Entertainment
From Local Gym to Viral Empire
At the center of Diamond Gym’s social media rise to fame is Haddy Abdel, whose approach to social growth isn’t rooted in hype, gimmicks, or temporary attention. His focus has been on documenting the legendary diamond gym’s culture in a way it wasn’t before. Their unique style of intense gym reels that capture the middle of some of the most insane gym workouts you’ve ever seen has created a huge social buzz for them. Their success has come with many critics but in the words of Wallo267 “your haters are your marketing team”. And Diamond Gym has had some incredible marketing.
Alongside him is the OG of the gym, Unc, who represents the grounding force of the gym. Many refer to the New Jersey gym as “the most dangerous gym in America” and a large part of that has to do with Unc. He demands a high level of commitment, effort and grit in every work out session regardless of who is coming by. The culture is largely influenced by Unc’s rarer as a fire fighter and he faces deadly situations on the regular. Unc applies that same attitude to the gym with his famous, “now we die” catch phrase.
Likewise, Haddy shared a similar sentiment with his “Till The Death” catch phrase which would go onto to become the brand that this whole movement is built on.
The Brand
Diamond isn’t loud for the sake of attention. Members seem to show up not just to just to work out but for the sense of community. In a recent workout they did with comedian, Matt Rife, Unc went on to explain why people decide to join their gym:
To have a real friend group is a blessing… a lot of them [Diamond Gym members] are dealing with things, whether it’s father issues, school problems, taking care of loved ones, or life stress. Their support system manifested in the gym.”
Diamond has naturally developed into a community where discipline is normal, conversations have depth, egos get checked, and brotherhood actually means something.
From Physical Gym to Media Ecosystem
Diamond Gym’s impact doesn’t stop at the four walls of the gym.
Through lifestyle content, celebrity collabs, gym moments and conversations Diamond has unintentionally built a media empire. Their media page @train.to.failure currently has over 441K followers on Instagram, Unc instagram @smthedon191 has over 468K followers on Instagram, and Haddy has over 1 Million followers on his page @haddy_abdel with over 360K subscribers on his Youtube where all the long form Diamond gym videos are uploaded.
TTD The Brand
Alongside the gym comes Till The Death, the clothing brand and cultural emblem born out of the Diamond ecosystem.
Now, if you pay close attention to the Diamond gym videos you’ll notice that they’re very intentional about their product placement. In every video those participating in the workouts are wearing TTD merch especially the celebrity guest. From Alex Eubank, to The Tren Twins, to social media fitness star, Ashton Hall. They’ve all worn TTD merch while working out in Diamond’s gym.
Most celebrity guests bring their own camera crews so the content captured in the gym sessions are mutually beneficial for everybody but TTD is able to get more than just content. Through collaborations their merch brand is able to establish even more notoriety, credibility and desire.
Haddy’s business partner and fellow diamond’s gym member, Anthony Lorenzo, has played a huge role in the brand’s success as well. Addressing some internet rumors in the summer time due to a fallout with one of their previous member, Skolla Da Legend, Anthony addressed his role with the brand.
People associate the clothing brand with hardwork, grit and those who get after it in the gym. That is something people want to feel and the sales have showed. Haddy and his team have shared several reels showing how quickly the merch drops sale out every time.
They’ve been able to master what many have yet to, how to monetize attention.
Why It Matters
Whether you watch workout videos or you’re a diamond gym fan is not the point.
What diamond has shown us as consumers is a master class in marketing, branding and ownership. It’s easy to promote some else brand but to scale your own takes intention. They’ve used their virality to attract big names and indirectly promote their brand. Very subtly but very efficient.
Diamond isn’t trying to be part of a moment.
They’re trying to build something that outlives one.
Take notes.
For years, the streaming economy has sold the same promise: turn on the camera, build an audience, stay consistent, and the money will come. What rarely gets discussed is the psychological cost of being “on” every day — not just as entertainment, but as a brand, a personality, and a product.
Lately, some of the biggest names in streaming are pulling back the curtain.
Kai Cenat’s Hiatus
At the recent Streamer Awards, Kai Cenat broke his silence. After months away from streaming, he revealed his personal mental health struggles and hinted that they played a role in his prolonged break. He also spoke openly about wanting more from life than just streaming.
That admission alone, sparked a lot of conversation about the change in maturity and focus from Kai.
If this was from coming from a smaller creator perhaps the conversation would fall on deaf ears but Kai is the exact opposite. He’s arguably the most influential streamer of his generation. His Twitch dominance and marathon streaming has carved out a large market share of the streaming world. If someone at his level is stepping back, it forces an uncomfortable question: What does success actually cost in this space and is it sustainable?
