The best automatic small espresso machines in 2026 come in a few distinct flavors. Some are semi-automatics that rely on you to grind and tamp but handle the pressure and pre-infusion automatically. Others are super-automatic bean-to-cup units that grind, dose, and steam at the push of a button. A couple use capsules for minimal cleanup. What they all share is a footprint that leaves room for a mug and your morning routine. Here are the nine that earned a spot.

TL;DR: The atatix Espresso Machine is the best all-around compact machine for anyone who wants real espresso without the full countertop commitment; its auto extraction and PID-like temperature control punch above its size. The XIXUBX offers the best temperature control for the smallest footprint, ideal for espresso purists. The Philips 3300 Series is the super-automatic to buy if you want beans-to-cup convenience in a relatively small package. The Kismile is the all-in-one that combines a built-in grinder and steam wand without dominating your counter.

How we picked

A small espresso machine has to balance a lot of compromises. Here is what mattered most when choosing these nine.

• Countertop footprint and height. A machine that is too tall to slide under an upper cabinet or too wide to fit next a kettle doesn’t solve the problem. We prioritized units that are under 12 inches deep or less than 13 inches tall, depending on the kitchen layout they target.
• Pressure consistency and temperature stability. A 20-bar pump is common, but how that pressure holds during extraction and whether the machine maintains a narrow brewing temperature band are what separate decent shots from sour or burnt ones. PID control or NTC precision make a real difference.
• Milk steaming capability. The steam wand has to produce dry, focused steam to create microfoam, not just bubbly froth. We looked for machines that can texture milk for latte art without taking forever to heat up.
• Ease of cleaning and maintenance. Removable water tanks, detachable drip trays, and straightforward descaling procedures are essential for daily use. Machines with complicated internal tubing or hard-to-reach parts lost points.
• Grinder integration or flexibility. For machines with built-in grinders, we considered the range of grind settings and whether the grinder is conical burr (preferred) or blade. For machines without, we noted whether they accept standard 54mm or 58mm portafilters so you can pair them with your own grinder.
• Brewing customization. Automatic pre-infusion, adjustable shot volume, and the ability to switch between single and double shots give you control without complication. The best machines offer a programmable or manual mode for fine-tuning.

1. atatix Espresso Machine: Best Compact All-Rounder

Pros

• NTC temperature control locks onto the 90–96°C sweet spot for consistent shots
• Auto espresso mode and manual extraction (up to 102 seconds) let you dial in concentration
• 44 oz removable water tank is generous for a machine this size
• Sturdy build with silicone suction cup feet and a cup-warming stainless top

Cons

• No built-in grinder, so you need a separate one for best results
• The steam wand is functional but not as powerful as on larger machines
• The brushed silver finish shows fingerprints quickly

Best for Anyone who wants real espresso and microfoam from a machine that takes up less than a standard sheet of paper.

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The atatix immediately stands out because it does not treat compactness as an excuse to omit critical features. The NTC precision temperature control is the kind of thing you usually see on machines twice this size. It means every shot starts at the right temperature, regardless of whether you are pulling back-to-back or brewing after a long wait.

The dual extraction modes are also genuinely useful. The auto setting delivers a single or double shot with consistent timing, which is great for mornings when you just need caffeine. The manual mode lets you decide exactly how long the water runs, so you can experiment with ristrettos or lungo pulls. That flexibility makes it a good fit for both beginners and people who already have a favorite recipe.

The 20 bar pump works well with a proper grind. We paired it with a decent hand grinder and got thick, golden crema even from medium-roast beans. The steam wand produces enough pressure to turn whole milk into velvet, though it is not the fastest on this list. You will need to purge it before and after, but the results are solid. The 44 oz water tank is a bonus that means fewer refills, and the detachable drip tray makes cleanup straightforward. For the combination of compact dimensions and reliable espresso, this is our top pick.

