开场致辞与YouTube的地位

[Music]

The man himself, CEO of YouTube.

各位，这位就是YouTube的首席执行官本人。

I didn't realize that when I took over the CEO gig, a big part of my job would be being a straight man for a lot of YouTubers out there.

我没想到，当我接任首席执行官一职后，我工作的重要一部分竟然是充当许多YouTube创作者的“捧哏 (Straight Man: 指喜剧表演中负责衬托主讲人的角色，通常以严肃的提问或回应引出笑点)”。

YouTube is now by far the biggest streamer in the world.

YouTube现在是迄今为止全球最大的流媒体平台。

Shorts, I think, has just surpassed 70 billion views a day.

我认为，Shorts的每日观看量刚刚突破了700亿次。

Mohan was one of the pioneers of internet advertising and keeping the world's largest creator economy afloat.

Mohan是互联网广告领域的先驱之一，他维持着全球最大的创作者经济 (Creator Economy: 指创作者通过其内容和社区直接实现货币化的模式)的运转。

We think we're really still in the early days of our growth story and fulfilling what our mission is, which is to give everyone a voice and show them the world.

我们认为，我们仍处于增长故事的早期阶段，正在努力实现我们的使命，那就是让每个人都能发声，并向他们展示世界。

Ladies and gentlemen, please welcome YouTube CEO Neil Mohan.

女士们，先生们，请欢迎YouTube首席执行官Neal Mohan。

How are you? Good to see you, brother. Thanks. Nice to see you, David. How are you? Nice to see you.

你好吗？很高兴见到你，兄弟。谢谢。很高兴见到你，David。你好吗？很高兴见到你。

Welcome, Neal.

欢迎，Neal。

创作者分成模式与货币化挑战

What did you think? We talked to him a little bit about which platform is the most important. He said the one that pays us the most. You don't pay for content upfront. You've done some experiments. You do it all with the 55% revenue split. You sweep 45%. Seems like you're doing pretty well. Are you taking too much money from creators?

你觉得怎么样？我们和他聊了聊哪个平台最重要。他说那个支付我们最多的平台。你们不预付内容费用。你们做了一些实验。你们通过55%的收入分成 (Revenue Split: 指平台与创作者之间按比例分配广告收入或其他收益的模式)来运作。你们拿走45%。看起来你们做得很好。你们是不是从创作者那里拿走了太多钱？

Let's get into it. Can we get that down to 30%? Well, first of all, thank you all for having me. It's a privilege to be with you guys. Like they say, uh, longtime listener, first-time caller. So, it's great to be here with all of you.

我们来谈谈吧。能把这个比例降到30%吗？嗯，首先，感谢各位邀请我。能和大家在一起是我的荣幸。就像他们说的，我是“老听众，新来宾”。所以，很高兴能和大家在这里。

Do you listen to the podcast? Yeah.

你听这个播客吗？是的。

I watch it. Oh, you watch it? Where do you watch it? Where did you you like Spotify? On YouTube? Oh, on YouTube. Yes, we're there now. We are there now. Yes. Can you please be prepared? Yes. Yes. I didn't know we had a YouTube channel. Really? How's it doing?

我看。哦，你看？你在哪里看？你喜欢Spotify吗？在YouTube上？哦，在YouTube上。是的，我们现在也在那里了。我们现在确实在那里。是的。你准备好了吗？是的。是的。我不知道我们有YouTube频道。真的吗？做得怎么样？

How many folks watch it on watch it on YouTube? Just out of cur. There we go. All right. Okay. It's about half.

有多少人在YouTube上看？只是出于好奇。看，那边就有。好吧。大约一半。

Yeah, the channel is growing. You guys are close to a million subs, watch time, views, all up and to the right. So, congrats to congrats to all of you guys on that. But on your question, Jason, so we we've paid out in the last 3 years over $70 billion to the creator economy. We are the we are the original and world's largest creator economy.

是的，这个频道正在增长。你们的订阅量接近一百万，观看时长、观看次数都在持续增长。所以，恭喜你们。但回到你的问题，Jason，在过去三年里，我们已经向创作者经济支付了超过700亿美元。我们是最初的、也是世界上最大的创作者经济平台。

And so, well done. And that innovation which is called the YouTube Partner Program (YouTube合作伙伴计划: YouTube提供给创作者的货币化工具和资源，允许创作者通过广告、付费订阅等方式赚取收益) is well over a decade now. The 55/45 that you're referring to. And so we pay out billions to creators creators our media company partners the music partners etc. I'm using that term creator and I'll use it for the next 30 minutes sort of in the broadest sense of the term.

所以，做得很好。这项被称为YouTube合作伙伴计划的创新至今已有十多年了。你提到的55/45分成。我们向创作者、媒体公司合作伙伴、音乐合作伙伴等支付了数十亿美元。我在这里使用“创作者”这个词，在接下来的30分钟里，我将以最广泛的意义使用它。

It's just that the way that we do it is very different. I mean, we're we're a creator economy in the in the true entrepreneurial sense of the word, which is if you're a creator on YouTube, contrasts to the traditional model, you're betting on yourself, which is kind of the opposite of sort of the way that traditional media models have worked. And as you grow, as your audience grow, as your success grows, your monetization grows, your business grows as well.

只是我们的做法非常不同。我的意思是，我们是一个真正具有创业精神的创作者经济体，这意味着如果你是YouTube上的创作者，与传统模式不同，你是在押注自己，这与传统媒体模式的运作方式有些相反。随着你的成长，你的受众增长，你的成功扩大，你的货币化和你的业务也会随之增长。

And not every creator on our platform is going to become, you know, Mr. Beast or Dude Perfect, but there are, you know, north of 3 million creators that are in that partner program today earning revenue.

并非我们平台上的每个创作者都能成为像Mr. Beast或Dude Perfect那样的大咖，但目前有超过300万创作者加入了该合作伙伴计划并从中赚取收入。

顶级创作者的货币化策略

Back to my question, I feel like you've created all these stars and you look at the Tuckers, you look at the Megan's, you know, we'll put ourselves maybe right behind them. We all choose to turn off monetization because the take rate's too high and we can do it better ourselves. Should you not start to think about two classes of folks? The up-and-comers who don't have sales teams, who don't have distributions, maybe it's, you know, it's more about building an audience and then maybe looking at the folks like us slightly differently. And this seems to be a weakness in your game. Your take?