IShowSpeed’s Tough Start To His Africa Tour
Just yesterday on Sunday January 4th, IShowSpeed echoed a surprisingly similar sentiment during his Africa tour stream.
“No, I’m not mad, chat… I’mma be completely honest, bro. My mental has not been the best this tour… I’m trying to make everything go right, and a lot of s*** just been going on behind the scenes. So Africa is a tough tour. Very tough.”
Speed described overworking his mind, struggling to think, feeling mentally overwhelmed just one week into a demanding global tour. The image he painted wasn’t dramatic for clicks it was honest and vulnerable.
So why does this matter?
Speed is often framed as the counterexample, the streamer with “inhuman energy,” the one who never stops, never slows down, never seems affected. Yet even he hit a wall.
Many in the media have critiqued Kai’s choice of taking a longer break.
The fear from media talking heads isn’t just about money. It’s about relevance. Step away too long, and the door opens for the next star. Algorithms don’t wait. Audiences move on. Energy shifts.
The Real Question Isn’t “Is Streaming Worth It?”
The real question is whether the current model is sustainable.
Mental health isn’t just a personal issue in this space, it’s becoming an economic one. When top creators burn out, entire platforms feel it. When stars step back, brands lose leverage. When energy drops, audiences feel it immediately.
Cenat’s presence on Twitch alone boosted engagement tremendously. His ground breaking project, Streamer University, changed the podcasting landscape spring boarding many streamers careers.
Is Mental Health “Destroying” Streaming or Exposing A Small Issue?
Creators like Kai Cenat and IShowSpeed aren’t quitting, they’re recalibrating. They’re acknowledging that infinite output isn’t human, even if it’s profitable. They’re testing whether longevity can exist without self-destruction.
The next era of streaming may not be defined by who streams the longest but by who learns how to step away and come back whole. Many popular streamers like DDG have taken their own smaller breaks and even posting the infamous “This is my last stream” tag. Perhaps hinting at a deeper issue.
If the biggest stars are already struggling in their early 20s, the industry may be approaching a necessary reset.
Not with views.
Not with money.
But with peace of mind.
The question isn’t whether streaming can survive mental health conversations.
The question is whether it can survive without changing.
On Wednesday December 31st, Bay Area artist, LaRussell, announced his groundbreaking challenge to sell 100,000 album copies in 30 days, fully independent.
The challenge builds on another one of his ground breaking initiatives, his pay-what-you-want pricing, offer-based ticketing, and community-backed merch sales. He’s recently announced on his Instagram that he sold 1000 pre-sale copies within 24 hours of the announcement, along with one supporter paying $5000 for the album and several others paying $1000.
This revolutionary sales method was largely influenced by the late Hip-Hop Legend, Nipsey Hussle, and his mixtape “Mailbox Money”. Nipsey sold each physical tape for $1000 each and sold 60 copies attracting the support of hiphop giants like Jay-Z. Digital copies sold for $12 each and made $50,000 from both Itunes & Spotify. The iconic mixtape release challenged traditional ideas of artist value, scale, and independence.
The Marathon Has Continued
This week, the Bay Area rapper and entrepreneur announced an ambitious new goal to sell 100,000 albums in 30 days during the month of January. The announcement wasn’t framed as a flex or a gamble, but a statement to the music industry that what independent artist have the potential to achieve today is limitless.
The Announcement
LaRussell shared the campaign across his social platforms, including a video announcement posted to X, where he spoke candidly about the intention behind the goal.
“I’m setting a goal for myself to sell 100,000 albums,” he said. “Even if you got to buy an album for a dollar, two dollars, whatever — please help me hit this goal. I just want to show the world that this is possible independently and at home within our own region and our own people.”
Rather than positioning the album as a fixed-price product, LaRussell emphasized accessibility and participation, calling on supporters to contribute at whatever level they could.
“I’m really out to prove something to the rest of the world and the industry,” he added. “And I need my home team behind me.”
The announcement immediately sparked conversation among fans and independent artists alike, many pointing out that the campaign reflects the evolution of systems LaRussell has already been building.
Primary source: LaRussell’s announcement on X
Why It Matters
Selling 100,000 albums in a month is a rare feat even for major-label artists and almost unheard of for independent rappers in today’s streaming-driven landscape. LaRussell for several years has been showing the world that the modern way artists exist in “the music business” can be one of self empowerment & ownership.
In a recent appearance on the Money Talks with Jesse podcast, LaRussell broke down the thinking behind his pay-what-you-want approach to music, merch, and live shows.
“I started off Proud to Pay like Nip,” LaRussell explained. “I was thinking of how I could do the $100 album Nip did, but in a way that worked for broke [people] — because all I knew was broke [people].”