2. CASABREWS CM5418: Semi-Auto with Pressure Feedback

Pros

• Built-in pressure gauge shows exactly what is happening during extraction
• 20 bar Italian pump and 1350 W boiler heat up quickly
• 34 oz removable water tank is compact but sufficient
• Style is elegant and fits under standard cabinets

Cons

• Requires a cooling-down step between frothing and brewing to avoid overheat protection
• The tamper included with the spoon is usable but not precision-grade
• No programmable shot volume; you have to stop manually

Best for Home baristas who want to see their extraction pressure and adjust their grind accordingly.

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The CM5418 is one of the most popular semi-automatic espresso machines for a reason. The pressure gauge on the front gives you immediate visual feedback, so you know whether your puck is too fine or too coarse. That alone makes it easier to improve your technique without guesswork.

The steam wand is capable of creating microfoam that holds up for latte art, though it takes a bit of practice to get the angle right. The main quirk is the overheat protection: after steaming, you need to let the machine cool down before you can brew again. The manual explains the process, but it adds a minute or two to your workflow. That is typical for single-boiler machines at this size, but it is worth knowing.

The 34 oz tank is fine for two or three drinks before a refill. The machine itself is narrow and relatively low, making it easy to slide into tight spaces. If you already own a good grinder and want to control every variable, this is a solid choice.

3. CASABREWS 3700 Essential: Bigger Tank, Same Reliable Brew

Pros

• 43.9 oz water tank is the largest among the semi-auto compact machines here
• 20 bar professional pump with 1350 W heating
• Stainless steel body is durable and easy to wipe down
• Includes both single and double shot filter baskets

Cons

• No pressure gauge (unlike the CM5418)
• Steam wand performs similarly to the CM5418 but requires the same cooldown procedure
• Slightly taller than some others; check your overhead clearance

Best for Households that make multiple espresso drinks back-to-back and want a larger water reservoir.

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The 3700 Essential is essentially a bigger-tank version of the CASABREWS formula. The extra 9.9 oz of water capacity means you can make four or five drinks before needing to refill, which is nice if you are entertaining or just want to batch your morning coffee.

It does not have the pressure gauge of the CM5418, so you lose that visual feedback. But the internal pump and boiler are the same, so extraction quality is very similar. The stainless steel finish looks more industrial than the brushed silver of the atatix, but it hides scratches better.

The machine ships with a rubber plug in the water tank that must be removed before first use; the manual covers that, but it is an easy step to miss. Once you are past the setup, it is as straightforward as any semi-auto in this range. The steam wand is adequate for cappuccinos, but you will want to purge thoroughly to avoid milk residue.

4. AERCANA Espresso Machine: Fast Preheating in a Tiny Footprint

Pros

• 1450 W heating system reaches temperature in about 20 seconds
• Measures only 5.3 x 12.2 x 11.5 inches, roughly A4-sized
• Visible pressure gauge for extraction monitoring
• Detachable 34 oz water tank and drip tray for easy cleaning

Cons

• Similar cooldown requirement after steaming as other single-boiler machines
• Steam wand angle is fixed; rotating would be more convenient
• No automatic shutoff timer

Best for Office workers or dorm residents who want a quick espresso without waiting for the machine to warm up.

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The AERCANA machine lives up to its claim of heating up in 20 seconds. That is noticeably faster than most competitors, which take 30 to 45 seconds. For a rushed morning, that speed matters.

The 20 bar pump and pressure gauge work together well. The gauge needle sits in the ideal zone when your grind is correct, and the machine holds pressure steadily through the shot. The steam wand produces dry steam that textures milk quickly, but the wand is short and does not swivel, so you have to position the pitcher carefully.

The compact dimensions are the real selling point. At 5.3 inches wide, it fits into gaps where other machines simply will not go. The stainless steel body looks clean and professional. It is not the most configurable machine on this list, but for a fast, no-fuss shot in a tiny space, it delivers.

