production in 2025. The videos promoted free versions of Adobe Photoshop, FL Studio, Microsoft Office, and game cheats for titles like Roblox. Fake comments created the appearance of legitimacy, the researchers found.

Users who downloaded archives from Dropbox, Google Drive, or MediaFire were instructed to disable Windows Defender before opening files. The downloads contained malware including Lumma and Rhadamanthys, which steal passwords and cryptocurrency wallet information. The hackers hijacked existing accounts and created new ones. One compromised channel with 129,000 subscribers posted a cracked Photoshop video that reached 291,000 views. Another video for FL Studio received over 147,000 views.

Google is migrating all its internal workloads to run on both x86 and its custom Axion Arm chips, with major services like YouTube, Gmail, and BigQuery already running on both architectures. The Register reports: The search and ads giant documented its move in a preprint paper published last week, titled "Instruction Set Migration at Warehouse Scale," and in a Wednesday post that reveals YouTube, Gmail, and BigQuery already run on both x86 and its Axion Arm CPUs -- as do around 30,000 more applications. Both documents explain Google's migration process, which engineering fellow Parthasarathy Ranganathan and developer relations engineer Wolff Dobson said started with an assumption "that we would be spending time on architectural differences such as floating point drift, concurrency, intrinsics such as platform-specific operators, and performance." [...]

The post and paper detail work on 30,000 applications, a collection of code sufficiently large that Google pressed its existing automation tools into service -- and then built a new AI tool called "CogniPort" to do things its other tools could not. [...] Google found the agent succeeded about 30 percent of the time under certain conditions, and did best on test fixes, platform-specific conditionals, and data representation fixes. That's not an enormous success rate, but Google has at least another 70,000 packages to port.

The company's aim is to finish the job so its famed Borg cluster manager -- the basis of Kubernetes -- can allocate internal workloads in ways that efficiently utilize Arm servers. Doing so will likely save money, because Google claims its Axion-powered machines deliver up to 65 percent better price-performance than x86 instances, and can be 60 percent more energy-efficient. Those numbers, and the scale of Google's code migration project, suggest the web giant will need fewer x86 processors in years to come.

YouTube has added a new Shorts feature that makes it easier to manage how much time you're spending watching videos. From a report: Mobile users can now set a customizable daily limit that restricts how long they can scroll Shorts feeds, aiming to help viewers better manage their time instead of endlessly scrolling. When a user reaches their time limit, they will receive a notification saying Shorts has been paused for the day.

This notification is dismissible, however, so it's on the user to honor these self-imposed restrictions.

An anonymous reader quotes a report from TechCrunch: WordPress co-founder and Automattic CEO Matt Mullenweg called the company's Tumblr acquisition his biggest failure -- but one he hasn't given up on yet. The comments were made at the recent WordCamp Canada 2025 conference, where Mullenweg went live for a Town Hall session to connect with the open source-focused WordPress community.

The exec noted that Tumblr was still on a different technical stack than WordPress -- something he had intended to correct by migrating the back end to WordPress infrastructure. However, that massive undertaking was put on hold earlier this year, as the cost to move Tumblr's half-billion blogs would be difficult given that the blogging platform wasn't profitable and continues to be sustained by the profits of other Automattic products.

The company has tried to trim costs with layoffs and the reallocation of Tumblr resources to more profitable parts of the business, but those efforts have yet to pay off. Mullenweg acknowledged these concerns at his Town Hall session, saying, "I need to switch [Tumblr] over to WordPress, but it's a big lift. It's over 500 million blogs, actually, and, as a business, it's costing so much more to run than it generates in revenue." As a result, Automattic had to prioritize other projects to make Tumblr sustainable, he said. "It's probably my biggest failure or missed opportunity right now, but we're still working on it," he added.

