#IndieCreators

[absurdpositivity]

[laurafaritos]

HDMS012. Buy or Build? What Harvard Taught Me About DTC Acquisitions (And What Walmart’s $235M Loss on Bonobos Can Teach Us About the Risks & Rewards)

So, we’ve made it this far in my deep dive into Harvard’s Digital Marketing Strategy course, and at this point, we’ve covered:

How DTC (Direct-to-Consumer) brands disrupted traditional marketing.

The entire DTC Value Chain—from customer insights to R&D, product design, distribution, and customer experience.

What traditional companies can do to compete, using L’Oréal’s strategy as a case study.

Now, we’re diving into one of the most high-stakes decisions a legacy brand can make when trying to keep up with DTC startups: 👉 Should they acquire a DTC brand or build one in-house?

Big brands LOVE acquisitions. They see a scrappy, fast-growing DTC company and think: "Why compete when we can just buy them?"

Sometimes, this works beautifully. Unilever bought Dollar Shave Club for $1B and gained an instant presence in men’s grooming. Other times… it’s an absolute disaster. Walmart bought Bonobos for $310M and sold it for just $75M—a $235M loss on what was supposed to be their DTC play.

So, today’s post is all about what makes or breaks a DTC acquisition—and why some brands thrive while others flop.

And because I don’t just want to talk about business theory, we’re going to connect this to comedy, content creation, and creative careers.

Should you collaborate with an existing brand/show or build your own?

When does adapting a proven format make more sense than reinventing the wheel?

And what can Walmart’s $235M loss on Bonobos teach us about investing in the wrong opportunities?

Let’s get into it.

II. Why Do Big Companies Acquire DTC Brands?

Big brands aren’t stupid (most of the time). When they acquire a DTC company, they’re not just buying the product—they’re buying the audience, the data, and the brand identity that made that DTC brand successful in the first place.

Here’s why established companies go on a DTC shopping spree instead of building their own brands from scratch:

1. Instant Access to a Built-In Customer Base

Legacy brands usually sell through retailers (Walmart, Target, Sephora), meaning they don’t own their customer relationships. But DTC brands do.

💡 Example:

If L’Oréal acquires Perfect Diary, they suddenly gain access to all of Perfect Diary’s Chinese Gen Z customers—an audience they would struggle to reach on their own.

Instead of spending millions on marketing and customer acquisition, they just buy the brand that already did it.

🎭 How This Relates to Comedy & Creative Careers: Ever notice how big media companies acquire indie podcasts or YouTube shows instead of launching their own?

Spotify bought The Ringer (Bill Simmons’ podcast network) instead of starting from scratch.

Netflix buys existing YouTube creators’ IP rather than launching unknown shows.

Even in stand-up, bigger networks acquire comedy specials rather than taking risks on unknowns.

If you’ve built a loyal audience, you become the asset.

2. Access to DTC Data & Digital Insights

DTC brands are built on first-party data—something legacy brands lack because retailers keep customer data to themselves.

📊 Why Data Matters:

Traditional brands rely on third-party reports, focus groups, and delayed retailer data.

DTC brands track real-time customer behavior (purchases, clicks, reviews).

When a legacy brand buys a DTC company, they gain instant access to customer insights they never had before.

💡 Example:

When Unilever acquired Dollar Shave Club, they didn’t just buy razors—they bought a subscription model and deep insights into men’s grooming habits.

L’Oréal could acquire Perfect Diary not just for the brand, but for the social media-driven marketing data that Perfect Diary uses to outmaneuver competitors.

🎭 How This Relates to Comedy & Creative Careers:

Media companies buy TikTok stars & YouTubers because they come with audience analytics & engagement data.

Comedy festivals book acts with high engagement, not just talent.

Even in stand-up, Netflix won’t book you for a special unless you have ticket sales & social proof.

Your audience data is as valuable as your talent.

3. A Shortcut to Innovation Without R&D Costs

Big brands move slowly. DTC brands move fast.

💡 Why This Matters:

R&D (Research & Development) is expensive and slow—big companies need years to launch a new product.

DTC brands skip the bureaucracy and go straight to testing & selling.

Acquiring a DTC brand means legacy brands don’t have to reinvent the wheel.

📌 Example:

Before Unilever bought Dollar Shave Club, they had no cool, modern razor brand to compete with Gillette.

Instead of spending years creating a new razor company, they just bought the one that already had a loyal audience.

🎭 How This Relates to Comedy & Creative Careers:

Networks buy existing YouTube shows instead of starting original content from scratch.

Stand-up comedians with viral clips get Netflix specials faster than those grinding in clubs.

Production companies adapt hit YouTube series instead of funding experimental new formats.

If you prove your concept works, someone will want to buy in.

4. Expansion Into New Markets

Sometimes, a company just can’t break into a new category—so they buy their way in.

📌 Example:

Unilever didn’t have a strong presence in men’s razors—Gillette dominated.

Instead of launching their own razor brand, Unilever acquired Dollar Shave Club and immediately had a foothold in the market.

🎭 How This Relates to Comedy & Creative Careers:

If a comedy club wants a younger crowd, they book TikTok comedians instead of waiting for older acts to develop younger audiences.

If a production company wants Gen Z viewership, they partner with influencers instead of launching shows from scratch.

If a festival wants international appeal, they buy licensing rights to global acts instead of developing new talent locally.

Sometimes, it’s easier to acquire an audience than to build one from scratch.

III. Why DTC Acquisitions Fail (And What Creators Can Learn from It)

Buying a DTC brand sounds like a shortcut to success, but it doesn’t always work. Some acquisitions become massive wins (like Unilever’s purchase of Dollar Shave Club), but others crash and burn (like Walmart’s $235M loss on Bonobos).

Here’s why big companies fail at managing DTC brands—and what comedians, creators, and entrepreneurs can learn from it.

1. The Profitability Problem: DTC Brands Burn Money

Most DTC brands don’t make money—at least, not in a way that traditional companies expect.

📌 Why This Happens:

DTC brands prioritize growth over profit. They raise millions from investors, spend aggressively on marketing, and focus on scaling fast rather than turning a profit.

When a big company buys them, that changes. Investors want profit, not just growth. Suddenly, the DTC brand has to make money—and many can’t.

💡 Example: Walmart & Bonobos

Walmart acquired Bonobos for $310 million in 2017 as part of a larger DTC shopping spree.

But Bonobos wasn’t profitable—it relied on expensive digital ads and premium branding, which clashed with Walmart’s discount-focused model.

In 2023, Walmart sold Bonobos for just $75 million, losing $235 million in the process.

🎭 What Creators Can Learn:

Some creators focus on going viral but don’t think about long-term sustainability.

If a network or production company picks up your show, they’ll expect it to generate real revenue, not just engagement.

Lesson: If you want long-term success, don’t just grow fast—grow sustainably.

2. Legacy Companies Don’t Understand DTC Audiences

DTC brands thrive because they speak directly to niche communities. When big corporations buy them, they often kill the magic.

📌 Why This Happens:

DTC brands are built on authenticity. Their audiences engage because they feel like they’re part of something special.

