Money
Logan Paul and KSI’s Prime Hydration: The Creator Beverage Blueprint
When Logan Paul and KSI launched Prime Hydration, the product quickly became one of the most discussed creator-led consumer brands. The drink’s trajectory from an internet sensation to a major beverage competitor reveals a blueprint for how digital influence can be converted into real-world sales. It also highlights the challenges inherent in sustaining that success once the initial hype fades.
Prime Hydration was introduced in 2022 by Paul, the American YouTube personality-turned-boxer, and KSI, a British YouTuber and a part of social media collective Sidemen. Both had achieved international fame at relatively the same time and both marketed the beverage through their own channels and social platforms rather than relying on traditional launch tactics. The brand positioned itself as a hydration product that offered a healthier alternative to sugary sports drinks. Bottles featured ingredients like electrolytes, B vitamins, branched-chain amino acids, and about ten percent coconut water. Zero sugar and bold, bright packaging helped the product appeal to a younger audience already attuned to social media trends
Explosive Growth
In its first year on the market, Prime’s growth was explosive. By the year 2023, the brand had generated roughly $1.2 billion in revenue, a milestone that Logan Paul reportedly described as “insane” given that it was achieved by two YouTubers entering a highly competitive industry. Paul claimed that Prime was “the fastest growing hydration beverage in history.” Unfortunately, demand outpaced supply early on. Retailers like Walmart and Target struggled to keep stock on shelves, while social media feeds filled with videos of fans searching for bottles and posting reactions to the product’s colorful flavors. This kind of user-generated content served as free advertising and expanded the brand’s reach far beyond the founders’ own audiences.
Prime’s initial success also generated unusual secondary market behavior. Limited availability led to reselling, with some buyers offering bottles at high prices online and in informal markets. This scarcity strategy amplified the buzz around the drink, making its acquisition feel like an achievement rather than a purchase. Paul and KSI used their social platforms to announce and promote launches directly to millions of followers, bypassing traditional advertising channels. Their personal involvement in showcasing the product made Prime appear as something they had created, not just endorsed.
New flavors from Prime were marketed as limited edition drinks, often selling out quickly and encouraging consumers to talk about their acquisitions online. This tactic helped maintain high visibility and repeated social media impressions without a massive ad budget. Partnerships with established sports organizations added credibility beyond internet buzz. Prime secured deals with top-tier sports teams and leagues, such as becoming the hydration partner for major organizations and being featured in global events. These collaborations placed the product in front of audiences that might not follow either Paul or KSI directly.
By late 2023, Prime had reportedly sold over a billion bottles worldwide and challenged established players in key markets. At Walmart it even surpassed Gatorade as the top-selling hydration beverage according to some reports. This rapid expansion demonstrated the potential power of influencer-led products when paired with strategic distribution and partnership deals. The brand’s reach extended internationally, with distribution in the United States, the United Kingdom, Australia, and beyond. Its rapid adoption made it one of the fastest growing brands in beverage history, a fact Paul highlighted in interviews discussing the early sales figures.
Decline and Rebranding
After the initial burst of growth, Prime faced challenges sustaining momentum. In the U.K., revenues dropped sharply by 70 percent between 2023 and 2024, a signal that the intense early demand was hard to maintain without continuous novelty. Similar declines were seen in the U.S. market, where sales softened as social media buzz faded and consumer habits shifted. As Prime moved from the launch phase into standard commercial competition, it faced rising competition from legacy brands and growing consumer expectations around product performance and variety. The company has tried to recapture market share by releasing new items like protein shakes, which they released in 2026.
Paul and KSI’s blueprint showcased how social influence and community engagement can be harnessed to drive product adoption. They demonstrated that direct marketing to millions who already trust and follow the founders is a powerful tool. But the challenges Prime now faces remind future creator-entrepreneurs that long-term business success is not guaranteed by digital popularity alone.
Money
Italy’s Creator Market Hits €425M as Celebrity Pay Slides
Italy’s influencer economy is accelerating toward €425 million in 2026, but the money is skipping the biggest names. Mid-tier creators are the ones getting paid.
Italy’s influencer marketing market is forecast to reach €425 million in 2026, up 10.4 percent from €385 million a year earlier, according to Il Sole 24 Ore‘s coverage of DeRev’s sixth annual compensation report.
That is the market’s fastest growth since 2023, almost three times the 4.05 percent booked in 2025. The report analyzed roughly 5,000 Italian creator profiles and 865,000 posts across Instagram, TikTok, YouTube, and Facebook between June 2025 and June 2026, and traces the rise to more campaigns and more continuous collaborations rather than higher per-post rates.