An anonymous reader quotes a report from Ars Technica: AI content has proliferated across the Internet over the past few years, but those early confabulations with mutated hands have evolved into synthetic images and videos that can be hard to differentiate from reality. Having helped to create this problem, Google has some responsibility to keep AI video in check on YouTube. To that end, the company has started rolling out its promised likeness detection system for creators. [...] The likeness detection tool, which is similar to the site's copyright detection system, has now expanded beyond the initial small group of testers. YouTube says the first batch of eligible creators have been notified that they can use likeness detection, but interested parties will need to hand Google even more personal information to get protection from AI fakes.

Currently, likeness detection is a beta feature in limited testing, so not all creators will see it as an option in YouTube Studio. When it does appear, it will be tucked into the existing "Content detection" menu. In YouTube's demo video, the setup flow appears to assume the channel has only a single host whose likeness needs protection. That person must verify their identity, which requires a photo of a government ID and a video of their face. It's unclear why YouTube needs this data in addition to the videos people have already posted with their oh-so stealable faces, but rules are rules.

After signing up, YouTube will flag videos from other channels that appear to have the user's face. YouTube's algorithm can't know for sure what is and is not an AI video. So some of the face match results may be false positives from channels that have used a short clip under fair use guidelines. If creators do spot an AI fake, they can add some details and submit a report in a few minutes. If the video includes content copied from the creator's channel that does not adhere to fair use guidelines, YouTube suggests also submitting a copyright removal request. However, just because a person's likeness appears in an AI video does not necessarily mean YouTube will remove it.

An anonymous reader quotes a report from Ars Technica: Anthropic has added web and mobile interfaces for Claude Code, its immensely popular command-line interface (CLI) agentic AI coding tool. The web interface appears to be well-baked at launch, but the mobile version is limited to iOS and is in an earlier stage of development. The web version of Claude Code can be given access to a GitHub repository. Once that's done, developers can give it general marching orders like "add real-time inventory tracking to the dashboard."

As with the CLI version, it gets to work, with updates along the way approximating where it's at and what it's doing. The web interface supports the recently implemented Claude Code capability to take suggestions or requested changes while it's in the middle of working on a task. (Previously, if you saw it doing something wrong or missing something, you often had to cancel and start over.) Developers can run multiple sessions at once and switch between them as needed; they're listed in a left-side panel in the interface.

Alongside this web and mobile rollout, Anthropic has also introduced a new sandboxing runtime to Claude Code that, along with other things, aims to make the experience both more secure and lower friction. In the past, Claude Code worked by asking permission before making most changes and steps along the way. Now, it can instead be given permissions for specific file system folders and network servers. That means fewer approval steps, but it's also more secure overall against prompt injection and other risks. You can learn more about "Claude Code on the web" through the company's blog and official YouTube channel.

Note: the new features are available in beta as a research preview, and they are available to Claude users with Pro or Max subscriptions.

Readers in 2025 "may struggle to remember the optimism of the aughts, when the internet seemed to offer endless possibilities for virtual art and writing that was free..." argues a new review at Bookforum. "The content we do create online, if we still create, often feels unreflectively automatic: predictable quote-tweet dunks, prefabricated poses on Instagram, TikTok dances that hit their beats like clockwork, to say nothing of what's literally thoughtlessly churned out by LLM-powered bots."

They write that author Joanna Walsh "wants us to remember how truly creative, and human, the internet once was," in the golden age of user-generated content — and funny cat picture sites like I Can Has Cheezburger: I Can Has Cheezburger... was an amateur project, an outlet for tech professionals who wanted an easier way to exchange cute cat pics after a hard day at work. In Amateurs!: How We Built Internet Culture and Why It Matters, Walsh documents how unpaid creative labor is the basis for almost everything that's good (and much that's bad) online, including the open-source code Linux, developed by Linus Torvalds when he was still in school ("just as a hobby, won't be big and professional"), and even, in Walsh's account, the World Wide Web itself. The platforms that emerged in the 2000s as "Web 2.0," including Facebook, YouTube, Reddit, and Twitter, allowed anyone to experiment in a space that had been reserved for coders and hackers, making the internet interactive even for the inexpert and virtually unlimited in potential audience. The explosion in amateur creativity that followed took many forms, from memes to tweeted one-liners to diaristic blogs to durational digital performances to sloppy Photoshops to the formal and informal taxonomic structures — wikis, neologisms, digitally native dialects...