Big brands often apply corporate strategies that strip away what made the brand work in the first place.

The result? Customers leave, engagement drops, and the brand loses its identity.

💡 Example: Gillette vs. Dollar Shave Club

Gillette failed to engage younger audiences because it marketed like a traditional corporate brand.

Meanwhile, Dollar Shave Club used humor, social media, and community-driven marketing to build loyalty.

Unilever bought Dollar Shave Club—but they kept its identity intact, allowing it to thrive post-acquisition.

💡 Example: Comedy Specials & Streaming Services

Netflix buys up comedy specials but often forces comedians into a one-size-fits-all format that loses what made their comedy special in the first place.

Some comedians find that their YouTube specials get more engagement than their Netflix ones, because they have full control over branding, marketing, and audience connection.

🎭 What Creators Can Learn:

If you sell a project to a big company, make sure they respect your creative vision.

Don’t let corporate interference kill what makes your brand unique.

3. The Scale Problem: Not Every DTC Brand Can Go Big

Some DTC brands work because they’re niche. Trying to force them to scale too fast can destroy them.

📌 Why This Happens:

DTC brands succeed by focusing on specific audiences. When a big company buys them, they often try to force mass-market expansion too quickly.

But not every brand is meant to scale—and growing too fast can dilute the brand, alienate core customers, and lead to failure.

💡 Example: Glossier’s Expansion Mistake

Glossier dominated the online beauty space by marketing directly to millennial and Gen Z consumers.

But when they tried to scale into mass retail, they struggled to maintain the same level of community engagement.

In 2022, they laid off a third of their workforce and had to rethink their retail strategy.

🎭 What Creators Can Learn:

Not every comedian needs to go mainstream. Some do better with tight-knit fan communities instead of mass appeal.

Some comedians thrive on TikTok, Patreon, or live shows instead of trying to land a Netflix special.

Lesson: Not every project needs to be “scaled.” Sometimes, a loyal niche is more valuable than a big but disengaged audience.

4. Timing the Acquisition: When Should a Big Company Buy a DTC Brand?

One of the biggest risks in DTC acquisitions is when to buy.

📌 Why This Happens:

Buy too early, and you risk acquiring a brand that hasn’t proven itself yet.

Buy too late, and you’ll pay a premium price for a brand that might already be past its peak.

Some companies hold out for too long, waiting to see if a brand will succeed—only to watch a competitor buy it first.

💡 Example: L’Oréal & Perfect Diary

If L’Oréal had bought Perfect Diary early, they could have secured it for a lower price—but also with more risk.

If they waited too long, they’d risk paying a massive premium or losing the opportunity to a competitor.

🎭 What Creators Can Learn:

Timing matters in creative careers.

If a network offers you a deal too early, you might lose creative control before you establish yourself.

If you wait too long to take bigger opportunities, you might miss your peak window.

Lesson: Know when to sell, when to hold, and when to walk away.

The Bottom Line: Not Every Acquisition Works—But Some Do

Buying a DTC brand can be a game-changer—or a massive flop. The difference comes down to strategy, execution, and whether the big company understands what they’re actually buying.

🎭 What Creators & Comedians Should Take Away: ✅ Your audience is your biggest asset. Protect it. ✅ Growth is good, but sustainability matters more. ✅ Not every project needs to scale—sometimes niche is better. ✅ If a big company buys your work, make sure they respect its core identity.

IV. The Best Approach to DTC Acquisitions (And What Creators Can Learn from It)

Not all DTC acquisitions fail—some thrive and become massive success stories. But what separates a smart acquisition from a costly mistake?

For legacy brands, acquiring DTC companies can be a winning strategy—if done right. The same applies to comedians, creators, and entrepreneurs looking to partner with bigger platforms while keeping their brand intact.

Here’s what successful acquisitions have in common—and how to apply these lessons to your own career.

1. Acquisitions Work Best When They Enhance an Existing Strength

The smartest acquisitions aren’t random—they complement what the buying company already does well.

📌 Why This Works:

Instead of just “buying growth,” companies use acquisitions to fill a gap in their expertise.

A DTC brand’s agility + a legacy brand’s resources = the best of both worlds.

💡 Example: Unilever & Dollar Shave Club

Unilever was already a powerhouse in personal care but lacked a strong foothold in men’s shaving.

Acquiring Dollar Shave Club let them compete directly with P&G’s Gillette while also learning DTC marketing strategies.

Why it worked: Dollar Shave Club wasn’t just a standalone brand—it strengthened Unilever’s overall business.

🎭 What Creators Can Learn:

Don’t take any deal just because it’s big. Ask: Does this partnership amplify what I’m already doing?

If a comedy network, sponsor, or brand wants to work with you, make sure their platform aligns with your audience—or it won’t be a good fit.

Lesson: A great deal should enhance what you do best—not force you to change your brand.

2. The Best Deals Protect the Brand’s Identity & Audience

DTC brands thrive because of their identity, audience, and unique voice. If a big company changes too much, it can kill what made the brand work in the first place.

📌 Why This Works:

The best acquisitions preserve the brand’s core identity while giving it more resources to grow.

The acquiring company learns from the DTC brand’s strategy instead of forcing a corporate overhaul.

💡 Example: Amazon & Zappos

Amazon bought Zappos in 2009 but let it run independently.

Instead of absorbing it, they let Zappos keep its customer-first culture and continue doing what made it great.

Why it worked: Amazon provided funding and infrastructure, but Zappos retained its brand DNA.

🎭 What Creators Can Learn:

If a big network or brand wants to buy your content, negotiate for creative control.

Many comedians regret selling rights to their specials without keeping ownership.

Lesson: Don’t let a partnership erase what makes your brand special.

3. Smart Acquirers Integrate DTC Strengths Instead of Diluting Them

Big companies buy DTC brands for a reason—but they often fail by forcing traditional strategies instead of learning from the brand they bought.

📌 Why This Works:

Instead of forcing DTC brands to fit into old business models, smart companies adopt DTC strengths into their existing brands.

This allows them to modernize without losing credibility.

💡 Example: L’Oréal & Youth to the People

L’Oréal acquired Youth to the People (a clean beauty brand with a cult following).

Instead of overhauling the brand, L’Oréal kept its indie aesthetic, sustainability mission, and brand voice.

They learned from its DTC strategies and applied them to other brands in their portfolio.

🎭 What Creators Can Learn:

If a platform buys your show, podcast, or special, make sure they see the value in your unique style.

Netflix specials are hit-or-miss because some comedians lose the raw energy of their work when forced into a corporate structure.

Lesson: A good partnership lets you keep your magic—it doesn’t box you in.

4. The Timing Has to Be Right

Even the best acquisition strategy can fail if the timing is off.

📌 Why This Works:

Buy too early, and the brand might not be proven yet.

Buy too late, and the cost is too high to justify.

The best acquisitions happen when a DTC brand has strong traction but still needs resources to scale.

💡 Example: P&G & Native Deodorant

P&G acquired Native (a natural deodorant brand) at the right time—when it had proven demand but needed scale.

