Even for content that appears to aimed at children and appears to contain only child-friendly content, YouTube's system allows for anonymity of who uploads these videos. These questions have been raised in the past, as YouTube has had to remove channels with children's content which, after becoming popular, then suddenly include inappropriate content masked as children's content. Alternative, some of the most-watched children's programming on Youtube comes from channels who have no identifiable owners, raising concerns of intent and purpose. One channel that had been of concern was "Cocomelon" which provided numerous mass-produced animated videos aimed at children. Up through 2019, it had drawn up to US$10 million a month in ad revenue, and was one of the largest kid-friendly channels on YouTube prior to 2020. Ownership of Cocomelon was unclear outside of its ties to "Treasure Studio", itself an unknown entity, raising questions as to the channel's purpose, but Bloomberg News had been able to confirm and interview the small team of American owners in February 2020 regarding "Cocomelon", who stated their goal for the channel was to simply entertain children, wanting to keep to themselves to avoid attention from outside investors. The anonymity of such channel raise concerns because of the lack of knowledge of what purpose they are trying to serve. The difficulty to identify who operates these channels "adds to the lack of accountability", according to Josh Golin of the Campaign for a Commercial-Free Childhood, and educational consultant Renée Chernow-O’Leary found the videos were designed to entertain with no intent to educate, all leading to both critics and parents to be concerns for their children becoming too enraptured by the content from these channels. Content creators that earnestly make kid-friendly videos have found it difficult to compete with larger channels like ChuChu TV, unable to produce content at the same rate as these large channels, and lack the same means of being promoted through YouTube's recommendation algorithms that the larger animated channel networks have shared.
Controversial content has included material relating to Holocaust denial and the Hillsborough disaster, in which 96 football fans from Liverpool were crushed to death in 1989. In July 2008, the Culture and Media Committee of the House of Commons of the United Kingdom stated that it was "unimpressed" with YouTube's system for policing its videos, and argued that "proactive review of content should be standard practice for sites hosting user-generated content". YouTube responded by stating:
More InfoThe Legion of Extraordinary Dancers and the YouTube Symphony Orchestra selected their membership based on individual video performances. Further, the cybercollaboration charity video "We Are the World 25 for Haiti (YouTube edition)" was formed by mixing performances of 57 globally distributed singers into a single musical work, with The Tokyo Times noting the "We Pray for You" YouTube cyber-collaboration video as an example of a trend to use crowdsourcing for charitable purposes.The anti-bullying It Gets Better Project expanded from a single YouTube video directed to discouraged or suicidal LGBT teens, that within two months drew video responses from hundreds including U.S. President Barack Obama, Vice President Biden, White House staff, and several cabinet secretaries. Similarly, in response to fifteen-year-old Amanda Todd's video "My story: Struggling, bullying, suicide, self-harm," legislative action was undertaken almost immediately after her suicide to study the prevalence of bullying and form a national anti-bullying strategy. In May 2018, London Metropolitan Police claimed that the drill videos that talk about violence give rise to the gang-related violence. YouTube deleted 30 music videos after the complaint.
More InfoYouTube has been criticized for using an algorithm that gives great prominence to videos that promote conspiracy theories, falsehoods and incendiary fringe discourse. According to an investigation by The Wall Street Journal, "YouTube’s recommendations often lead users to channels that feature conspiracy theories, partisan viewpoints and misleading videos, even when those users haven’t shown interest in such content. When users show a political bias in what they choose to view, YouTube typically recommends videos that echo those biases, often with more-extreme viewpoints." When users search for political or scientific terms, YouTube's search algorithms often give prominence to hoaxes and conspiracy theories. After YouTube drew controversy for giving top billing to videos promoting falsehoods and conspiracy when people made breaking-news queries during the 2017 Las Vegas shooting, YouTube changed its algorithm to give greater prominence to mainstream media sources. In 2018, it was reported that YouTube was again promoting fringe content about breaking news, giving great prominence to conspiracy videos about Anthony Bourdain's death.
More InfoLater that year, YouTube came under criticism for showing inappropriate videos targeted at children and often featuring popular characters in violent, sexual or otherwise disturbing situations, many of which appeared on YouTube Kids and attracted millions of views. The term "Elsagate" was coined on the Internet and then used by various news outlets to refer to this controversy. On November 11, 2017, YouTube announced it was strengthening site security to protect children from unsuitable content. Later that month, the company started to mass delete videos and channels that made improper use of family friendly characters. As part as a broader concern regarding child safety on YouTube, the wave of deletions also targeted channels which showed children taking part in inappropriate or dangerous activities under the guidance of adults. Most notably, the company removed Toy Freaks, a channel with over 8.5 million subscribers, that featured a father and his two daughters in odd and upsetting situations. According to analytics specialist SocialBlade, it earned up to £8.7 million annually prior to its deletion.
More InfoBoth private individuals and large production companies have used YouTube to grow audiences. Independent content creators have built grassroots followings numbering in the thousands at very little cost or effort, while mass retail and radio promotion proved problematic. Concurrently, old media celebrities moved into the website at the invitation of a YouTube management that witnessed early content creators accruing substantial followings, and perceived audience sizes potentially larger than that attainable by television. While YouTube's revenue-sharing "Partner Program" made it possible to earn a substantial living as a video producer—its top five hundred partners each earning more than $100,000 annually and its ten highest-earning channels grossing from $2.5 million to $12 million—in 2012 CMU business editor characterized YouTube as "a free-to-use ... promotional platform for the music labels." In 2013 Forbes' Katheryn Thayer asserted that digital-era artists' work must not only be of high quality, but must elicit reactions on the YouTube platform and social media. Videos of the 2.5% of artists categorized as "mega", "mainstream" and "mid-sized" received 90.3% of the relevant views on YouTube and Vevo in that year. By early 2013 Billboard had announced that it was factoring YouTube streaming data into calculation of the Billboard Hot 100 and related genre charts.
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