[U]ser-generated content was also, at bottom, about the bottom line, a business model sold to us under the guise of artistic empowerment. Even referring to an anonymous amateur as a "user," Walsh argues, cedes ground: these platforms are populated by producers, but their owners see us as, and turn us into, "helpless addicts." For some, online amateurism translated to professional success, a viral post earning an author a book deal, or a reputation as a top commenter leading to a staff writing job on a web publication... But for most, these days, participation in the online attention economy feels like a tax, or maybe a trickle of revenue, rather than free fun or a ticket to fame. The few remaining professionals in the arts and letters have felt pressured to supplement their full-time jobs with social media self-promotion, subscription newsletters, podcasts, and short-form video. On what was once called Twitter, users can pay, and sometimes get paid, to post with greater reach...

The chapters are bookended by an introduction on the early promise of 2004 and a coda on the defeat of 2025 and supplemented by an appendix with a straightforward timeline of the major events and publications that serve as the book's touchstones... The online spaces where amateur content creators once "created and steered online culture" have been hollowed out and replaced by slop, but what really hurts is that the slop is being produced by bots trained on precisely that amateur content.

An anonymous reader quotes a report from The Guardian: I realize that, at this point, there are already far too many shows. Every channel, every streaming service is teeming with content demanding your attention, and there are simply too few hours in the day to watch them all. However, with that in mind, may I recommend a new show called Space Live? There's only one episode. The only potential downside is that the episode literally lasts for ever. Actually, that's inaccurate. Space Live isn't a show, it's a channel. It launched on Wednesday morning, tucked away on ITVX, and consists only of live footage of Earth broadcast from the International Space Station. It's beguiling to watch, especially for anyone who didn't realize that a person can be awestruck and bored simultaneously.

It's billed as a world first. ITV has partnered with British space media company Sen to use live 4K footage from its proprietary SpaceTV-1 video camera system, mounted on the International Space Station, giving us three camera views: one of the station's docking ports, a horizon view able to show sunrises and storms, and a camera pointing straight down as the ISS passes across the planet. A tracker in the corner of the screen shows the live location of the ISS, while a real-time AI information feed provides facts about our geography and weather systems.

Of course, if you wanted to be picky, you could argue it isn't exactly new. Nasa's YouTube channel has been streaming live footage from the ISS for years, and uniformly draws an audience of a few thousand. But Space Live is, if nothing else, slightly snazzier. The footage is certainly nicer: at 8.30am on Wednesday, Space Live showed gorgeous images of the sun's glare bouncing off the sea around the Bay of Biscay, while all Nasa could offer was a piece of cloth with the word "Flap" written on it. There's even a soundtrack, a constant, soothing kind of hold music that loops and loops without ever becoming fully annoying. It's an improvement, in other words. And, at least for the first orbit, it is absolutely spellbinding.

An anonymous reader shares a report: On Wednesday, Pew Research Center published a survey assessing how parents in the US with children under 12 manage their kids' screen time, which revealed that 61% of respondents overall reported their child ever uses or interacts with smartphones -- including 38% of those with children under 2 years old.

Much of this smartphone screen time is likely made up by parents streaming kid-friendly cartoons for their little ones to watch on the go: the study also found that YouTube use among children under 2 has risen sharply from 45% to 62% over the last five years. But it appears that most American toddlers only need to wait a few years before they can get devices of their very own. The same survey showed that almost one in four US parents overall allow their children aged 12 and under to have their own smartphones, and this ballooned to nearly 60% when just looking at kids aged 11-12 years old.