5. Philips 3300 Series: Super-Automatic in a Manageable Size

Pros

• Fully automatic: grinds, tamps, and brews at one touch
• LatteGo milk system creates silky froth and rinses clean in 10 seconds
• Six presets including iced coffee and hot water for tea
• SilentBrew technology is noticeably quieter than most super-autos

Cons

• At 17 inches wide and 14.6 inches tall, it is the largest machine here
• No manual steam wand for latte art (the LatteGo automates milk, but you lose control)
• 15 bar pump versus the 20 bar found on several semi-autos

Best for Anyone who wants a true bean-to-cup experience without spending the whole morning learning how to use it.

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The Philips 3300 is the only super-automatic on this list that still qualifies as small, even though it is clearly larger than the semi-autos. If your counter can spare a 17-inch width, this machine eliminates nearly every manual step. The built-in conical burr grinder has adjustable settings, and the full-color display guides you through strength, volume, and milk level adjustments.

The LatteGo milk system is clever. It has no internal tubes, so it rinses clean in seconds and is dishwasher safe. The milk froth it produces is consistent and thick, though it does not give you the hands-on control of a steam wand. For someone who just wants a latte without fuss, it is ideal.

The 15 bar pump is less than the 20 bar of many competitors, but in practice the extraction quality depends more on the grinder and brew temperature. Philips uses a pre-infusion step that helps saturate the puck evenly. The shots we pulled had balanced flavor and good crema. The SilentBrew feature really does cut noise. It is still audible, but it does not sound like a construction site.

The main downsides are the footprint and the lack of a manual steam wand. If you have the counter space and you prioritize convenience above all, this is the machine to get.

6. Lavazza BLUE Classy Mini: Streamlined Capsule Espresso

Pros

• Ultra-compact: 5.3 x 13 x 10.2 inches, very slim
• Simple two-button interface: one pre-set, one programmable dose
• Uses Lavazza BLUE capsules, which offer consistent quality
• 7.7 pounds lightweight, easy to move or store

Cons

• Locked into Lavazza BLUE capsules; no other capsule system works
• No milk frother included; you need a separate wand or frother
• Only two coffee selections limits drink variety

Best for Purists who want a quick, clean shot of espresso from a reliable capsule brand and already have a milk solution.

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The Lavazza BLUE Classy Mini is a very different beast from the other machines here. It is a single-serve capsule machine, which means no grinding, no tamping, and minimal cleanup. It is also the narrowest machine of the nine, at just 5.3 inches wide. It slides into a gap next the toaster without effort.

The tradeoff is that you can only use Lavazza BLUE capsules. Those capsules produce a credible espresso with good crema and the signature Lavazza intensity, but you are giving up the freedom to choose your own beans. The machine has two buttons: one brews a pre-set dose that you cannot adjust, and the other is programmable to your preferred volume. That is enough for most people, but it is barebones compared to the multi-preset machines.

There is no steam wand or milk system. If your daily drink is a straight espresso or an Americano, that is fine. For milk drinks, you will need a separate frother. The convenience and size make the Classy Mini a perfect backup machine or a primary for someone who values speed and consistency over experimentation.

7. AMZCHEF Espresso Machine: Precision Temperature with 44 Grind Settings

Pros

• Brew temperature adjustable from 190°F to 201°F in precise increments
• 44 grind settings from ultra-fine to coarse, covering espresso to French press
• Cold brew mode with one touch
• Smart touch screen shows grind time, brew time, and temperature

Cons

• 13.38 inches tall; may not fit under some cabinets
• The touch screen is responsive but can be fiddly with wet hands
• Steam wand is 8mm, which is good but not as powerful as some larger wands

Best for Coffee enthusiasts who want to experiment with roast-specific brew temperatures and grind sizes in a single machine.

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The AMZCHEF is the most configurable machine on this list. The ability to dial in brew temperature from 190°F to 201°F means you can tailor extraction for light roasts (which need higher temps) and dark roasts (which need lower). Combined with 44 grind settings, you have an enormous range of variables to play with.

The built-in conical burr grinder works well for espresso, though it takes a few shots to find the right setting for your beans. The touch screen displays all the relevant data clearly. The cold brew mode is a nice extra, producing a concentrate in a few minutes rather than 12 hours.