They helped Native expand into retail stores, while keeping its indie DTC marketing approach.

Why it worked: The timing was right—Native was already successful, but still had room to grow.

🎭 What Creators Can Learn:

If a network, brand, or sponsor wants to work with you too early, they might change your vision too much.

But if you wait too long, you might miss opportunities to scale your reach.

Lesson: Know when to hold out and when to take the deal.

The Bottom Line: The Best DTC Acquisitions Are a Win-Win

The best acquisitions work because both sides benefit. The legacy company gains modern marketing insights while the DTC brand gains resources to grow.

🎭 What Creators & Comedians Should Take Away: ✅ The right partnership amplifies what you already do best. ✅ Keep creative control when selling your work. ✅ If a deal forces you to change too much, it’s not the right one. ✅ Smart growth beats fast growth—time your moves carefully.

V. Final Thoughts & Lessons from DTC Acquisitions

The DTC acquisition boom taught us a lot about what works and what doesn’t in business—and those lessons apply to comedians, creators, and entrepreneurs just as much as they do to billion-dollar corporations.

So, after analyzing the wins, failures, and cautionary tales, what are the key takeaways?

1. Not Every Acquisition Is a Good One—Know When to Say No

📌 Why This Matters:

Just because someone offers to buy your brand, content, or idea doesn’t mean it’s the right move.

Many legacy brands bought DTC companies without a clear plan—and ended up losing money.

The same happens to comedians who sign bad deals or creators who give away their rights too soon.

💡 Case Study: Walmart & Bonobos

Walmart bought Bonobos for $310M, thinking it would help them modernize their image.

But Bonobos’ core customers didn’t align with Walmart’s audience—and Walmart eventually sold it for just $75M (a $235M loss).

Lesson: A bad match can cost you more than just money—it can hurt your brand.

🎭 For Comedians & Creators:

If a network, agency, or brand deal doesn’t align with your goals, turn it down.

Many comedians regret selling their specials outright instead of licensing them.

Lesson: Not every opportunity is a good one—choose deals that strengthen your brand.

2. The Best Acquisitions Keep the Brand’s DNA Intact

📌 Why This Matters:

DTC brands succeed because they have a strong identity and audience.

When big companies force them into a corporate mold, they lose what made them special.

This happens to artists, writers, and comedians too—when they get a big break but are told to change too much.

💡 Case Study: Amazon & Zappos

When Amazon acquired Zappos, they let it keep its unique company culture.

Instead of absorbing it, Amazon let Zappos keep its customer-first approach and thrive.

Lesson: The best partnerships preserve what makes a brand (or creator) unique.

🎭 For Comedians & Creators:

Don’t let a big opportunity erase what makes you, YOU.

If a platform wants to change your entire style, brand, or creative vision, it’s a red flag.

Lesson: The best deals amplify your voice, not silence it.

3. Timing Is Everything—Know When to Sell & When to Hold

📌 Why This Matters:

Selling too early means losing control and potential profits.

Waiting too long could mean missing your window to scale.

The smartest acquisitions happen when a brand is successful, but still has room to grow.

💡 Case Study: P&G & Native Deodorant

P&G bought Native when it was already a proven success but still had room to scale.

Instead of forcing Native to change, P&G gave it retail distribution power while keeping its indie appeal.

Lesson: The timing was perfect—Native was strong, but still needed a push to grow.

🎭 For Comedians & Creators:

Example: Kevin Hart built his own fanbase before working with major studios.

Example: Many comedians turn down Netflix specials early on so they can build leverage for a better deal later.

Lesson: Know when to hold out and when to take the deal.

4. A Strong Business Model Beats Hype Every Time

📌 Why This Matters:

Many DTC brands raised millions, spent it on ads, and never became profitable.

Hype doesn’t mean long-term success.

Creators fall into the same trap—a viral moment doesn’t equal a sustainable career.

💡 Case Study: Casper (The Mattress Brand)

Started as a DTC disruptor with huge early success.

Spent millions on digital ads but never built a truly profitable business model.

Eventually struggled with growth and profitability, showing that hype isn’t enough.

🎭 For Comedians & Creators:

Many viral creators struggle to turn fame into a long-term career.

Some comedians go viral once but fail to monetize their audience long-term.

Lesson: Build a strong foundation, not just a viral moment.

5. The Best Deals Are Win-Wins for Both Sides

📌 Why This Matters:

The best acquisitions help both the buyer and the seller.

If a DTC brand gets acquired but loses its audience, it’s a bad deal.

If a legacy company buys a brand but doesn’t learn from it, it’s a bad deal.

💡 Case Study: Unilever & Dollar Shave Club

Unilever wanted a foothold in men’s grooming, so they bought Dollar Shave Club.

Instead of changing it, they learned from DSC’s DTC model and applied it to their other brands.

Lesson: The best acquisitions help BOTH companies grow.

🎭 For Comedians & Creators:

The best network or brand deals help both sides.

If a company just wants to “use” your audience without benefiting you, it’s not a good deal.

Lesson: A great partnership is a two-way street.

Final Takeaways: How DTC Acquisitions Relate to Your Own Growth

✅ Not every deal is a good one—choose opportunities that align with your goals. ✅ Protect your creative identity—don’t let a big platform erase what makes you unique. ✅ Timing matters—know when to hold out and when to make a move. ✅ Hype is temporary, but a strong foundation lasts—focus on long-term success. ✅ The best partnerships benefit both sides—make sure you’re getting as much as you’re giving.

VI. How I’m Making This Work with AuDHD

Navigating business strategy, content creation, and career growth with AuDHD means working with my brain, not against it. Learning about DTC acquisitions has actually given me a surprising framework for how I approach my own work as a comedian and creator.

1. Pattern Recognition & Decision Fatigue: Learning When to Say No

My brain wants to say yes to every opportunity because it sees potential in everything.

But not every deal, gig, or project is a good match—and learning from DTC acquisitions has helped me see patterns of what works and what doesn’t.

How I apply this: I’ve started analyzing every opportunity with clear criteria instead of acting on impulse. (Would this gig/brand deal help my long-term goals, or is it just a distraction?)

2. Interest-Based Focus: Scaling Without Burnout

AuDHD means hyperfixations drive my best work, but scaling those projects can be tricky.

Many DTC brands scaled too fast without a sustainable business model—which mirrors how creators often take on too much at once.

How I apply this: I’m learning to build systems so that my comedy, live shows, and content aren’t just bursts of energy, but a long-term, structured career.

3. Dopamine-Driven Learning: Making Business Strategy Fun

I thrive on new information—which is why I’m obsessed with this Harvard course.

But if something doesn’t engage me, I procrastinate—so I need engagement hacks.

How I apply this:

I turn my learning process into storytelling (which makes business strategy feel fun).

I gamify my tasks—treating marketing, branding, and content planning like an RPG leveling system.

4. The “Right Environment” Rule: Protecting My Creative Energy

DTC brands lose their identity when acquired by the wrong company—and the same happens to creators when they say yes to deals that don’t align.