The money is growing. The creator class is fracturing underneath it.
For the third consecutive year, DeRev recorded a fall in celebrity earnings on every platform it tracks: down 9.5 percent on Instagram, 8.6 percent on TikTok, 2.4 percent on YouTube, and 18.8 percent on Facebook. Celebrity here means creators above three million followers. Mid-tier creators, defined as 50,000 to 300,000 followers, moved the other way, posting a 9.2 percent Instagram pay gain against that celebrity Instagram decline.
The Middle Class Takes the Money
The Italian data gives the global creator middle class thesis a rare national-scale test. Mid-tier and macro creators are the only two categories to gain pay on all three primary platforms this year. On Instagram, the mid-tier interaction rate runs at 4.56 percent against 1.61 percent for celebrities, the gap that explains why brands are moving budget down-market.
The follower numbers tell the same story from the other end. DeRev found that 63.2 percent of celebrities lost Instagram followers over the year, while mid-tier communities grew an average of 17.7 percent and micro communities 16.9 percent.
The mechanics are plain. A creator with a legible community of a few hundred thousand offers enough reach to justify a national budget and enough proximity for a brand to read the campaign’s return in the comments. A celebrity sells generalist fame, which is harder to measure and now carries reputational cost that brands price in.
DeRev CEO Roberto Esposito tied that caution to the Chiara Ferragni Pandoro Gate scandal. He said the case “is not the cause of the decline of influencers, but it has acted as a catalyst because it has highlighted just how burdensome a link with a highly visible figure can be for a company.”
The Number That Should Worry Brands
On TikTok, pay is stabilizing after two hard years, with average compensation down just 0.33 percent in 2026, against drops of 19 percent in 2024 and 2 percent in 2025. The report’s sharpest figure is not about pay at all.
Only 0.78 percent of TikTok’s highest-engagement Italian content carries a sponsored-content disclosure, far below Instagram’s 4.46 percent and long-form YouTube’s 29 percent. Esposito called the rate “certainly an anomaly,” and warned it lands at the worst possible moment for compliance.
Italy’s regulator AGCOM put its influencer Code of Conduct into force in January 2026 and tightened operational disclosure standards with supporting guidance in March. The gap between a 0.78 percent disclosure rate and a hardening rulebook is a liability sitting on brands, not just creators.
The pattern rhymes with the United States, where the FTC enforces disclosure rules on endorsements across platforms. On both sides of the Atlantic, the regulatory arbitrage that let TikTok content skip the label is closing.
DeRev’s next edition covers the year that begins where this one ended, the first full window under AGCOM’s operative code.
Money
Inside Unilever’s 24/7 Creator Hub for the World Cup
Unilever put 50,000-plus creators on the World Cup payroll and built a 24/7 content command center to run them. The format, not the spend, is what rewrites the deal.
Unilever is putting more than 50,000 creators to work at the FIFA World Cup 2026, the company said, the largest sports partnership activation in its history and the first real test of a marketing budget it has rebuilt around social.
The number anchors a structural change. Unilever said it is activating 35-plus brands across 120-plus markets, supported by 180-plus limited-edition products, with more than 50,000 creators going live with cross-market, cross-channel content over the tournament’s 39 days.
For the creator economy, the format is the story. A non-endemic sponsor is no longer buying a broadcast spot and a logo board. It is buying a creator operation, and that changes how the people inside it get paid.
The Command Center Is the Product
The centerpiece is The Locker Room, which Unilever describes as a 24/7 social media hub built to deliver real-time responsive content across TikTok and YouTube. It is staffed by creator experts, community specialists, and football strategists.
Unilever describes the hub as running at the speed of culture, with those teams delivering reactive content in real time as matches unfold.
The physical layer is House of Fresh, in-person creator hubs in three host cities: Mexico City, New York, and Miami. The spaces are purpose-built for social-first content creation and commerce, not for hospitality.
That distinction matters. A hospitality suite entertains clients; a content hub manufactures posts.
What Always-On Does to the Pay Structure
The shift here is from a one-off media spike to a standing operation, and that rewrites the deal. A per-post fee pays a creator for a single deliverable. A staffed, always-on hub treats creator output the way a newsroom treats a desk: continuous, briefed, on call.
Sarah Potter, Unilever Personal Care’s influencer and media director, framed the logic of the model. The partnership, she told Marketing Week, “enables the opportunity to build momentum and consistency rather than activating the tournament as a one-off media spike.”