回到我的问题，我觉得你们培养了这么多明星，看看Tucker，看看Megan，我们可能紧随其后。我们都选择关闭货币化，因为抽成比例 (Take Rate: 指平台从交易或服务收入中抽取的百分比)太高了，我们自己能做得更好。你们不应该开始考虑两种不同类型的创作者吗？对于那些没有销售团队、没有分发渠道的新兴创作者，可能更多地是关于建立受众；而对于我们这样的人，也许应该有所不同地看待。这似乎是你们的一个弱点。你怎么看？

I would I would say that, you know, the way I think about he doesn't speak for us just for myself. No, but the point is, I just want to be clear that I love you. No, no, but it's clear that people who are at this level take it on themselves because the 45% is just an absurdly high take rate for that level of person, the Tuckers, the Megan, they'd rather just bake their ads in. So, how do you think about that level of folks? They participate, but you don't monetize them.

嗯，我想说，我是这样认为的，他不是代表我们发言，他只是代表自己。不，但关键是，我只是想澄清我爱你。不，不，但很明显，像他们这个级别的创作者会自己处理，因为对于他们这个级别的人来说，45%的抽成比例简直高得荒谬。像Tucker和Megan这样的人，他们宁愿自己植入广告。所以，你们如何看待这些级别的创作者？他们参与其中，但你们没有通过他们赚钱。

I think that that's that's not the way I would characterize it. First of all, I think the the the way that I think about it is all of these monetization models should be available to you depending on what your business objectives are and what they're not. And I've talked to a bunch of you guys about sort of how you think about that monetization question and what's important versus audience building and not.

我认为那不是我会形容它的方式。首先，我认为所有这些货币化模式都应该根据你的业务目标是否达成而提供给你。我曾和你们中的一些人讨论过你们如何看待货币化问题，以及什么更重要——是受众建设还是其他方面。

And by the way, it's the same type of conversation that happens with sports leagues or studios or what have you there. And so my my vision on all of this is whatever model works for you as a creator podcast or what have you should be the model that you adopt. And so for example, you take what Tucker's doing and Megan's doing and they you know they have had enormous success on our platform mostly driven because they're incredibly talented at what they do and the audience and the algorithm have figured that out.

顺便说一句，这与体育联盟或工作室等所进行的对话是同类型的。所以，我对这一切的愿景是，无论哪种模式对你作为创作者、播客或其他什么身份有效，都应该是你所采用的模式。举例来说，看看Tucker和Megan正在做的事情，他们知道他们在我们的平台上取得了巨大的成功，这主要是因为他们在自己的领域非常有才华，受众和算法也发现了这一点。

But it might be that the monetization model that works best is something where they're representing their inventory themselves. And that I think is less about sort of take rate or what have you, but sort of the best way to actually package it up. And so that's that's really the way that I think about it. But if you're a creator getting started today, you're not even concerned with that at all because the the monetization is really only a byproduct of what you've been able to do from an audience engagement standpoint.

但最好的货币化模式可能是他们自己代表他们的库存。我认为这更多地不是关于抽成比例或其他什么，而是关于如何最好地将其打包。所以，这确实是我思考这个问题的方式。但如果你是今天刚开始的创作者，你根本不会关心这些，因为货币化实际上只是你在受众参与度方面所能做到的一切的副产品。

The net is what matters, right? At the end of the day.

最终重要的是净收入，对吧？毕竟。

That's my point. Yeah, take rates 55, 20, 90. If you're making more money doing this than other things,

这就是我的观点。是的，抽成比例可以是55%、20%或90%。如果你做这个比做其他事情赚更多钱，

I mean, a great example again just because the algorithm and maybe you can speak to the the quality of the algorithm and the ads placement. You come from the ads business. You're a double click. Yeah. How good YouTube's ad placement and ad quality is relative to other platforms and how that actually increases.

我的意思是，再举一个很好的例子，就因为算法，也许你可以谈谈算法和广告投放的质量。你来自广告行业。你了解DoubleClick (DoubleClick: 谷歌旗下的在线广告投放和管理平台)。是的。YouTube的广告投放和广告质量相对于其他平台有多好，以及这实际如何提升。

广告质量与用户参与度

Yeah. I mean, I think I think what I'd say on that is it's it's really it's two things. One is, you know, obviously we invest very heavily in making it so that the advertising you see, whether you're watching YouTube on a television screen or on your phones or or your laptops is relevant. It's targeted. The creative formats are there. We are a platform that caters to advertisers that are brand advertisers, brand builders as well as, you know, direct response.

是的。我的意思是，我认为我想说的是，这实际上是两件事。第一，我们显然投入了大量资金，确保你在电视屏幕、手机或笔记本电脑上观看YouTube时看到的广告是相关的、有针对性的。创意格式也已到位。我们是一个既服务于品牌广告商、品牌建设者，也服务于直接响应广告商的平台。

And so that is a big area of investment. But the reason why from and I spend a lot of time talking to advertisers why they're all so excited about the ROI (Return On Investment: 投资回报率，衡量投资效率的指标) is that the engagement is differentiated and that turns into ROI for advertisers. And what I mean by that is if you go to YouTube, you are really leaned in into what you're watching.

因此，这是一个巨大的投资领域。但广告商们对投资回报率如此兴奋的原因——我花了很多时间与他们交流——是因为用户的参与度是差异化的，这为广告商带来了投资回报。我的意思是，当你访问YouTube时，你真的非常投入地观看内容。

You are a Mr. Beast superfan. You're a, you know, Michelle Kari superfan. You are a name your favorite creator super fan. And that is a different type of engagement that actually translates into different ROI regardless of where your objectives are in the marketing funnel (Marketing Funnel: 营销漏斗，描述客户从了解产品到最终购买的整个过程)。And that's that's our secret sauce. That's where that's where this $70 billion that we pay out to the creator economy and all these, you know, hundreds of thousands of jobs that we create in the creator ecosystem on a daily basis come from.