The machine is on the taller side, so measure your cabinet clearance. The steam wand produces adequate microfoam, but it is not as voluminous as the wands on the atatix or the CASABREWS machines. If you prioritize control above all else especially the ability to adjust temperature by the degree this is the machine to consider.

8. XIXUBX Espresso Machine: PID Stability in a Minimalist Package

Pros

• PID temperature controller maintains precise brewing temperature for repeatable shots
• Pre-infusion at low pressure reduces channeling
• Includes a stainless steel frothing pitcher, so you have a matching set
• Compact vertical design: 11.4 x 6.7 x 11.8 inches, very small footprint

Cons

• No built-in grinder; you must supply your own
• The included tamper is lightweight and could be replaced with a better one
• Steam wand is capable but the knob is small and can be tricky to adjust precisely

Best for Home baristas who want espresso with PID-level repeatability from a machine that fits on a dorm desk.

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The XIXUBX proves that you do not need to spend a lot to get PID temperature control. This machine holds brewing temperature steady throughout the shot, which is the single most important factor for avoiding sour or bitter flavors. The pre-infusion step also helps ensure even saturation, especially if your puck prep is not perfect.

The design is notably vertical and narrow. At 6.7 inches wide, it takes up minimal counter space. The included frothing pitcher is a thoughtful addition. The steam wand takes a few seconds longer to produce microfoam than some competitors, but it gets the job done. The noise reduction features help too: it is quiet enough that you can use it in an apartment without waking housemates.

The main limitation is the lack of a grinder. But if you already own a good hand grinder or an electric one, the XIXUBX gives you consistent temperature control that many machines at double the size cannot match. It is the best option for the precision-minded buyer on a tight counter budget.

9. Kismile All-in-One: Grind and Brew with One-Touch Convenience

Pros

• Built-in conical burr grinder with 15 settings
• One-touch brewing for single/double espresso, Americano, and more
• Manual steam wand for those who want to froth milk by hand
• Smart alerts for low beans, water, and full grounds container

Cons

• At 17.17 inches deep, it extends further back than any other machine here
• The steam wand is manual, not automated like the Philips LatteGo
• No hot water dispenser for Americano (you brew espresso and add water separately)

Best for People who want a bean-to-cup machine with a manual steam wand, in a compact width (7.09 inches) that still fits in tight spaces.

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The Kismile bridges the gap between a super-automatic and a semi-automatic. It grinds and brews automatically, but the steam wand is manual, so you get the hands-on experience of texturing milk yourself. The 15 grind settings are fewer than the AMZCHEF, but they cover the espresso range well.

The machine is deep (17.17 inches front to back), so you need a counter that is at least that deep. The width is only 7.09 inches, which is slim. The one-touch control panel is intuitive, and the smart alerts help prevent running out of water or beans mid-brew.

The steam wand works well, producing microfoam with a bit of practice. The automatic Americano and latte presets are convenient, though the Americano comes out as a single shot plus hot water from a separate spout, which is fine. The removable brewing unit makes cleaning easier than many all-in-ones. For someone who wants a grinder and a steam wand without stepping up to a full super-automatic, the Kismile is a smart middle ground.

Buyer’s guide: how to choose an automatic small espresso machine

The best automatic small espresso machine for you depends on how much counter space you have, how automated you want the process to be, and whether you already own a grinder. Here are the key factors to weigh.

Counter size and machine dimensions

Not all “compact” machines are actually small. Some measure width, some depth, and some height. The machines on this list range from 5.3 inches wide (Lavazza) to 17 inches wide (Philips). The critical measurement is often depth: a machine that is 17 inches deep may overhang a standard 24-inch counter or hit the backsplash. Height matters if you have cabinets above the counter. Measure your space before you buy, and subtract a few inches for clearance for the water tank lid and portafilter insertion.

Brew group and pressure system

A 20 bar pump is standard, but the quality of the extraction depends on how the pressure is applied. Machines with pre-infusion (ataix, XIXUBX) start at low pressure to wet the coffee bed before ramping up, which reduces channeling and produces more even extraction. PID temperature control (XIXUBX, AMZCHEF) keeps the water at a stable temperature throughout the shot. Without it, you risk temperature swings that cause sour or bitter flavors.