Instead of setting premium prices, LaRussell removed them altogether, allowing fans to make offers while maintaining backend thresholds that protect his value.
“If somebody offers $5 for a hoodie, I don’t have to accept it,” he said. “But if it meets the threshold, it’ll automatically accept it. That way I still have some say in what I feel like I’m worth.”
That same philosophy extends to his live shows. Through WhatsTBA — a ticketing platform he co-founded. LaRussell personally reviews offers for performances, deciding which to accept or reject based on context, demand, and community alignment.
“Artists aren’t just going to leave their home without money,” he said. “At a certain level, you get a guarantee. Or you do splits. Or you do a flat and take care of everything else.”
The model isn’t theoretical. According to LaRussell, merchandise alone generated approximately $170,000–$180,000 in the third quarter of 2025, with hoodies and limited-edition race car jackets driving the bulk of sales. Importantly, he noted that removing suggested prices actually increased support.
“When you say ‘make an offer’ and give people nothing but their mind to decide what it’s worth, it changes the process,” he said. “You’re not just buying a hoodie. You’re supporting young Black men building something different.”
What’s Next
LaRussell’s January challenge will test whether community-backed economics can scale to numbers traditionally reserved for major-label releases. For those who are pro community and pro ownership, this is your moment to support a vanguard of the independent movement.
He also addressed why more artists haven’t adopted similar grassroots strategies.
“Embarrassment. Ego. Shame,” LaRussell said. “The internet made it uncool to start small. But everybody starts somewhere.”
Whether LaRussell hits 100,000 albums or not, the campaign stands as a real-time case study in independent infrastructure — one built long before the announcement, and now being tested on the biggest stage yet.
January won’t just measure sales. It’ll measure belief.
Entertainment
Alex Cooper Takes Unwell to Hulu With Love Overboard
Alex Cooper Goes Full Hollywood: Unwell’s Hulu era is here
Alex Cooper is officially done being “just” a podcast host. With Hulu ordering her first unscripted series—announced under the working title “Overboard for Love” and now branded as “Love Overboard”—Cooper is moving Unwell from audio into full TV production.
Love Overboard is a yacht-set dating competition: “sexy singles” aboard a luxury yacht, but access to the yacht’s most lavish perks has to be earned—meaning romance + strategy + social climbing baked into the format.
And it’s not just a one-off. It’s the clearest signal yet that podcast-native creator networks are becoming creator-led studios.
The actual deal: what Unwell is making for Hulu
Hulu’s press materials list Unwell Productions as the producing banner, alongside Jeff Jenkins Productions (unscripted heavyweight) in association with 3BMG and Walt Disney Television Alternative.
Cooper is executive producing, alongside Matt Kaplan and Mina Lefevre (Unwell), plus Jeff Jenkins’ team and 3BMG’s producers.
Later reporting also confirms the show is slated to debut in 2026, and Hulu has tapped Gabby Windey as host—another move that makes the project feel like a legit “TV” swing, not a creator side quest.
Why this matters: “podcast-to-TV” is now a pipeline
This isn’t “Alex is dabbling.” It’s a playbook:
- Build distribution in audio
Cooper’s Unwell ecosystem expanded hard in podcasting, then locked a major platform deal—reported as $125M with SiriusXM—bringing distribution + ad sales rights under one roof. - Turn the network into IP (not just episodes)
Unwell has already been pushing beyond podcasts (including YouTube expansion), which is how you behave when you’re building a network, not a show. - Use TV to legitimize the creator-led studio
Hulu isn’t just buying a dating show. It’s effectively onboarding Unwell as a TV supplier, the same way legacy studios feed streamers—except Unwell’s edge is built-in audience gravity and culture relevance.
The bigger signal: creator-led networks are replacing “old” gatekeepers
For years, the creator-to-Hollywood path was: get famous online → hope a studio picks you.
The new path is: build your own media company → sell packaged IP to platforms.
Cooper’s setup is especially interesting because it’s not just Unwell—she and Kaplan also co-founded Trending, positioning themselves as a Gen Z-focused media company spanning TV, podcasts, and events.
That’s why Parasocial should treat this as a creator-led network moment, not a “dating show ordered” headline.
What Parasocial should watch next
- Does Hulu turn this into an ongoing Unwell slate? One show is cool. A pipeline is power.
- Will Unwell talent + podcasts feed the TV funnel? Expect cross-promo and talent discovery loops.
- Do other creator networks copy the move? If this performs, you’ll see more “creator networks” pitching platforms like mini-studios, not influencer bundles.
If you want, I can rewrite this in your tighter Parasocial house style (shorter paragraphs, punchier “Why it matters” closer) and format it exactly for your WordPress theme (headline + dek + section headers + tags).