Apple has rebranded its streaming service Apple TV+ to simply Apple TV, further blurring the already confusing line between the Apple TV device, the Apple TV app, and the Apple TV service. As John Gruber notes, users can now "watch Apple TV in Apple TV on Apple TV." From Daring Fireball: In some ways, I get it. Like, if you're telling someone how much you enjoy Slow Horses and they ask how to watch it, it's more natural and conversational to just say "It's on Apple TV." That's what most people say. That's what I say -- and as part of my job, I completely understand the difference between Apple TV the device, Apple TV the (free) app, and Apple TV+ the (paid) streaming service.

But right there in Apple's own "About Apple TV" description, you see just how overused "Apple TV" now is. You can watch Apple TV in Apple TV on Apple TV -- the paid service in the free app on the set-top box. But you can watch any streaming service you want on the box, in that service's own app. But many of those services are also available in the Apple TV app. And the Apple TV streaming service is also available on just about all other popular set-top hardware platforms. So don't need an Apple TV to watch Apple TV. It's a bit like Abbott and Costello's classic "Who's on First" routine.

SpaceX's Starship megarocket successfully completed its 11th test flight, achieving major milestones like engine relight, satellite deployment, and a controlled splashdown in the Indian Ocean. From a report: This mission marks the second clean test run for Version 2, following a successful showing during its last test mission in August. Earlier this year, however, Starship Version 2 suffered three in-flight failures and an explosive accident during ground testing. Today's test mission is expected to be the last for the current iteration of Starship prototypes. The company has said it will debut a scaled up Version 3 for the next flight. You can watch a recording of the launch on YouTube.

An anonymous reader quotes a report from Ars Technica: Owners of some Jeep Wrangler 4xe hybrids have been left stranded after installing an over-the-air software update this weekend. The automaker pushed out a telematics update for the Uconnect infotainment system that evidently wasn't ready, resulting in cars losing power while driving and then becoming stranded. Stranded Jeep owners have been detailing their experiences in forum and Reddit posts, as well as on YouTube. The buggy update doesn't appear to brick the car immediately. Instead, the failure appears to occur while driving -- a far more serious problem. For some, this happened close to home and at low speed, but others claim to have experienced a powertrain failure at highway speeds.

Jeep pulled the update after reports of problems, but the software had already downloaded to many owners' cars by then. A member of Stellantis' social engagement team told 4xe owners at a Jeep forum to ignore the update pop-up if they haven't installed it yet. Owners were also advised to avoid using either hybrid or electric modes if they had updated their 4xe and not already suffered a powertrain failure. Yesterday, Jeep pushed out a fix.

A demo of educational AI-powered tools by a Microsoft product manager (in March of 2024) showed "how AI has the possibility to transform various job sectors and the education system," according to one report.

But that demo "includes a segment on Copilot in Excel that is likely to resonate with AI-wary software developers," writes long-time Slashdot theodp: The Copilot in Excel segment purports to show how even teachers who were too "afraid of" or "intimidated" to use Excel in the past can now just use natural language prompts to conduct Excel analysis. But Copilot advises the teacher there are no 'outliers' in the exam scores for their 17 students, whose test scores range from 27%-100%. (This is apparently due to Copilot's choice of an inappropriate outlier detection method for this size population and score range). Fittingly, the student whose 27% score is confidently-but-incorrectly deemed to be of no concern by Copilot is named after Michael Scott, the largely incompetent and unprofessional boss of The Office. (Microsoft also named the other exam takers after characters from The Office).

The additional Copilot student score "analysis" touted by Microsoft in the demo is also less than impressive. It includes: 1. A vertical bar chart that fails to convey the test score distribution that a histogram would have (a rookie chart choice mistake), 2. A horizontal bar chart of student scores that only displays every other student's name and shows no score values (a rookie formatting error)... So, will teachers — like programmers — be spending a significant amount of time in the future reviewing, editing, and refining the outputs of their AI agent helpers?
"Not only does it illustrate how the realities of AI assistants sometimes fall maddeningly short of the promises," argues the original submission. "The demo also shows how AI vendors and customers alike sometimes forget to review promotional AI content closely in all the AI excitement!"