My AuDHD brain struggles in restrictive environments, which means I have to carefully curate who I work with.

How I apply this:

I prioritize working with people who get my vision.

I don’t force myself into "industry norms" that don’t suit my workflow.

Final Thought on AuDHD & Business Strategy

There’s a huge overlap between DTC strategy and creative independence. The same way DTC brands fought to disrupt traditional business models, I’m disrupting traditional career paths as a comedian, producer, and content creator.

Understanding what makes a brand (or a person) valuable, scalable, and sustainable has changed the way I approach my own work. And if you’re AuDHD too, these lessons might help you design a career that works for your brain—not just for the industry.

DTC brands changed marketing, but many struggled with scaling—leading legacy companies like Unilever, P&G, and Walmart to acquire them instead of competing. However, as Walmart’s $235M loss on Bonobos shows, buying a DTC brand doesn’t always pay off.

For comedians, content creators, and independent artists, this raises an important question: Should you build your own career from scratch, or partner with a bigger platform? The same challenges apply: ✅ Build your brand independently = More control, but harder to scale. ✅ Join an existing platform or network = Faster growth, but potential loss of creative freedom.

As someone with AuDHD, I’ve had to rethink how I balance independence with collaboration. The key is knowing when to scale, when to partner, and when to walk away.

For comedians, that means understanding the trade-offs of signing with agencies, collaborating with networks, or staying fully independent. For creators, it means recognizing when brand deals, sponsorships, or production partnerships make sense—and when they don’t.

The bottom line? Whether in business or creative work, success isn’t just about growing fast—it’s about growing right.

📌 Read More in This Harvard Digital Marketing Series:

1️⃣ Marketing in the Digital Era: What Harvard’s Business Course Taught Me About Selling Comedy 2️⃣ Outsourcing vs. DIY: What Harvard’s Digital Marketing Course Taught Me About Scaling Creativity 3️⃣ Comedy, Clicks & Customer Acquisition: Harvard’s Digital Marketing Breakdown 4️⃣ From Clicks to Comedy Clubs: What Harvard’s Digital Marketing Course Taught Me About Selling an Experience 5️⃣ Buy or Build? What Harvard Taught Me About DTC Acquisitions (And What Walmart’s $235M Loss on Bonobos Can Teach Us About the Risks & Rewards) ← (You’re here!)

🛠 Apply This to Your Own Career:

💡 Are you better off building your own brand or collaborating with a bigger platform? 🎭 If you’re a comedian, should you self-produce shows or work with established clubs & networks? 🎥 If you’re a content creator, how do you balance creative freedom with brand partnerships?

Comment below with your thoughts—let’s talk about scaling creative careers without selling out.

[haru-kuneko]

[bunsterkeaton]

Hey guys! liittle delay on my Patreon/art posts on account of well. the fires. on account of the fires. I'm safe! My cats safe! we had a power outage that took up my entire block for three days but were back - I have to restock groceries but otherwise okay! Usual uploads soon👍

[dalekowrites]

Hi everyone,

I have something to share about how Patreon subscribers will keep accessing exclusive content in the future. Starting very soon, I'll be introducing a new way to provide early access that ensures a more secure and fair experience for everyone who supports my work. This change will allow me to continue creating without unnecessary stress, while keeping content accessible for all.

Why this change?

Unfortunately, piracy has been a growing issue. My interactive fictions are always free, with early access available as a thank-you for my Patreon supporters. But lately, even this small gesture of support has been undermined by piracy.

Creating interactive fiction takes hours of daily effort, research, and creativity. Sharing my stories publicly is something I love to do, but piracy adds unnecessary stress to an already demanding process. I'm not EA or Valve—I'm not a big corporation that can shrug off the effects of piracy. At this point, I earn less than 20 cents for every hour of work I put into my interactive stories. Imagine earning so little for your hard work, only to see it taken and distributed without your permission—It's disheartening, frustrating, and ultimately unsustainable. It makes me feel devalued as a creator and disrespects the readers who contribute honestly in the first place.

If you've been sharing or downloading pirated copies of my work, I’d ask you to reconsider. I know sometimes it can seem like no harm is being done, but piracy takes away from the time and effort I put into creating these stories. What’s more, my stories always become completely free in less than 30 days. Stealing the early access version only hurts the person creating it—and there's no benefit to you. All you need to do is wait a little while to enjoy the same story, for free, as intended.

To put it bluntly: piracy sends a clear message that my time and effort aren't valued. If you steal from me, you're not a fan of my work; you have no respect for another struggling human being. If this continues, I'll have no choice but to rethink how—or if—I share my work publicly. I'm just a person like you, and I want to keep writing and sharing these stories with you, but only if it's a relationship built on trust and mutual respect.

To my supporters...

To those of you who support me through Patreon, reblog my Tumblr posts, or simply read and recommend my stories—you are the reason I keep going! Your kindness, encouragement, and honest engagement mean the world to me. You have nothing to be concerned about the new security measures I plan to test—these changes won't complicate your access but will help protect the development of the stories you love.

Thank you for understanding and standing by me! ♥

P.S.: If you are a fellow creator of interactive fiction, and you too have a similar problem, feel free to contact me here, on Discord, or even on Patreon if you prefer. I'd love to exchange ideas and put up a united front.

[chweui]

ㅤㅤㅤ୨୧　　⁺ symbols 🪷 ✧

ㅤㅤ𐙚 𝅄 ✩ ♡♡ 🥯　　 ⁺

🩰ㅤㅤ ୨୧ ㅤ 𝅄 あ ̼ ✪

𑂴 ᨳ ⩄⩄ 🐰 ⋌ ೀ

[sweetladswerewolf]

Call me Anna! Or you could use my full name Annabell... or An, some people call me An - OOH! I've been thinking about Bell, has a nice ring to it, don't you think?

1/7 playable characters in our upcoming playtest for Sweetlads' Werewolf!

[theindexproject]

Happy to share our Teaser for our #scifi #indie The Index Project! Been a long road but we're finally getting there. Pre-season content and stories start soon!

Psst... An #ARG (#AlternateRealityGame) is currently going on now. Also, sign up on the website and get our first issue of the COMIC BOOK FREE! https://theindex.world

[uberquest]

https://www.indiegogo.com/projects/uberquest-volume-iii-storm-s-edge/x/34014160#/ https://www.indiegogo.com/projects/uberquest-volume-iii-storm-s-edge/x/34014160#/ https://www.indiegogo.com/projects/uberquest-volume-iii-storm-s-edge/x/34014160#/ FINAL WEEK FOR OUR VOLUME III INDIEGOGOCAMPAIGN!! Don't miss out on these EXCLUSIVE items ONLY available right now! ONLY 5 DAY REMAIN!!

We're producing VIII which covers Chapter's 5 and 6 of the webcomic in beautiful hardback - that's 116 pages worth of story plus other goodies! Our Kibbles figurines will be 7 inch resin 3D Printed and hand-painted. LIMITED QUANITIES! 12 Remain! Plus much- much more! This is the ONLY time we'll produce this merchandise so don't miss out on your opportunity to grab some before it's too late!