你可能是Mr. Beast的超级粉丝。你可能是Michelle Khare的超级粉丝。你是你最喜欢的创作者的超级粉丝。这是一种不同的参与度，无论你的目标在营销漏斗 (Marketing Funnel: 营销漏斗，描述客户从了解产品到最终购买的整个过程)的哪个阶段，它都能转化为不同的投资回报率。这就是我们的秘诀。这就是我们每年向创作者经济支付700亿美元，以及每天在创作者生态系统中创造数十万个工作岗位的原因。

内容碎片化与文化塑造

Let me uh just uplevel this in a more general question. 10 years ago, 15 years ago, the cable channels and you know, the way that we consumed content was largely live. You know, we would tune in for shows and one of the byproducts of that was national culture, right? There would be these things that would enter the zeitgeist (时代思潮: 某一特定时期内普遍存在的知识、文化、道德和精神氛围), and you we'd all talk about it and we would be unified by it.

让我把这个问题提升到一个更普遍的层面。10年前、15年前，有线电视频道，以及我们消费内容的方式，大部分是直播。我们会收看节目，其中一个副产品就是国家文化，对吧？会有一些事情进入时代思潮 (Zeitgeist: 时代思潮，指某一特定时期内普遍存在的知识、文化、道德和精神氛围)，我们所有人都会谈论它，并因此而团结起来。

And on the plus side of all of this infinite distribution is you get to watch what you want. The downside of it is there's really no connective thread almost that we all talk about that's the same. How does YouTube view that problem? Is it a problem? Like is there a responsibility or are there things that you can do to kind of make things that are a little bit less on demand, a little bit more, you know, appointment viewing that kind of builds identity and culture?

而这种无限分发的好处是你可以观看任何你想看的内容。它的缺点是，我们几乎没有什么共同的讨论话题了。YouTube如何看待这个问题？这是一个问题吗？比如，你们有责任或能做些什么，让内容少一些按需点播，多一些“预约观看”，从而建立身份和文化吗？

Yeah, I think it's I think it's a really interesting question and again, you know, the one of the consequences of what you're talking about visav the algorithm or what have you is, you know, you you guys open up your phones right now, that YouTube feed of yours is going to look like you, right? Like it really is about what you're genuinely interested in and and watching. And that does lead to it can lead to that type of that fragmentation that you're describing.

是的，我认为这是一个非常有趣的问题，而且，你知道，你所说的，关于算法或者其他方面的后果之一是，你们现在打开手机，你的YouTube内容流看起来会像你本人，对吧？它确实是关于你真正感兴趣并正在观看的内容。这确实会导致——它可能导致你所描述的那种碎片化。

Having said that, you know, if you ask a Gen Z (Z世代: 指20世纪90年代中期至21世纪初期出生的人) or you know, a millennial (千禧一代: 指20世纪80年代初至90年代中期出生的人) sort of what were the top four or five sort of really big sort of breakout pop culture trends. A lot of them are actually an aggregation of a lot of these types of things and you know they they could be trends that might be not the most relevant to all of us or this audience, but they are for a particular sort of age group.

话虽如此，如果你问一位Z世代 (Gen Z: 指20世纪90年代中期至21世纪初期出生的人)或千禧一代 (Millennial: 指20世纪80年代初至90年代中期出生的人)，什么是真正重要的四五个流行文化趋势。其中很多实际上是这些类型事物的聚合，而且，你知道，它们可能是对我们所有人或这个听众群体来说不那么相关的趋势，但对特定的年龄群体来说却很重要。

And so we do so the answer is that we do see a lot of those sort of national and in many cases because YouTube's a global platform two billion people come to it every single day there's enough aggregation even amongst these sort of niche areas where you do see some of that. The other thing that I will say about about um sort of how I think about it is I do think that live and sort of like those water cooler type moments are really important.

所以，答案是我们的确看到了许多那样的全国性现象，在很多情况下，由于YouTube是一个全球性平台，每天有20亿人访问，即使在这些小众领域中，也存在足够的聚合效应，你会看到一些这样的现象。我还要说的是，关于我如何看待这个问题，我确实认为直播以及那些**“饮水机时刻”** (Water Cooler Moments: 指人们在办公室饮水机旁闲聊时，讨论共享的文化事件或热门话题，象征共同的社会体验)是非常重要的。

You saw uh you know you saw the biggest one of those happen on YouTube just two days ago. That Brazil game that Ari was mentioning was on YouTube. Yeah. And the reason why it was such such a success I would argue is because of that aperture what YouTube can obviously do from a reach standpoint. But the other reason and to the NFL's credit was you guys saw how relevant we were trying to make it for kind of this YouTube generation.

你知道，就在两天前，其中一个最大的“饮水机时刻”发生在YouTube上。Ari提到的那场巴西比赛就在YouTube上直播。是的。我认为它之所以如此成功，是因为YouTube在触达方面显然具备那样的能力。但另一个原因，也是要归功于NFL的是，你们看到了我们如何努力使其与YouTube一代相关联。

And again, you obviously saw the integration with things like Destroying and Mr. Beast in the actual live stream of the game itself, but that sort of creator engagement through the lens of creators is something that sports leagues are leading to, which is sort of like what I describe as a new water cooler moment.

再次，你们显然看到了在比赛的实际直播中，与Destroying和Mr. Beast等元素的整合，但这种通过创作者视角进行的创作者参与，是体育联盟正在引领的一种趋势，这有点像我所描述的“新的饮水机时刻”。

YouTube的市场份额与增长

What percent of watched media minutes do you guys have? Do you think if you look at all media broadcast movies?

如果把所有媒体、广播和电影都算上，你们在所有被观看的媒体时长中占多大百分比？

I mean, you guys know we're we're we're the number one streaming platform here in the US. So I think the latest Nielsen's (Nielsen: 尼尔森，一家全球性的市场研究公司，以其电视收视率调查而闻名) number was and we've been the number one streamer in the US here for 2 years and I think the number the latest Nielsen number was I think something about about roughly about 13 13 14% of the of the TV watching audience.

我的意思是，你们知道我们是美国排名第一的流媒体平台。所以我想尼尔森 (Nielsen: 尼尔森，一家全球性的市场研究公司，以其电视收视率调查而闻名)的最新数据显示——我们已经连续两年是美国排名第一的流媒体平台了——我认为最新的尼尔森数据大约是电视观众的13%到14%左右。

But remember that number doesn't include YouTube on mobile uh and so it's a television number.