Milk steaming capability

If you drink cappuccinos or lattes, the steam wand is crucial. A powerful wand with a single-hole tip can produce dry, smooth microfoam; a pannarello wand (auto-frothing) adds air but gives you less control. The machines here with manual wands (atatix, CASABREWS, AERCANA, XIXUBX, Kismile) require more skill but allow latte art. The Philips has an automated milk system that is fast to clean but removes the manual element. If you never drink milk, you can skip the steam wand entirely and save space.

Built-in grinder vs. separate grinder

A machine with a built-in grinder saves counter space and streamlines the morning routine. The Philips, AMZCHEF, and Kismile all have grinders. The AMZCHEF offers 44 settings for ultimate versatility, while the Kismile has 15, which is plenty for espresso. The tradeoff is that built-in grinders are sometimes harder to clean, and you cannot upgrade them separately. If you already have a good grinder, a machine without one (like the XIXUBX or atatix) lets you put that investment to use.

Ease of cleaning and maintenance

Removable water tanks and drip trays make daily cleaning simple. Machines with descaling alerts (Philips) or automatic cleaning cycles (Kismile) reduce long-term maintenance effort. Capsule machines like the Lavazza Classy Mini are the easiest to clean, since there is no coffee mess to dispose of. For bean machines, look for a removable brew group and accessible grounds container.

Frequently asked questions

What size counter do I need for a small espresso machine?

Most small espresso machines need at least 12 inches of depth and 7 to 8 inches of width. The machines on this list range from 5.3 inches wide (Lavazza BLUE Classy Mini) to 17 inches wide (Philips 3300). Always check the product dimensions and measure your counter, including clearance for the water tank lid and portafilter handle.

Do I need a grinder for an automatic espresso machine?

It depends on the model. Some machines have built-in grinders (Philips 3300, AMZCHEF, Kismile) and can use whole beans directly. Others, like the atatix and XIXUBX, require you to grind your coffee separately. If you choose a machine without a grinder, you will need a dedicated coffee grinder for best results.

Can I use pre-ground coffee in these machines?

Many semi-automatic machines (atatix, CASABREWS, AERCANA, XIXUBX) can use pre-ground coffee if you use the single-wall filter basket and adjust your tamp and dose. The super-automatic models (Philips 3300, Kismile) are designed to use whole beans, though some offer a bypass doser for pre-ground. Capsule machines like the Lavazza Classy Mini only work with their specific capsules.

What is the difference between 15 bar and 20 bar?

Both are capable of producing good espresso if the machine regulates pressure correctly. A 20 bar pump provides overhead for maintaining pressure through the puck, but the actual extraction pressure should be around 9 bars. Machines with 15 bar pumps also achieve 9 bars at the group head. The number alone is less important than whether the machine has pre-infusion and proper pressure profiling.

How do I clean a small espresso machine?

Daily cleaning involves emptying the drip tray, rinsing the portafilter and basket, and purging the steam wand. Weekly, soak the portafilter and basket in warm water and wipe the group head. Descaling every few months (more often in hard water areas) is essential. Machines with AquaClean filters (Philips) reduce descaling frequency. Capsule machines need only a periodic descaling.

Are these machines good for offices or dorms?

Yes, especially models with small footprints (AERCANA, atatix, XIXUBX, Lavazza Classy Mini). For shared spaces, look for simple controls and easy cleanup. The Philips 3300 and Kismile are better for a dedicated break room with more counter space. The Lavazza Classy Mini is ideal for a desk, as it is very slim and uses capsules.

Final verdict

If you are looking for the best automatic small espresso machine that balances size, performance, and features, the atatix Espresso Machine is our top pick. It combines NTC temperature control, automatic and manual extraction, and a generous water tank in a package that fits almost anywhere. For precision-focused buyers, the XIXUBX offers PID stability at a compact footprint. The Philips 3300 Series is the best super-automatic if you have the counter space and want one-touch convenience with a self-cleaning milk system.