[iammiviiofficial]

Had to take care of LOTS today! But as usual, I love to deliver! 🥰🫡

Don't forget to follow me on my insta (@iammiviiofficial) for my Saturday Shoutout for my favorite nerds and creatives! 👏🏾👑

[thatkaseyjames]

New short just dropped. It’s about media, meaning, and how sometimes no amount of clarity can change a closed mind.

I can show you a picture of a bird a thousand times—but if you’re convinced it’s water? That’s all you’ll see.

🎬 Watch here:

[laurafaritos]

HDMS011. What L’Oréal’s Strategy Can Teach Comedians & Creators About Surviving Industry Disruption

So far in this series, I’ve broken down what I’ve been learning in Harvard’s Digital Marketing Strategy course and how it applies to comedians, content creators, and independent artists. We’ve covered:

The rise of DTC brands and why they changed marketing forever.

How comedians can apply DTC-style product design to their craft.

Why live shows are the comedy version of retail expansion.

How digital-first marketing helps comedians grow an audience.

The importance of customer experience in building a loyal fan base.

But now, we’re flipping the script.

For the last few posts, we’ve focused on how direct-to-consumer (DTC) brands reshaped the marketing world. But what about the big legacy companies that got disrupted by this wave of change? Did they just… give up?

Not quite. Some failed to adapt and died off, while others learned from DTC brands, evolved, and came back stronger.

One of the best examples? L’Oréal.

This post is all about how L’Oréal faced the DTC disruption, the strategies they used to fight back, and what comedians & creators can learn from it.

Because whether you’re a makeup empire or an indie comedian, the lesson is the same: Adapt or get left behind.

I. The Case Against DTC: Was It Just a Fad?

For years, direct-to-consumer (DTC) brands were seen as the future of marketing. They bypassed traditional retail, built direct relationships with customers, and leveraged social media to explode in popularity. But as the dust settled, cracks in the model started to show.

While some DTC brands succeeded, many struggled to sustain profitability and ended up failing, getting acquired, or shifting to more traditional strategies. This raises the question:

Was DTC just a temporary trend? Or did it truly change marketing forever?

Here’s why some argue that DTC was more of a fad than a lasting disruption.

1. The Death of Cheap Customer Acquisition

One of the biggest advantages DTC brands had was the low cost of digital advertising.

In the early 2010s, Facebook and Google ads were incredibly cheap. A brand could launch an Instagram campaign for a few hundred dollars and see massive returns.

But as more companies flooded digital marketing, costs skyrocketed. Ads became expensive, and DTC brands started struggling to acquire new customers profitably.

💡 Example: Casper, the mattress company, spent so much on advertising that they lost money on every sale. Even though their brand was successful, their business model wasn’t sustainable.

For comedians and independent creators, this mirrors the struggles of social media marketing today.

Early YouTube creators blew up with little competition. Now, it’s harder to stand out.

Instagram and TikTok used to provide free organic reach. Now, the algorithm favors paid ads, making it harder to grow without spending money.

2. DTC Brands Are Too Easy to Copy

Most DTC brands don’t own their supply chains or technology. They often white-label (buying pre-made products from manufacturers) and rely on strong branding to stand out.

The problem? Other brands can copy them almost instantly.

There are hundreds of DTC razor brands trying to be the next Dollar Shave Club.

The skincare industry is flooded with copycat brands selling nearly identical formulas.

Once a product goes viral, bigger companies can copy it at scale, leaving the original DTC brand behind.

💡 Example: After Dollar Shave Club disrupted the razor industry, Gillette responded by launching its own subscription model. Since Gillette already had the distribution network and brand trust, it was easy for them to win back customers.

For comedians, this is the equivalent of creating a viral joke that gets copied and repurposed by bigger platforms. Without ownership and differentiation, DTC brands—and indie creators—can lose control of their success.

3. DTC Brands Struggle to Scale

It’s easy to launch a small, niche DTC brand. Scaling it into a billion-dollar company? That’s the hard part.

Many DTC brands hit a growth ceiling. They reach $50M–$100M in revenue but can’t expand beyond that.

Unlike major companies, they lack retail distribution, mass-market recognition, and operational efficiencies.

The customer acquisition costs keep rising, making it harder to sustain growth.

💡 Example: Warby Parker, Glossier, and Allbirds were once seen as unstoppable DTC success stories. But as they tried to grow, they struggled with profitability, leading to layoffs, restructuring, and shifts in strategy.

For comedians and independent creators, this mirrors the challenge of turning an online audience into a sustainable career.

Many comedians blow up on TikTok or YouTube but struggle to convert followers into ticket sales.

Social media success doesn’t always translate into long-term financial stability.

Without a real business model, viral success can be short-lived.

4. The "Path to Profitability" Problem

Many DTC brands aren’t built to be profitable. Instead, they rely on venture capital (VC) funding to grow quickly, hoping to either:

Get acquired by a larger company (like Unilever buying Dollar Shave Club).

Go public and cash out before financial struggles catch up.

This model worked for a while, but as investors started demanding actual profits, many DTC brands collapsed.

💡 Example: Away Luggage was once the “future of travel,” but behind the scenes, they struggled with mismanagement and unsustainable growth. The brand was burning through millions just to keep up appearances.

For comedians and indie creators, this is a warning against chasing viral fame without a long-term strategy.

Some TikTok comedians blow up overnight, but without real audience connection, they fade away.

Many creators rely too much on sponsorships instead of building their own revenue streams.

The key to sustainability isn’t just growth—it’s profitability.

5. The DTC Bubble Burst?

In recent years, many once-hyped DTC brands have shut down, laid off employees, or been acquired for far less than their peak valuation.

This has led some experts to call the entire movement a bubble that has popped.

Investors have pulled back.

Brands that depended on digital ads are struggling.

Retail expansion is proving harder than expected.

So… is that it? Was the DTC revolution just a temporary marketing trend that worked until digital ads got too expensive?

Not quite.

Because while some DTC brands failed, others adapted—and thrived.

Next, we look at the case for why DTC is here to stay—and how it has permanently changed marketing.

II. The Case for DTC: A Permanent Disruption in Marketing

While many DTC brands have struggled, the direct-to-consumer model itself isn’t dead. It has permanently changed how brands approach marketing, customer relationships, and product development.

Here’s why DTC isn’t just a trend—it’s a fundamental shift in how businesses operate.

1. Consumer Behavior Has Permanently Shifted

The way people interact with brands has changed forever. Customers are no longer blindly loyal to the biggest names—they seek out brands that feel:

Authentic – They want to buy from brands that share their values and personality.

Personalized – They expect tailored recommendations and unique shopping experiences.

Community-Driven – They want to engage with brands like fandoms, not just as customers.

DTC brands understood this shift early, while legacy brands are still trying to catch up.

💡 Example: Glossier didn’t just sell beauty products—it created a movement. Customers weren’t just buying makeup; they were participating in a brand identity shaped by their own feedback and engagement.