但请记住，这个数字不包括移动设备上的YouTube观看量，所以它只是一个电视观看数据。

But to Ari's point do you see that growing? Are people spending more time consuming media because it's more personalized, it's more engaging, and they're finding perhaps more free time?

但就Ari的观点而言，你认为这会增长吗？人们是否因为媒体内容更加个性化、更具吸引力，并且他们可能找到了更多空闲时间，而花更多时间消费媒体？

I mean, I I do I mean, look, our numbers are growing. I think other streaming platforms are growing. Other, you know, mobile platforms are growing. I think if you look at sort of the totality of sort of human time, it's still sort of a relatively, you know, small portion of that.

我的意思是，我确实这么认为。你看，我们的数据正在增长。我认为其他流媒体平台也在增长。其他，你知道的，移动平台也在增长。我认为，如果你审视人类总体的可用时间，它仍然只占据相对较小的一部分。

内容审查与平台责任

Let me shift gears to a different topic for a second. I think during co there's a real sense that the censorship was out of control on social media, not just YouTube but Twitter, Facebook, all of them. If you question the efficacy of vaccines or social distancing or even on topics like the trans agenda or even climate change, there was a risk that you could be censored or shadowbanned (Shadowbanned: 社交媒体中指用户的帖子或活动被限制曝光，但用户本人可能未察觉).

让我暂时转换一下话题。我认为在疫情期间，人们普遍感到社交媒体上的审查失控了，不仅是YouTube，还有Twitter、Facebook等所有平台。如果你质疑疫苗的有效性、社交距离，甚至关于跨性别议题或气候变化等话题，都存在被审查或**“影子封禁”** (Shadowbanned: 社交媒体中指用户的帖子或活动被限制曝光，但用户本人可能未察觉)的风险。

Or demonetized. It feels like we've the industry's kind of pulled back from that and things have opened up again and a lot of that's I think due to what Elon did in terms of buying Twitter and opening things back up. I guess my question is has the industry actually learned from that or is censorship just on pause during the Trump years.

或者被**“取消货币化”** (Demonetized: 平台停止向创作者的内容支付广告或其他收益)。感觉上，整个行业已经从那种状态中有所退却，事情又重新开放了，我认为这很大程度上归功于Elon购买Twitter并重新开放。我想我的问题是，行业是否真的从中吸取了教训，或者审查只是在特朗普执政期间暂停了。

There's another fast get into it. Right. I like it. That's why Good question. It's a great question. Yeah. Yeah, you know, I I think that actually I'll just say a couple things about that and one of them will sound it's it's sort of actually connecting the the dots between the questions that you guys asked, which is, you know, the way I answered David's Dave's question is um first of all, I think a lot of these plat all of these platforms are are actually pretty different, right?

还有另一个快速进入的方法。没错。我喜欢。这就是为什么。好问题。这是一个很好的问题。是的。是的，你知道，我认为我实际上会就此说几点，其中一点听起来会像是把你们刚才提出的问题联系起来，那就是，你知道，我回答David的问题的方式是，首先，我认为所有这些平台实际上都非常不同，对吧？

Like what Twitter does is different than what you know, some of the meta platforms do, which of course is very different than what YouTube does. And you could argue as witnessed from the rest of this conversation that we probably have a lot more similarity with you know a streaming platform than we do with a social media platform. So that that's one point but I think it's an important context into what I'm about to say.

比如Twitter的做法与一些Meta平台不同，当然也与YouTube的做法大相径庭。从我们对话的其余部分可以看出，你可以说我们与流媒体平台的相似之处可能比与社交媒体平台的相似之处要多得多。所以这是一个观点，但我认为它为我接下来要说的话提供了一个重要的背景。

And the reason I say that is because you know 99% of what happens on YouTube is all the creators that I talked about all the podcasters you know the Taylor Swifts of the world all the music. Obviously music is our largest and you know most important vertical for example we're a music platform so that that is like even during co that is where a lot of the watch time on YouTube versus a discourse that might be happening in a social feed somewhere.

我之所以这么说，是因为YouTube上99%的内容都是我谈到的那些创作者、播客，比如Taylor Swift这样的世界级歌手，还有所有的音乐。显然，音乐是我们最大、最重要的垂直领域，例如我们是一个音乐平台，所以在疫情期间，YouTube上的大部分观看时间都集中在这些内容上，而不是社交媒体上可能出现的某种讨论。

That doesn't mean that we don't have comments on our videos and all that sort of piece which is where some of this you know discourse that you're alluding to David might have happened. I I do think yeah I so I think that at the highest level I do think that there is something about the fact that that was a very different time. I remember kind of March, April of 2020 where like oh my god like do you get this this way or is it this way or mask or this or I mean I literally woke up one day and there were like people climbing 5G cell towers and falling from cell towers because now it was like you could literally get the thing from cell towers. It sounds cell towers but it sounds crazy today but that was the nature of sort of the types of things that were popping up.

这并不意味着我们的视频没有评论，也没有那类内容，David你提到的某些讨论可能就发生在那里。我确实认为，在最高层面上，我认为那时是一个非常不同的时代。我记得大概在2020年3月、4月，当时大家都在说“天哪，是这样感染的吗？还是那样？要戴口罩吗？还是别的？”我的意思是，我真的有一天醒来，看到有人爬5G信号塔 (5G Cell Towers: 用于传输5G移动网络信号的基站设施)并从上面摔下来，因为当时有人认为可以从信号塔那里感染病毒。现在听起来很疯狂，但那时就是会冒出这类事情。

COVID时期的内容政策与言论自由

So some lessons learned or regrets there. Let me let me just finish. So So that that's the context in which you know we were having to sort of make some of these decisions. Fast forward to today like obviously in a completely different world but just in terms of the nature of the disease and all that sort of a thing. So all of those sort of policies that existed back then are non-existent today.

那么，有没有吸取教训或感到遗憾的地方？让我把话说完。所以，那就是我们必须做出这些决定的背景。快进到今天，显然我们生活在一个完全不同的世界，无论是疾病的性质还是其他方面。因此，当时存在的所有那些政策现在都不复存在了。

And it's my way of answering your question of like well is it a temporal thing or not? I would argue that a lot of these sort of like and by the way YouTube in particular was ex was was criticized to an extreme amount because of all the content that we left up on the platform around you know the Wuhan virus controversy (Wuhan Virus Controversy: 指围绕新冠疫情起源和初期应对的争议，特别是针对特定地理位置的命名及其引发的政治和社会讨论) around like you know whatever all sorts of other things that we were leaving up that other places were were acting differently on and so we got beat up a lot sort of from one side of the spectrum then Um, and I think that our approach really just has to be flexible to the environment in the context of it.