The economics follow the format. Reactive content produced over 39 days looks less like a campaign buy and more like a retainer with a production quota attached.
Unilever CEO Fernando Fernandez said in 2025 that the company would move 50% of its marketing investment into social and influencers, up from 30%. The World Cup is the first major global test of that decision.
That single reallocation moves real money toward creators as a class, not toward one creator as a headline.
The Named-Roster Model Sits Right Next to It
Dove Men+Care, a Unilever brand, shows the other end of the structure. Its World Cup roster names ten creators: Marshawn Lynch, Trinity Rodman, Karl-Anthony Towns, Jordyn Woods, Matt King, Speedy Morman, Victor Cruz, Edwin Castro, Leo Gonzalez, and Devin Caherly.
Those names produce original content tied to fan rituals and match-day routines, supported by host-city activations. It is the clearest on-record version of the creator-as-embedded-staff deal at a major sporting event: a fixed roster with original briefs, not a one-time post.
Afke van de Klashorst, Unilever Personal Care’s vice president of integrated brand experience, described the ambition in the company’s announcement: “Our ambition is for our brands to show up in spaces where fandom lives and in ways that are authentic, native to social, and meaningful by bringing freshness and confidence to matchday moments that matter most for fans, players and spectators.”
Both sides of the field get something here. The brand gets continuous, platform-native output it controls; the creators get a standing engagement instead of a single check that clears once and ends.
The World Cup runs through July 19. The hubs stay live until the final whistle, and the budget math behind them outlasts the tournament.
Money
Soulja Boy Launches Rapper University on Twitch
Denied a seat at Kai Cenat’s Streamer University, Soulja Boy built a rival campus on Twitch. Rapper University is the first time a recording artist has answered a streamer’s format with one of his own.
Kai Cenat opened the doors to Streamer University 2026 auditions on June 8. Soulja Boy wanted in. When the invite never came, the Atlanta rapper built his own campus instead.
On June 9, Soulja Boy announced Rapper University, a Twitch-native reality-competition series filming in Atlanta. He pitched it as a direct answer to Cenat’s program. The pivot took hours. First came the ultimatum on X: “If you don’t let me in Streamer University @KaiCenat we beefin. I let u slide the first time.” Then came the redirect.
The campus-format show is a multi-day program where unknown creators audition for mentorship and exposure. It has been Cenat’s invention and his alone. Rapper University is the first time a signed recording artist has built that same machinery on Twitch as a competitive reply. The genre is crossing from gaming into hip-hop. A music artist is the one carrying it across.
The escalation followed a schedule. Soulja Boy released a trailer to his social accounts on June 13. He described a reality series with freestyle challenges, studio sessions, live performances, and surprise eliminations. By June 14, RapperUniversity.net carried a full application portal. Applicants upload a one-minute YouTube audition and submit the link. The door is open to students, artists, producers, creators, teachers, mentors, guest judges, managers, and promoters.
The Pitch Got a Video Game
The same update added Rapper University: Campus World. It is a free in-browser game. Players make a character, walk a campus, collect items, and reach Soulja Boy on a main stage to finish an admission quest. The site bills it as a multiplayer game with a “Players Online” counter.
Dexerto tested it. The counter changes when you click to join a room. No actual other players ever appear.
It is engagement bait wearing a campus costume, which is its own kind of honest.
A Professor Claim That Doesn’t Hold
In the trailer, Soulja Boy delivered the line that became the headline. “I was the first rapper to be a dean and a motherfucking professor. Come on, now. I’m here to teach y’all this game, man,” he said.
The record disagrees. Complex pointed to Lupe Fiasco’s MIT visiting professorship in 2022, a Yale fellowship, and a Johns Hopkins Peabody Institute faculty role beginning Fall 2025. The same piece noted Bun B teaching at Rice University since 2011. The claim is a marketing flourish.
What the claim does reveal is the on-ramp Soulja Boy is testing. Cenat built a streaming-world institution. Soulja Boy is borrowing its mechanics to see whether a rapper’s audience behaves like a streamer’s. The open portal, the eliminations, the in-browser hook: these are streamer-economy tools, now aimed at hip-hop hopefuls.
The scale gap is the open question. Cenat’s 2025 Streamer University, held at the University of Akron, drew over one million applications and enrolled roughly 120 students, with the 2026 class expected to hold about 150 student spots. Rapper University has a website and a two-week application window Soulja Boy mentioned on stream. It does not yet have a start date.
The applications close in about two weeks. The first episode has no date at all.