🔗 How This Applies to Comedians & Creators:

People don’t just want to watch comedy—they want to feel connected to comedians.

Social media allows comedians to build personal brands, interact directly with fans, and cultivate a loyal community.

The old model of waiting for a TV deal is gone—comedians who engage directly with their audience have more control over their careers.

2. Lower Barriers to Entry = More Opportunities

Before digital marketing, only big companies could afford the advertising and retail space necessary to compete.

DTC changed that. Now, anyone with a good idea can launch a brand.

Shopify, Amazon FBA, and TikTok Shop allow small brands to compete with industry giants.

Social media replaces expensive ad campaigns.

AI-driven marketing tools make it easier than ever to launch a brand with minimal resources.

💡 Example: Before digital platforms, a new makeup brand would need a massive budget for product development, retail deals, and TV commercials. Now, a beauty influencer can launch a brand from their bedroom using Shopify and Instagram ads.

🔗 How This Applies to Comedians & Creators:

Before social media, comedians needed gatekeepers (TV execs, club owners, festival bookers) to get noticed.

Now, comedians can bypass the system by growing their own audience directly.

You don’t need a Netflix special to succeed—you need fans who care about your work.

3. Brands No Longer Need Retail Gatekeepers

Traditional brands relied on retail stores like Walmart, Sephora, and Best Buy to reach customers.

DTC brands broke this model by selling directly to consumers through their own websites and social media.

No need to negotiate shelf space with retailers.

No need to split profits with third-party stores.

Direct customer relationships lead to better loyalty and repeat sales.

💡 Example: Gymshark went from a small fitness clothing brand to a $1B company without ever being in traditional stores.

🔗 How This Applies to Comedians & Creators:

The old model: Get booked in clubs, get a TV spot, build a career through industry approval.

The new model: Build a following online, sell tickets directly to fans, and create your own success.

Instead of waiting for gatekeepers to validate your work, you build your own audience and control your career.

4. Digital Marketing Is More Cost-Effective Than Traditional Advertising

While digital ads have gotten more expensive, they’re still far more efficient than TV, print, or billboard advertising.

Facebook and Google Ads allow brands to target highly specific audiences.

TikTok’s algorithm gives new brands exposure at no cost.

Influencer marketing is often more effective than traditional ads.

DTC brands use data-driven marketing, A/B testing, and AI automation to optimize their strategies in ways that legacy brands still struggle to match.

💡 Example: Unlike traditional brands that spend millions on Super Bowl ads, DTC brands spend small budgets strategically on hyper-targeted digital ads, influencer collaborations, and viral content.

🔗 How This Applies to Comedians & Creators:

Instead of spending money on flyers, posters, or TV ads, comedians can grow an audience with Instagram Reels, TikTok clips, and YouTube Shorts.

Social media rewards engagement, not just money—a comedian with strong audience interaction can go viral with zero budget.

By testing different types of content, comedians can see what works instantly and adjust their strategy in real-time.

5. The Power of Community-Driven Brands

One of the biggest advantages of DTC brands is their ability to foster community.

Instead of just selling products, they create spaces for people to engage, share, and interact.

Consumers feel like part of the brand’s journey, rather than just buyers.

This leads to higher loyalty, repeat sales, and word-of-mouth marketing.

💡 Example: BarkBox (the DTC pet brand) realized their customers loved watching their dogs open subscription boxes. So, they leaned into this, encouraging customers to share their unboxings—which turned into free viral marketing.

🔗 How This Applies to Comedians & Creators:

Successful comedians don’t just have viewers—they have communities.

People don’t just follow comedians for jokes—they follow them for personality, relatability, and authenticity.

Engaging with fans (responding to comments, involving them in content decisions, creating inside jokes) strengthens the connection.

So… Is DTC a Fad or the Future?

💡 The answer? Both.

Some DTC brands were built unsustainably and failed.

Others adapted and changed marketing forever.

DTC isn’t just a business model—it’s a shift in how brands engage with consumers. Even legacy companies are now adopting DTC strategies to stay relevant.

The lesson? The power is shifting from corporations to creators.

🔗 What This Means for Comedians & Creators:

You don’t need industry validation to succeed. You need an audience that cares about you.

Social media and direct engagement have leveled the playing field. You can now reach fans without relying on TV networks, comedy clubs, or traditional gatekeepers.

Branding isn’t just for businesses—it’s for comedians too. How you engage with your audience shapes your success more than ever before.

DTC marketing isn’t just about selling products—it’s about building relationships. And in the world of comedy and content creation, that’s the real key to long-term success.

III. How Established Brands Are Adapting to DTC Marketing

As DTC brands continue to reshape the market, legacy companies have two choices: adapt or become obsolete. Instead of resisting the DTC movement, many major brands have adopted DTC strategies to stay competitive.

Here’s how traditional brands are evolving to survive in a direct-to-consumer world.

1. Acquiring Successful DTC Brands

Many major corporations didn’t try to compete with DTC brands—they bought them instead. This allows legacy companies to leverage the DTC brand’s digital expertise while giving them access to larger distribution networks.

💡 Examples:

Unilever acquired Dollar Shave Club for $1 billion to gain a foothold in the DTC razor market.

Nestlé acquired Freshly, a meal delivery startup, to expand into DTC food services.

P&G acquired Native Deodorant to tap into the natural skincare trend.

Pros of this strategy: ✅ Instant access to a loyal customer base – No need to build an audience from scratch. ✅ Proven business models – The acquired DTC brand already has strong product-market fit. ✅ DTC expertise – Legacy brands learn from the agile marketing and direct engagement strategies of DTC startups.

Cons of this strategy: ❌ Risk of losing the DTC brand’s authenticity – Many acquired DTC brands lose their original identity once under corporate control. ❌ High acquisition costs – Buying a successful DTC brand can be expensive, especially for publicly traded corporations.

🔗 What This Means for Comedians & Creators:

The comedy industry is seeing similar trends. Netflix, HBO, and Comedy Central now acquire comedians who build strong digital brands instead of just scouting club comedians.

Instead of waiting to be discovered, comedians can build an audience first, then negotiate from a position of power.

A strong personal brand makes it easier to sell out live shows, secure sponsorships, and attract industry attention.

2. Launching In-House DTC Brands

Some legacy companies don’t want to buy DTC brands—they want to build their own. Instead of acquiring existing brands, they create new ones from scratch that operate with the same agility and marketing strategies as DTC startups.

💡 Examples:

P&G Ventures launched new skincare and wellness brands without attaching the P&G name to attract younger audiences.

Visa Ventures invests in DTC finance tools that bypass traditional banking models.

ZX Ventures (Anheuser-Busch) created niche craft beer brands instead of relying only on Budweiser.

Pros of this strategy: ✅ Full creative control – Brands don’t risk diluting the authenticity of an acquired startup. ✅ No need for costly acquisitions – They can develop DTC brands in-house with internal resources. ✅ Direct access to younger consumers – New brands allow legacy companies to reach audiences who avoid big corporations.

