THE ALGORITHM VS. THE HUMAN MIND: A LOSING BATTLE
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NO RECOGNITION FOR THE AUTHOR

YouTube does not reward consistency, insight, or author reputation. A comment may become a “top comment” for a day, only to vanish the next. There’s no memory, no history of editorial value. The platform doesn’t surface authors who contribute regularly with structured, relevant input. There's no path for authorship to emerge or be noticed. The “like” system favors early commenters — the infamous firsts — who write “first,” “early,” or “30 seconds in” just after a video drops. These are the comments that rise to the top. Readers interact with the text, not the person behind it. This is by design. YouTube wants engagement to stay contained within the content creator’s channel, not spread toward the audience. A well-written comment should not amplify a small creator’s reach — that would disrupt the platform’s control over audience flow.
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USERS WHO’VE STOPPED THINKING

The algorithm trains people to wait for suggestions. Most users no longer take the initiative to explore or support anyone unless pushed by the system. Even when someone says something exceptional, the response remains cold. The author is just a font — not a presence. A familiar avatar doesn’t trigger curiosity. On these platforms, people follow only the already-famous. Anonymity is devalued by default. Most users would rather post their own comment (that no one will ever read) than reply to others. Interaction is solitary. YouTube, by design, encourages people to think only about themselves.
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ZERO MODERATION FOR SMALL CREATORS

Small creators have no support when it comes to moderation. In low-traffic streams, there's no way to filter harassment or mockery. Trolls can show up just to enjoy someone else's failure — and nothing stops them. Unlike big streamers who can appoint moderators, smaller channels lack both the tools and the visibility to protect themselves. YouTube provides no built-in safety net, even though these creators are often the most exposed.
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EXTERNAL LINKS ARE SABOTAGED

Trying to drive traffic to your own website? In the “About” section, YouTube adds a warning label to every external link: “You’re about to leave YouTube. This site may be unsafe.” It looks like an antivirus alert — not a routine redirect. It scares away casual users. And even if someone knows better, they still have to click again to confirm. That’s not protection — it’s manufactured discouragement. This cheap shot, disguised as safety, serves a single purpose: preventing viewers from leaving the ecosystem. YouTube has no authority to determine what is or isn’t a “safe” site beyond its own platform.
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HUMANS CAN’T OUTPERFORM THE MACHINE

At every level, the human loses. You can’t outsmart an algorithm that filters, sorts, buries. You can’t even decide who you want to support: the system always intervenes. Talent alone isn’t enough. Courage isn’t enough. You need to break through a machine built to elevate the dominant and bury the rest. YouTube claims to be a platform for expression. But what it really offers is a simulated discovery engine — locked down and heavily policed.
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||#HSLdiary #HSLmichael

#YouTubeCritique #AlgorithmicBias #DigitalLabour #IndieCreators #Shadowbanning #ContentModeration #PlatformJustice #AudienceManipulation

€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
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THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
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A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
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THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
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TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
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THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
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A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
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THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
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THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
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||#HSLdiary #HSLmichael

#CreatorEconomy #InvisibleLabor #YouTubeExploitation #IndieVideo #PlatformJustice #WebTV #DIYStudio #DigitalSabotage