这也是我回答你问题的方式，比如这是否是暂时性的？我认为很多这样的——顺便说一句，YouTube特别受到了极端的批评，因为我们平台上保留了大量关于武汉病毒争议 (Wuhan Virus Controversy: 指围绕新冠疫情起源和初期应对的争议，特别是针对特定地理位置的命名及其引发的政治和社会讨论)的内容，以及其他我们保留而其他平台采取不同行动的内容，所以我们当时受到了来自一方的猛烈抨击。我认为我们的方法必须灵活适应所处的环境。

I think we're always going to get criticized by being an open platform. There's a lot of magic that happens because of the open platform. All these amazing creators wouldn't exist if we didn't have an open platform and we didn't stand for for free speech. But there's also a lot of

我认为作为一个开放平台，我们总是会受到批评。开放平台带来了许多奇妙的事情。如果没有开放平台，如果我们不坚持言论自由 (Free Speech: 宪法权利，允许人们在不受政府审查或惩罚的情况下表达意见)，所有这些了不起的创作者就不会存在。但同时也有很多

Hold I want to follow up on this if I may. There there are two categories that I um I have in my feed because of the algorithm. firearms and poker. Both of those groups of creators are a little bit up in arms no pun intended because they are being demonetized. So, how do you make a decision on who's allowed to earn and who's not allowed to earn and be part of the ad network?

请等一下，如果可以的话，我想接着这个话题。由于算法的原因，我的内容流中有两类内容：枪支和扑克。这两个类别的创作者都有些愤愤不平（并非双关语），因为他们正在被取消货币化。那么，你们如何决定谁可以赚钱，谁不可以赚钱，谁可以成为广告网络的一部分呢？

Poker folks and people who do firearm safety and and firearm training and best practices, they're demonetized and they're complaining about it now. How do you make those kind of decisions?

玩扑克的人以及进行枪支安全和枪支培训以及最佳实践的人，他们的内容被取消了货币化，现在他们正在抱怨。你们是如何做出这类决定的？

A lot of them are incredibly successful creators on our platform, Jason, but not monetized.

Jason，他们中很多人在我们的平台上是非常成功的创作者，但没有货币化。

No, some of them are monetized as well. So, we we do have a clear set of rules and we've had these for a long time in terms of sales of firearms and those types of things. And obviously, there's there's legal frameworks and all those types of things around it. But I think, you know, in terms of firearms community and learning about firearms and safety, which obviously is an important thing, especially for for young people, we're one of the largest places where those audiences exist, as well as monetization of that type of content.

不，他们中的一些人也实现了货币化。所以，我们确实有一套明确的规则，而且这些规则已经存在很长时间了，涉及枪支销售和类似的事情。显然，围绕着这些也有法律框架等等。但我认为，就枪支社区而言，以及学习枪支知识和安全，这显然是一件重要的事情，特别是对年轻人来说，我们是这些受众群体最大的聚集地之一，同时我们也对这类内容进行货币化。

Now the balance and you know obviously and some of this comes from um you know experts that we've worked with in that vertical itself around something might be appropriate for an adult user of that type of content that may not be appropriate for a child and those types of things. So there's a lot of nuance behind it, but the

现在，平衡的问题，以及显然，其中一部分来自我们在这个垂直领域合作的专家，他们认为某些内容可能适合成年用户，但不一定适合儿童，以及其他类似的情况。所以这背后有很多细微之处，但是

Poker I don't I mean are we like there's probably something around sports gambling legality and all that sort of stuff but generally speaking as you guys know there's an enormous amount of poker content that's incredibly successful in our platform is back to what Chimath was saying which is like whatever niche there is out there however big or however small you're going to find a set of creators that are just as passionate about it as as you are.

扑克的话，我不知道，我的意思是，我们是否有什么关于体育博彩合法性之类的规定，但总的来说，如你们所知，我们平台上有大量的扑克内容非常成功，这又回到了Chimath所说的，无论存在多么大或多么小的细分市场，你都会找到一群和你一样对此充满热情的创作者。

全球化运营与政策挑战

I think the interesting question is how do you organize yourself across all the different countries in you're in and the scale that you're at to deal with the cultural nuances of every different country and then to deal with the laws of every different country and then to deal as David said sometimes the vicissitudes of social policy in every country. How do you deal with that organizationally? Like what does that actually look like?

我认为有趣的问题是，你们如何在所有不同的国家中组织自己，以及在现有规模下处理每个国家不同的文化细微差别，然后处理每个国家不同的法律，再像David所说，有时处理每个国家社会政策的变化无常。你们在组织上如何应对这些？它实际看起来是怎样的？

Yeah, it's the part that turns my hair hair white. But uh look I think part of it I say this to my team all the time which is it is a challenge right because we but I think it's a challenge that honestly like I view it as a bit of a privilege in the sense that it wouldn't be important if we weren't such an important place especially for young people to uh connect get information entertain themselves learning we're the largest learning platform in the world.

是的，这是让我头发变白的部分。但是，你看，我认为其中一部分，我总是对我的团队说，这确实是一个挑战，因为我们，但我认为这是一个老实说我将其视为一种荣幸的挑战，因为如果不是我们作为一个如此重要的地方，特别是对年轻人来说，用于连接、获取信息、娱乐、学习——我们是世界上最大的学习平台——那么它就不会那么重要。

We know that obviously um just given all the use cases and the watch time etc. And so at least from my standpoint I try to be as global as we possibly can in terms of principles. You know one of the things that I always say about um YouTube is like you know our northstar principle and you know has always been um give everyone a voice and show them the world.

我们显然知道这一点，鉴于所有的用例和观看时间等等。所以，至少从我的角度来看，我努力在原则上尽可能地全球化。你知道，我总是说关于YouTube的一件事是，我们的北极星原则 (Northstar Principle: 指引企业发展方向的核心指导原则或愿景)，一直以来都是“让每个人都能发声，向他们展示世界”。

That's our mission statement. It stands for freedom of expression, freedom of speech. We are, you know, an American company and that that notion that sort of value of freedom of speech is core to our ethos and we really do try to start with that as a global position. Having said that, you're right like there is an enormous patchwork of legislation and regulation that exists in every country.