An anonymous reader shared this report from The Wrap Tesla this weekend introduced a new "Tron: Ares" mode, giving drivers an opportunity to turn their on-screen vehicles into the glowing Light Cycles that have been a big part of the Disney franchise since 1982.

The optional update started rolling out on Friday, as Tron: Ares debuted in theaters. Tesla announced the update on X: "The grid has expanded to your Tesla — Tron: Ares update rolling out now." The feature is activated in Tesla's Toybox "infotainment" system, and turns the driver's vehicle avatar into a red Light Cycle. For drivers who have the "ambient lighting" feature, the mode will also expand the theme throughout the cabin.
There was also a sleek black Tesla Optimus robot at the premier of Tron: Ares.

Ironically, the Hollywood Reporter writes that by box office figures, "Tron is in big trouble," selling fewer tickets than expected (despite the movie's $180 million pre-marketing budget). While Tron's audience reviews gave it an 86% score on Rotten Tomatoes, its score with critics is just 57%.

The Los Angeles Times says the movie "has glowing style, but its storytelling doesn't compute." (Or, as the New York Times puts it, "Who needs logic when you have neon?")

Sony and AMD are collaborating on new GPU technologies for the next-generation PlayStation (likely the PS6), introducing innovations like Radiance Cores for advanced ray tracing and "Universal Compression" for improved performance and efficiency. The Verge reports: Sony's next console (presumably the PS6) is coming in "a few years time," according to someone who I'd believe to make that claim. Mark Cerny, lead architect on the PS5 and PS5 Pro, joined Jack Huynh, SVP and GM of AMD's computing and graphics group, in a YouTube video wherein the pair spend nine minutes going through some very specific, co-developed advancements in graphics technology that will come to the next console. But the pair cautioned that the technologies are still in "every early days" and "only exist in simulation right now."

Much of it boils down to how the companies are working to make it easier for future GPUs to handle graphics upscaling, ray tracing, and the super-intensive path tracing techniques used to make game worlds look more realistic. Cerny says "the current approach has reached its limit," so Sony is working with AMD to integrate components of its next-gen RDNA architecture in future consoles. AMD's Huynh introduced Radiance Cores (similar in theory to Nvidia's RT Cores) that are dedicated to handling ray tracing and path tracing. In addition to Sony's new consoles having the new cores, they will almost certainly be built into AMD's future desktop GPUs, too, and likely within whatever it's assisting with in its Xbox partnership.

YouTube has launched a "second chance" program allowing some creators previously banned for COVID-19 or election misinformation to apply for new channels, as long as their violations were tied to policies that have since been deprecated. Bans for copyright or severe misconduct still remain permanent. The Verge reports: Under political pressure, the company had said last month that it was going to set up this pilot program for "a subset of creators" and "channels terminated for policies that have been deprecated." [...] The new pilot program kicks off today and will roll out to "eligible creators" over the "next several weeks," YouTube says. "We'll consider several factors when evaluating requests for new channels, like whether the creator committed particularly severe or persistent violations of our Community Guidelines or Terms of Service, or whether the creator's on- or off-platform activity harmed or may continue to harm the YouTube community."

The pilot won't be available if you were banned for copyright infringement or for violating YouTube's Creator Responsibility policies, the company says. If you deleted your YouTube channel or Google account, you won't be able to request a new channel "at this time." And YouTube notes that if your channel has been banned, you won't be eligible to apply for a new one until one year after it was terminated. "We know many terminated creators deserve a second chance -- YouTube has evolved and changed over the past 20 years, and we've had our share of second chances to get things right with our community too," YouTube says. "Our goal is to roll this out to creators who are eligible to apply over the coming months, and we appreciate the patience as we ramp up, carefully review requests, and learn as we go."