Cons of this strategy: ❌ Takes time to build traction – Unlike buying a DTC brand, launching a new one requires building an audience from scratch. ❌ High risk of failure – Many in-house DTC brands don’t resonate with consumers and fail before gaining traction.

🔗 What This Means for Comedians & Creators:

Many comedians start as part of an industry “machine” (TV networks, talent agencies, production companies).

Some break away to create independent brands. Example: Andrew Schulz built a digital-first audience, bypassing TV networks, and now sells out arenas.

Creators who build their own platforms (YouTube, Patreon, Substack) own their audience and revenue instead of relying on gatekeepers.

3. Integrating DTC Strategies into Existing Brands

Instead of buying or launching DTC brands, some legacy companies are modernizing their existing brands by adopting DTC-style marketing, digital engagement, and direct sales strategies.

💡 Examples:

Nike launched Nike Direct, a DTC platform that allows customers to buy directly from the brand instead of through retailers.

L’Oréal enhanced digital engagement with AI-driven beauty recommendations, virtual makeup try-ons, and influencer collaborations.

Coca-Cola launched a subscription service, Coke Insiders Club, where fans received exclusive new flavors before they hit shelves.

Pros of this strategy: ✅ Leverages brand recognition – Consumers already know and trust the brand. ✅ Avoids expensive acquisitions – No need to buy an existing DTC startup. ✅ Expands brand reach – Direct engagement helps legacy brands connect with younger, digital-first consumers.

Cons of this strategy: ❌ Difficult internal restructuring – Many legacy brands aren’t built for direct customer engagement. ❌ Takes time to implement – Switching to a DTC-friendly model requires major investment in digital infrastructure.

🔗 What This Means for Comedians & Creators:

The traditional comedy industry (TV networks, late-night shows, major comedy clubs) is trying to adapt to the rise of independent comedians.

Some legacy institutions (Netflix, HBO, Just for Laughs) are integrating influencer-style marketing, social media clips, and direct-to-fan engagement to remain relevant.

Comedians who adapt to digital platforms while still leveraging traditional institutions have the best chance of success.

Which Strategy Works Best?

Each of these strategies has strengths and weaknesses. The most successful companies use a combination of all three to stay competitive.

For comedians, the parallel lesson is clear:

Some comedians get “acquired” by the industry (Netflix deals, HBO specials, agent representation).

Some comedians launch their own “DTC brands” (Patreon, self-produced specials, YouTube channels).

Some comedians integrate traditional & digital strategies (touring clubs while growing an online audience).

In today’s entertainment landscape, waiting for industry approval is no longer necessary. Comedians and creators who embrace DTC strategies have more control, more opportunities, and greater long-term potential.

IV. How I’m Applying This to My Own Career

Learning about how legacy brands adapt to the DTC model has helped me refine how I approach my own career as a comedian, producer, and content creator. While comedy and consumer brands may seem like completely different industries, the same fundamental marketing principles apply.

Here’s how I’m adapting these lessons to build a sustainable creative career:

1. I’m Treating Myself Like a Brand (Because I Am One)

Legacy brands like Nike and L’Oréal don’t just sell products—they sell an identity. They use storytelling, emotional connection, and community-building to stay relevant.

💡 How I’m Applying This:

I’m not just a comedian who performs live shows. I’m a content brand.

My work isn’t just stand-up—it’s a mix of comedy, storytelling, and education about themes like relationships, horror, and immigration.

I’m building a community, not just an audience. The difference? An audience watches. A community participates. That’s why I focus on engagement, not just content output.

✅ Takeaway for Comedians & Creators:

Your brand is more than your work. It’s the emotion and experience you create.

Instead of just promoting gigs, sell the experience of being part of your world.

Think beyond your immediate content—what story are you telling about yourself?

2. I’m Not Waiting for Industry Approval

DTC brands don’t wait for retailers to give them shelf space. They go direct to the consumer. Similarly, comedians no longer need TV networks or industry gatekeepers to validate them.

💡 How I’m Applying This:

I’m building my own platforms (YouTube, podcast, newsletters, live shows) instead of waiting for permission to succeed.

I’m designing my content strategy around direct-to-audience engagement, rather than chasing industry validation.

My goal isn’t just to “get booked.” It’s to create demand so venues want to book me.

✅ Takeaway for Comedians & Creators:

Stop waiting for someone to “discover” you. Build something worth discovering.

Create content and own your audience. Don’t rely on industry gatekeepers.

Comedians who succeed today aren’t just funny. They’re smart marketers.

3. I’m Diversifying My Revenue Streams

Legacy brands that survive industry disruption don’t rely on one product. They expand their offerings to increase their income streams.

💡 How I’m Applying This:

Live shows are just one part of my business. I also create digital content, write longform posts, and develop monetizable assets like sponsorships, Patreon, and digital products.

I’m not limiting myself to one platform. I’m growing my audience across social media, podcasts, YouTube, and live events.

I’m thinking like a business owner, not just a performer. Comedy is my product, but my brand is what makes it sustainable.

✅ Takeaway for Comedians & Creators:

If your income depends on one thing, you’re vulnerable.

Think beyond ticket sales—merch, digital content, Patreon, sponsorships, and licensing can add revenue.

Your creative work is valuable. Find multiple ways to make it pay.

4. I’m Learning from Digital Marketing, Not Just Comedy

Many comedians focus only on their craft but ignore marketing, branding, and audience building. The problem? No one can enjoy your work if they never find it.

💡 How I’m Applying This:

I’m studying digital marketing as seriously as I study comedy.

I’m using SEO strategies, email lists, and social media growth tactics to ensure my work reaches the right people.

I analyze which content performs best, why, and how to improve engagement.

✅ Takeaway for Comedians & Creators:

Being funny isn’t enough—people have to find you.

Marketing isn’t selling out. It’s how you connect with your audience.

If you don’t learn digital marketing, you’ll always be at the mercy of algorithms, clubs, or industry gatekeepers.

V. How I’m Managing This with AuDHD

Balancing creativity, marketing, business, and live performances is a huge challenge for anyone—but it’s even more complex when you have AuDHD (Autism + ADHD). The strategies that work for neurotypical creators often don’t apply to me. Instead, I’ve had to develop systems that align with my brain while still allowing me to build a sustainable comedy career.

Here’s how I make it work:

1. I Use My Hyperfocus to Build in Batches

One of the biggest strengths of AuDHD is hyperfocus. When I’m locked in, I can get more done in a week than most people do in a month. But the challenge is inconsistency—when I burn out, I struggle to keep up.

💡 How I’m Applying This:

I batch-create content when I’m in a hyperfocus sprint. Instead of posting daily, I work ahead so I can schedule things in advance.

I record multiple podcast episodes or write multiple blog posts at once, taking advantage of my productive streaks.

I automate as much as possible so my business runs even when I need to rest.

✅ Takeaway for Neurodivergent Creators:

Use your hyperfocus strategically. If you know you’ll have energy bursts, plan around them.

Batch content creation helps prevent burnout. If you work ahead, you can rest without guilt.

Your best work happens when you work with your brain, not against it.