那是我们的使命宣言。它代表着表达自由、言论自由。我们是一家美国公司，而这种言论自由的理念和价值是我们的核心精神，我们确实努力以此作为全球立场。话虽如此，你说得对，每个国家都存在着巨大的立法和监管 patchwork。

Are there people that are writing policies that then some folks just have to understand and they're manually trying to react to here's how we deal with this issue in India. here's how we deal with this issue in Brazil. Here's how we deal with it in France.

有没有人在制定政策，然后有些人就必须理解这些政策，并且他们正在手动尝试应对：“我们在印度如何处理这个问题？”“我们在巴西如何处理这个问题？”“我们在法国如何处理这个问题？”

Yeah. I mean, look, the answer is or is it algorithmic or is it a combination? It's it's always some combination because you know the scale of YouTube is you know hundreds of hours of content is uploaded to YouTube every single minute of every single day. We want to be as core to that north star as possible.

是的。我的意思是，你看，答案是，或者它是算法性的，还是两者的结合？它总是某种结合，因为你知道YouTube的规模是，每天每分钟都有数百小时的内容上传到YouTube。我们希望尽可能地坚持那个北极星原则。

You know, frankly, there's there's situations where we have to push back on that that core push back on sort of what might be an encroachment on that sort of a principle. Having said that, we also of course, you know, have to legally operate in all of these countries just like any other platform.

坦率地说，有些情况下我们不得不抵制那些核心，抵制那些可能侵犯该原则的行为。话虽如此，我们当然也必须像其他任何平台一样，在所有这些国家合法运营。

YouTube的核心产品与优先级

There's three products, Neil, I'm super obsessed with and I just would love to get your your take on them in terms of priorities for you. YouTube TV (YouTube TV: 一项付费流媒体电视服务，提供直播电视、点播内容和DVR功能), unbelievable.

Neil，有三款产品我非常着迷，我很想听听你对它们优先级的看法。YouTube TV (YouTube TV: 一项付费流媒体电视服务，提供直播电视、点播内容和DVR功能)，令人难以置信。

Unbelievable. YouTube Red. That is a great product. Uh YouTube Red, which I think is YouTube Premium (YouTube Premium: YouTube的付费订阅服务，提供无广告观看、后台播放、下载内容以及YouTube Music Premium等特权) taking the ads off. Unbelievable. And then I think a sleeper is you've kind of built in Patreon-like functionality (Patreon-like functionality: 类似Patreon平台的功能，允许创作者通过提供独家内容或特权，从粉丝那里获得定期支持) subscriptions.

令人难以置信。YouTube Red。那是一个很棒的产品。YouTube Red，我想现在是YouTube Premium (YouTube Premium: YouTube的付费订阅服务，提供无广告观看、后台播放、下载内容以及YouTube Music Premium等特权)，去除了广告。难以置信。然后我认为一个被低估的产品是你们内置的类似Patreon的功能 (Patreon-like functionality: 类似Patreon平台的功能，允许创作者通过提供独家内容或特权，从粉丝那里获得定期支持)订阅。

So maybe you can walk us through the footprint of each of those and the prioritization of those because they do seem to have had a a significant impact on engagement and how people look at the platform.

所以也许你可以向我们介绍一下这些产品各自的影响范围以及它们的优先级，因为它们似乎对用户参与度和人们看待平台的方式产生了显著影响。

Yeah. No, and I'm super proud of all three of those products. as a product guy myself, like that's that's the fun part of the job is actually building all of these amazing products and um uh you know the the their origin story on YouTube TV. I I'm a sports nut. I'm like I'm and actually the the people on my team, a lot of them who've been involved with YouTube TV since the very early days are also big sports guys and I'm also a news junkie and that's the core use case of YouTube TV in many ways.

是的。不，我为这三款产品都感到非常自豪。作为一名产品经理，构建所有这些令人惊叹的产品是这份工作最有趣的部分。你知道，YouTube TV的起源故事。我是一个体育迷。我的团队中，很多从早期就参与YouTube TV的人也都是狂热的体育迷，我也是一个新闻迷，这在很多方面都是YouTube TV的核心用例。

If you think about sort of the the features that we built, multiview (Multiview: 多视角功能，允许用户同时观看多个直播画面或频道), key plays (Key Plays: 体育赛事中的关键精彩瞬间回放功能), even some of the fantasy integrations (Fantasy Integrations: 幻想体育联盟（Fantasy Sports League）的整合功能，用户可以在观看比赛的同时参与或查看自己的幻想体育数据) that you see. So, that's the lens through which you should think about how we're going to continue to develop that product.

如果你想想我们构建的那些功能，比如多视角观看 (Multiview: 多视角功能，允许用户同时观看多个直播画面或频道)、关键回放 (Key Plays: 体育赛事中的关键精彩瞬间回放功能)，甚至你看到的一些梦幻体育整合 (Fantasy Integrations: 幻想体育联盟（Fantasy Sports League）的整合功能，用户可以在观看比赛的同时参与或查看自己的幻想体育数据)。所以，这就是你思考我们将如何继续开发该产品的视角。

And the thought and the question I would always get is like, well, why are you guys doing this? Like, look at what's happening to that part of the the the the paid ecosystem, right? Like, why are you diving into this thing that's like this sort of like, you know, shrinking shrinking thing? And our thought was like, well, a lot of it has to do with the fact that like reinventing that whole experience from the standpoint of a fan or a consumer.

我总是会收到这样的想法和问题，比如，“你们为什么要这么做？看看付费生态系统的那个部分发生了什么，对吧？你们为什么要投入到这个正在萎缩的领域？”而我们的想法是，这很大程度上与从粉丝或消费者的角度重新创造整个体验有关。

And so that's the YouTube TV um origin and sort of where it's going. The one thing that you should, you know, pay attention to is something that we call prime time channels (Prime Time Channels: YouTube提供的一种服务，允许用户在YouTube主应用内直接订阅和观看来自其他流媒体服务或传统电视网络的付费频道), in YouTube, which is a lot of those same sort of linear channels or sort of traditional media channels, but that you can buy all a cart (All A Cart: 即“A la carte”，点餐式服务，允许用户单独选择购买所需内容而非捆绑套餐) in the main YouTube app.