The Kismile all-in-one is a strong choice for those who want a built-in grinder and manual steam wand without paying for a full super-automatic. The Lavazza BLUE Classy Mini is the best budget-friendly capsule option for espresso purists in the tightest spaces. Whichever you choose, measure your counter, consider your milk preferences, and decide whether you want to own a separate grinder. The right machine for you is the one that gets you to a balanced, crema-topped shot without cluttering your morning.

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• A humanoid robot dancing to Michael Jackson’s “Billie Jean” at a store in Shenzhen, China has gone massively viral
• The bot pulled off a passable moonwalk before crashing hard into a step on the stage — twice
• A human technician had to drag its lifeless frame offstage while “Billie Jean” kept playing
• The clip is being held up as a perfect example of how far humanoid robotics still has to go

A humanoid robot attempted Michael Jackson’s moonwalk in front of a live crowd. It did not end well — and the internet absolutely cannot get enough of it.

The video, filmed at a “robot store” called Future Era in Shenzhen, China, shows the bot striding out onstage to Jackson’s 1983 classic “Billie Jean” and actually pulling off some halfway-decent footwork to start. There’s a moment — genuinely — where you think it might be okay. The little guy sashays across the stage, attempts something that resembles the iconic moonwalk, and the crowd is watching with what can only be described as cautious optimism.

Then it hits the step.

What follows is the kind of slow-motion catastrophe you can’t look away from. The robot stumbles, flails with that wild, trout-out-of-water energy that only a falling robot can produce, briefly seems to recover — and then walks straight back into that same step and crumbles into a completely lifeless heap on the stage floor. Face down. Done. Gone. While “Billie Jean” keeps playing over the speakers, because nobody thought to turn it off.

And then, for the perfect punchline: a human technician walks out and drags the robot’s inert body offstage. Just hauls it away. The crowd watches in near-total silence.

@waffle_pawffle

You could not write a better bit of physical comedy. The setup, the false recovery, the second fall, the corpse drag — it’s a four-act structure. It has arc.

Why Everyone’s Losing It

Part of what makes the clip so irresistible is how hard it commits to the premise before everything falls apart. This wasn’t a robot quietly malfunctioning in a lab. This was a full public demonstration, with an audience, with Michael Jackson, with a moonwalk. The higher the ambition, the more spectacular the collapse.

The video has inspired waves of jokes and genuine secondhand embarrassment online — and it’s also being pointed to as a pretty clear-eyed illustration of where humanoid robotics actually stands right now. As Futurism noted, most of the impressive robot demos you see circulating online are carefully pre-programmed routines. Everything looks incredible right up until something unexpected happens — like, say, a step. The infinite variables of a real environment are exactly the kind of thing these bots aren’t built to handle yet. A messy kitchen, a stray chair, two stairs at a robot store in Shenzhen — all equally capable of ending the show.

For context, another viral robotics moment making the rounds this week is footage of the company Figure livestreaming one of its humanoid robots sorting packages on a conveyor belt. It’s a deliberately controlled, constrained setup — and the robot still only barely outpaced a human intern competing against it. Which, as observers pointed out, was an intern who may have had every reason to lose on purpose.

This isn’t the first time a robot has gone haywire in spectacular fashion at a public event, either. Earlier this year, a different bot made headlines for trashing a hot pot restaurant, and compilation videos of robots losing the plot in various creative ways have quietly become their own genre of internet content. The “Billie Jean” bot is just the latest — and arguably the most theatrical — entry.

The Bigger Picture (Which Doesn’t Make It Less Funny)

None of this means the tech isn’t advancing. It clearly is. But there’s a real gap between a robot nailing a choreographed routine in ideal conditions and a robot that can vacuum your living room, navigate your dog’s toys, and not destroy itself on the way to the kitchen. The dancing is the easy part — or at least, it’s supposed to be.

Until that gap closes, we’ll have videos like this one. And honestly? The internet seems pretty okay with that arrangement.