2. I Protect My Energy by Eliminating Unnecessary Tasks

Executive dysfunction makes small admin tasks feel impossible. Instead of wasting energy forcing myself to do them, I simplify or automate.

💡 How I’m Applying This:

I use templates for everything—emails, sponsorship pitches, show descriptions—so I don’t start from scratch every time.

I eliminate tasks that don’t directly move me forward. If something isn’t essential, I let it go.

I delegate where I can. Even with limited funds, I look for ways to offload tasks (e.g., using AI to generate first drafts of content).

✅ Takeaway for Neurodivergent Creators:

Not all tasks deserve your energy. Prioritize only what truly matters.

Templates save mental bandwidth. Use them for outreach, social media, and admin work.

If something feels impossible, find a way to simplify or automate it.

3. I Design My Workday Around My Natural Productivity Cycles

With AuDHD, forcing myself into a strict 9-5 structure doesn’t work. Some days, my brain is ON, and I get 10 hours of work done in 3. Other days, basic tasks feel overwhelming. Instead of fighting this, I structure my work around my natural cycles.

💡 How I’m Applying This:

I don’t schedule deep-focus work in the morning. My brain isn’t fully functional until later in the day.

I alternate between high-energy creative work and low-energy admin tasks. This helps me maintain momentum without burning out.

I give myself permission to rest when I need to. Pushing through burnout only leads to worse crashes later.

✅ Takeaway for Neurodivergent Creators:

Work with your energy cycles, not against them. If your brain works best at night, schedule deep work then.

Alternating tasks can help prevent overstimulation or exhaustion.

Resting when needed leads to better long-term productivity.

4. I Use Interest-Based Motivation to Keep Myself Engaged

ADHD makes boring tasks unbearable. If I’m not interested, I simply can’t force myself to focus. So instead of relying on discipline or willpower, I hack my motivation by making tasks more engaging.

💡 How I’m Applying This:

I gamify boring tasks (e.g., timing myself to see how fast I can edit a podcast episode).

I combine tasks I dislike with things I enjoy (e.g., listening to my favorite playlist while doing admin work).

I frame marketing as storytelling instead of “work.” This makes it feel like a creative outlet, rather than a chore.

✅ Takeaway for Neurodivergent Creators:

Make boring tasks more engaging. Gamification, music, or changing the environment can help.

Reframing tasks can shift your mindset. Instead of “I have to market myself,” think: “I get to tell my story.”

If you hate doing something, find a way to make it fun—or delegate it.

After breaking down Harvard’s Digital Marketing Strategy course, I’ve learned that DTC (Direct-to-Consumer) brands weren’t just a trend—they completely rewrote the marketing playbook. Even though many early DTC brands struggled to scale, the way they approached customer engagement, branding, and direct sales has permanently changed how businesses connect with audiences.

And honestly? Everything I’ve learned applies just as much to comedy and creative work as it does to business.

💡 Here’s the biggest lesson I’m taking away: Success isn’t just about having the best product (or in my case, the best jokes). It’s about understanding your audience deeply, building a relationship with them, and delivering value in a way that feels personal and engaging. Whether that’s through social media, live shows, or digital content—comedians, like DTC brands, need to create experiences that make people feel connected.

How This is Transforming Me as a Comedian & Creator

Taking this course while running my own comedy shows, producing a podcast, and managing my content has been one of the most intense but rewarding experiences of my career.

I’m thinking more strategically about how I market myself—not just posting content randomly, but building a real community that cares about my work.

I’m learning to work WITH my AuDHD instead of against it, finding ways to create consistency while still allowing for flexibility.

I feel more in control of my career than ever. Instead of waiting for gatekeepers to give me opportunities, I’m building my own.

And the best part? I know I’m just getting started.

How Comedians & Creators Can Apply This Knowledge

If you’re a comedian, content creator, or creative entrepreneur, here’s what you can take away from all of this:

✅ Your career is a business. Whether you like it or not, if you’re trying to make a living from your art, you’re running a brand. Learn from DTC brands and take control of your audience, marketing, and distribution.

✅ Build direct relationships with your audience. Don’t rely on algorithms or gatekeepers to put you in front of people. Engage with your community. Make them feel like they’re part of something.

✅ Leverage digital tools to market yourself. If brands can build multimillion-dollar businesses through smart content, storytelling, and digital marketing, so can comedians. The tools are there—learn how to use them.

✅ Be adaptable. The entertainment industry is changing rapidly. Comedians who treat themselves like independent brands will thrive. Those who don’t? They’ll get left behind.

This wraps up the DTC Value Chain section of Harvard’s Digital Marketing Strategy course!

📌 Next up, we’ll dive into how legacy brands (like L’Oréal) are adapting to the rise of DTC—and what comedians and creators can learn from them.

Missed a previous post? Catch up here: 🔗 HDMS001: Why I Took Harvard’s Digital Marketing Course as a Comedian 🔗 HDMS002: The Rise of DTC Brands—What Creators Can Learn 🔗 HDMS003: Customer Insights & How They Apply to Comedy 🔗 HDMS004: What Comedians Can Learn from DTC R&D & Product Design 🔗 HDMS005: The Comedy of Scaling—Production & Manufacturing Lessons 🔗 HDMS006: Comedy, Clicks & Customer Acquisition 🔗 HDMS007: From Clicks to Comedy Clubs—Selling an Experience 🔗 HDMS008: Comedy & Distribution—Why DTC’s Direct Model Matters 🔗 HDMS009: The Stand-Up Comedy of Customer Experience 🔗 HDMS010: The Final Verdict—DTC Fad or Future?

Let’s Keep the Conversation Going!

📩 What do you think? Have you ever applied business or marketing concepts to your creative career? 🎤 Comedians & Creators—What’s your biggest challenge when it comes to marketing yourself?

Let me know in the comments or DM me—I’d love to hear your thoughts!

🔁 If you found this post helpful, share it with another creator who needs to hear this!

[tech-entires]

✨ FREE High-DA Backlinks? Here’s the Secret List ✨

You don’t need a big budget to get powerful backlinks.

I tested 200+ profile sites and handpicked 50+ that actually work. These are: 🔹 Dofollow (pass SEO juice) 🔹 High DA (40+ Domain Authority) 🔹 White-hat & safe (no spam!)

Tumblr (DA 95) – (optimize your bio!)

Medium (DA 95) – Perfect for storytelling backlinks

DeviantArt (DA 91) – Hidden gem for artists

GitHub (DA 98) – Nerdy but so effective

HubPages (DA 88) – Retro but still strong

Want the full list + step-by-step setup? 📌 Tap here for the ultimate guide

Reblog if you’ve been sleeping on profile backlinks! 💤→🚀

#SEO #Blogging #IndieCreator #TumblrTips #Backlinks"

[bunsterkeaton]

another patron post is live! https://www.patreon.com/BunsterKeaton

[rebellionthemonsterinsideus]

Or rebellionthemonsterinsideus.com/en/home for the english direct link

[jrtstories]

Read, join, like, and share your favorite stories on jrtstories

Patreon

and Substack