这就是YouTube TV的起源以及它的发展方向。你们应该注意的一点是，我们在YouTube中称之为黄金时段频道 (Prime Time Channels: YouTube提供的一种服务，允许用户在YouTube主应用内直接订阅和观看来自其他流媒体服务或传统电视网络的付费频道)的东西，它包含了许多与传统线性频道或传统媒体频道类似的内容，但你可以在YouTube主应用中按单点播 (All A Cart: 即“A la carte”，点餐式服务，允许用户单独选择购买所需内容而非捆绑套餐)购买。

And so that that there's connectivity between those two products.

所以这两个产品之间存在连接性。

Yeah, I was wondering when that would happen because for me it's just CNBC. I want to have it inside of YouTube, but I have to load it. And then when I travel, it's always like, "Oh, what region are you in?" Premium, how many premium subscribers are there now? How is that growing? How does that affect the ad business? Because for me, the ads are death. I just I need my time back. So, how do you think about that?

是的，我一直在想什么时候会发生，因为对我来说，我只想看CNBC。我希望它能在YouTube里面，但我必须加载它。然后当我旅行时，总是会问：“哦，你现在在哪个地区？”Premium呢，现在有多少高级订阅用户？它增长得怎么样？它如何影响广告业务？因为对我来说，广告就是死亡。我只是需要我的时间。那么，你是怎么看待这个问题的？

广告收入与订阅模式的平衡

Yeah. Um I do think that for our business advertising is going to remain ha is today and will remain the predominant way through which we monetize on behalf of creators. That 70 billion number that I mentioned most of it comes from ads and the reason is because you know at at a fundamental level we are a platform of scale two billion two billion people come to it every single day.

是的。嗯，我确实认为，对于我们的业务而言，广告现在并将继续是我们代表创作者实现货币化的主要方式。我提到的700亿美元中，大部分来自广告，原因在于，从根本上说，我们是一个拥有规模的平台，每天有20亿人访问。

Having said that, like giving consumer choice, you know, uninterrupted experience uh is important. There's about 125 million subscribers um 25 million pay YouTube premium.

话虽如此，提供消费者选择，你知道，无中断的体验是很重要的。大约有1.25亿订阅用户，其中2500万支付YouTube Premium费用。

Amazing. How does that money get split with the creators? So, if I'm watching Mr. Beast without ads, how do you There there's there's a kind of roughly sort of engagement watchtime type calculation.

太棒了。那笔钱如何与创作者分成？如果我在没有广告的情况下观看Mr. Beast的视频，你们如何分成呢？这大概会有一种基于用户参与度和观看时长的计算方式。

Is TV basically the biggest cable subscriber base equivalent? Are we are you um you know where do you guys rank in cable subscribers?

电视基本上是最大的有线电视用户群吗？你们在有线电视用户中排名如何？

Actually, you know, it's interesting the way that even the way you guys are talking about it is like well that's like your uninterrupted sort of TV subscription tier, which is how I think lots of people think about it. The origin uh of YouTube Premium was actually a music premium music subscription service, right? It was like called YouTube Music and Premium.

其实，你知道，有趣的是，即使是你们谈论它的方式，也像是“那就是你们不间断的电视订阅层级”，我想很多人都是这样看待的。YouTube Premium的起源实际上是一个高级音乐订阅服务，对吧？它当时叫做YouTube Music和Premium。

And so a lot of those 125 million subs are not just people who are watching it just the way that they would watch like you know Netflix or Amazon without ads. There's a lot of that but a lot of it is just actually music fans too. Like people who for whom their music service is actually Spotify is YouTube right? Like where they discover music where they listen to you know watch their favorite videos is YouTube.

所以，这1.25亿订阅用户中，很多不仅仅是像看Netflix或亚马逊那样观看无广告内容的人。有很多人是这样的，但其中也包括很多纯粹的音乐爱好者。比如那些把Spotify当作音乐服务，但实际上在YouTube上发现音乐、听音乐、看他们喜欢的视频的人。

So how do you have like a uninterrupted music service

那么，你们如何提供一种不间断的音乐服务呢？

AI生成内容与真实性责任

When you have all these incredible AI models all over the place? People will be generating all kinds of content. Some of that content could be news content, topical content. You know, it could talk about a vaccine. It could talk about whatever. Do you guys feel you have a responsibility to figure out whether that's real or not? Do you think that's the role of the actual creators? Do you think it should be, you know, the CDC should have a YouTube channel where they watermark the stuff that they put out?

当到处都有这么多不可思议的AI模型时，人们会生成各种各样的内容。其中一些内容可能是新闻内容、时事内容。你知道，它可能谈论疫苗。它可能谈论任何事情。你们是否觉得有责任去查明这些内容的真伪？你们认为这是创作者的职责吗？你们认为应该是，你知道，CDC（美国疾病控制与预防中心）应该有一个YouTube频道，他们发布的内容都带有水印吗？

And then so like whose responsibility is this going to be? Yeah, I think and how much of it is our responsibility as a consumer? I mean, look, I think that, um, here's how I think about it. First, um, with the growth of these AI enablement tools (AI enablement tools: 能够帮助或增强人工智能功能和应用的工具), you're going to see that like the distinction between like was it completely AI generated, was it AI assisted, etc. is going to be a continuum.

那么，这会是谁的责任呢？是的，我想，作为消费者，我们有多少责任？我的意思是，你看，我是这样想的。首先，随着这些AI赋能工具 (AI Enablement Tools: 能够帮助或增强人工智能功能和应用的工具)的增长，你会发现，内容是完全由AI生成、还是AI辅助生成等之间的区别将是一个连续体。

So, that's that's the first piece. And we're already seeing that. We see that on YouTube obviously. you know, you open up the YouTube app, you hit that plus button, you can type in a text prompt and it will generate a video for you using our VO models (VO Models: 通常指“Voice Over”模型，即语音生成模型，在此语境下可能指代生成视频声音或内容的AI模型), right?

所以，这是第一点。我们已经看到了这一点。我们显然在YouTube上看到了。你知道，你打开YouTube应用，点击那个加号按钮，你可以输入一段文字提示，它就会使用我们的语音生成模型 (VO Models: 通常指“Voice Over”模型，即语音生成模型，在此语境下可能指代生成视频声音或内容的AI模型)为你生成一个视频，对吧？

So that that is already happening. One of the things that we do is there is a label that says that you know # AI generated and we will put that sort we call it sort of front of the box. We will literally put that on the video and in some cases usually it's in the metadata (Metadata: 元数据，描述数据的数据，如视频的标题、描述、标签等)。

所以，这种情况已经发生了。我们所做的一件事是，会有一个标签，上面写着“#AI生成”，我们会把它放在我们称之为“盒子前部”的地方。我们真的会把它放在视频上，在某些情况下，通常是在元数据 (Metadata: 元数据，描述数据的数据，如视频的标题、描述、标签等)中。

That's obviously not foolproof. But I I think the way at least from a principal standpoint, the way I think about it is, you know, YouTube has these, you know, community guidelines (Community Guidelines: 平台为维护内容质量和用户安全而设立的行为规范与内容发布规则). We try to be transparent about them. We publish them on our website. And I think that sort of like a a priory distinction between, well, it was AI generated, therefore it must be violative versus not actually is not the way to do it.

这显然不是万无一失的。但我认为，至少从原则上讲，我的想法是，YouTube有这些社区准则 (Community Guidelines: 平台为维护内容质量和用户安全而设立的行为规范与内容发布规则)。我们努力保持透明。我们把它们发布在我们的网站上。我认为那种先验地区分“这是AI生成的，所以它一定违规”和“不违规”的做法，实际上并不是正确的方法。

And it's really just about giving as much transparency to the users as possible. And then the other thing that's really important is in the creator business, in the creativ creativity business, whether you're a Hollywood celebrity or a YouTuber or or an artist, the the thing that I hear over and over that they really care about is their likeness.

这实际上只是为了尽可能地给用户提供透明度。另外一个非常重要的事情是，在创作者业务、创意业务中，无论你是好莱坞明星、YouTube博主还是艺术家，我反复听到他们真正关心的是他们的肖像权。

And so if you're Taylor Swift, it's your voice. If it's if you're, you know, Marquez Brownley, it is your face like your live. It's your

所以如果你是Taylor Swift，那就是你的声音。如果你是Marques Brownlee，那就是你的脸，你的形象。它是你的

No, I mean it's there are people doing live chimoth things to give Bitcoin away and I send it to him and I report it sometime.

不，我的意思是，有些人正在进行实时的虚假活动，声称要赠送比特币，我有时会把这些信息发给他并举报。

I send it to Neil. I send it to Neil and I'll tell you the AI slop (AI Slop: 对低质量、仓促生成或缺乏创造性的AI内容的贬义称呼) issue is getting bad.

我把它发给Neil。我把它发给Neil，我要告诉你，低质AI内容 (AI Slop: 对低质量、仓促生成或缺乏创造性的AI内容的贬义称呼)的问题正变得越来越严重。

Send it to me directly instead of tagging me. Um the the no the issue really is like um I'm a Corvette fan and um the the incentive is so perverse I've had to ban a bunch of these channels that show me thumbnails of this is the new Corvette, this is the new prototype and it's AI slop and it's obvious what they're doing is they're trying to insert themselves into the algorithm and then I just ban them.

直接发给我，而不是标记我。嗯，问题其实是，我是一个Corvette（科尔维特）的粉丝，但是那种激励机制太反常了。我不得不封禁很多给我看“这是新款Corvette”、“这是新款原型车”之类的缩略图的频道，那些都是低质AI内容 (AI Slop: 对低质量、仓促生成或缺乏创造性的AI内容的贬义称呼)，很明显他们试图将自己插入算法中，然后我就直接封禁他们。

So you do give control, but I do think really labeling them is import I don't want to put the burden on you to do that. I think the labeling is one piece but the the thing that I was going to say is the other thing and we have a track record of Content ID (Content ID: YouTube的版权管理系统，通过识别视频中的受版权保护内容，帮助版权所有者管理和货币化其作品), which is basically the rights management system that you could argue basically created that whole creator economy in the first place YouTube success. It saved YouTube. So content ID is think about that metaphor as it applies to AI.

所以你们确实提供了控制权，但我确实认为真正给它们贴上标签很重要，我不想把这个负担强加给你们。我认为标签只是其中一部分，但我想说的另一件事是，我们有Content ID (Content ID: YouTube的版权管理系统，通过识别视频中的受版权保护内容，帮助版权所有者管理和货币化其作品)的良好记录，它基本上是版权管理系统，可以说它最初创造了整个创作者经济，也是YouTube的成功之处。它拯救了YouTube。所以，把Content ID这个比喻应用到AI上，你就可以明白了。

AI肖像检测与创作者掌控权

Yeah. Wonderful. So we are working on this notion of I call it sort of likeness detection (Likeness Detection: 肖像检测，指利用人工智能技术识别视频或图像中特定人物的外貌或声音特征), where if it's a chimoth face the algorithm should be good enough to actually detect that and then give you a choice as to whether that should come down.

是的。太棒了。所以我们正在研究这个概念，我称之为肖像检测 (Likeness Detection: 肖像检测，指利用人工智能技术识别视频或图像中特定人物的外貌或声音特征)，如果视频中出现的是某个人的脸，算法应该足够好，能够实际检测出来，然后给你一个选择，决定是否要下架该内容。

Right. Is that does that come down or you know there might be some creators that choose to monetize it and give so giving creator we can take ownership of it.

没错。是下架吗？或者，你知道，可能有些创作者选择将其货币化，并因此赋予创作者我们拥有的权利。

You can take ownership of it. So people take our clips make versions of us as dogs or and it for us it's not just words we actually have a tracker record of doing that because of something like Content ID.

你可以拥有它。所以人们可以把我们的视频片段做成我们变成狗的版本，对我们来说，这不只是说说而已，我们确实有追踪记录，因为有像Content ID这样的系统。

Ladies and gentlemen, Neil Mo, thanks for being here. Thanks, brother. Appreciate it. Thank you. Yeah. Yeah. Of course.

女士们，先生们，Neil Mohan，感谢您的到来。谢谢，兄弟。不胜感激。谢谢。好的。当然。