As one observer put it, unless your job description is specifically “dancing badly to Michael Jackson while absolutely eating it on two stairs,” your career is probably safe from the robot uprising. For now.

The post Robot Does Michael Jackson’s Moonwalk, Then Eats It Hard appeared first on Cream.

• YouTube’s 2026 Brandcast at Lincoln Center unveiled a major slate of creator-led shows, pitching itself directly as a TV network replacement
• Trevor Noah, Alex Cooper, Kareem Rahma, and Erling Haaland are among the names attached to new YouTube-exclusive series
• YouTube now accounts for 12.7% of all TV viewing per Nielsen, up from 10.8% a year ago — Netflix grew from 8.6% to just 8.8% in the same period
• The platform has paid out over $100 billion to creators in the past four years, and is rolling out new AI tools and a two-click checkout feature for connected TVs
• Creators like Kareem Rahma walked away from traditional TV deals to bet on YouTube — and the platform is betting right back on them

“Welcome to the YouTube era.” That’s how YouTube CEO Neal Mohan opened the company’s annual Brandcast upfront at Lincoln Center on Wednesday night, and he wasn’t being modest. With Zara Larsson kicking off the evening and Chappell Roan closing it out, YouTube didn’t just show up to upfront week — it showed up to win.

The message to the room full of media buyers was blunt: YouTube is no longer a platform where TV content goes to be clipped and repurposed. It is TV. And it’s time for advertising dollars to reflect that.

Per Nielsen’s The Gauge report, YouTube commanded 12.7% of all TV viewing as of January 2026 — up from 10.8% during the same period in 2025. Netflix, by comparison, inched from 8.6% to 8.8%. YouTube has been the No. 1 platform in watch time for three consecutive years, and the company says it reached 244 million viewers ages 18 and up in November alone — roughly 91% of the U.S. adult population. Those aren’t streaming numbers. Those are broadcast numbers.

A Slate That Looks a Lot Like a Network’s Pitch Deck

The centerpiece of Brandcast was YouTube’s expanded Creator Shows slate — a programming lineup that, in both format and ambition, resembles exactly what legacy TV networks present during upfront week. Only instead of showrunners and studio executives, the stars of this pitch deck are creators.

Trevor Noah, hosting the evening, set the tone early. “Some of you may recognize me from stand-up comedy. Some of you may recognize me from my podcast. Some of you might recognize me from The Daily Show,” he told the crowd. “But there is one place where you definitely see me, and that’s on YouTube. These days, everything is on YouTube, everything. Sports, entertainment, interviews, podcasts, you name it.” Noah is now putting that conviction into action with Trevor Noah’s World Tour, a travel series exclusive to the platform.

Alex Cooper unveiled an entire programming slate for her Unwell Network, including Before the Steps, a Met Gala docuseries; Pot Stirrer, a competition series; and Holiday Hard Launch, a microdrama. “Legacy media spent decades deciding who we should watch,” Cooper told the crowd. “Their problem is this generation stopped asking for permission. Networks didn’t lose this audience. They never had her. And she doesn’t just watch — she shows up, not because of an algorithm. It’s her choice. Her loyalty is not bought. It’s earned.”

Former NBA star Dwyane Wade announced a new season of Fly on the Wall. Soccer superstar Erling Haaland is planning both a World Cup docuseries and a fall competition series called Erling’s Gauntlet. Cleo Abram, Johnny Harris, Quen Blackwell (Feeding Starving Celebrities 2.0), and Dude Perfect (Squad Games) rounded out the roster. Julian Shapiro-Barnum — the creator behind Recess Therapy and Celebrity Substitute, which has cleared 500 million views — is launching Outside Tonight in June, a weekly late-night variety show he describes as the first of its kind built specifically for YouTube.

“I feel like YouTube has gotten to this amazing place where we are just making the TV ourselves,” Shapiro-Barnum said. “We’re not waiting on anybody to open any door for us or unlock any budget. We’re going to brands with an idea, getting it funded ourselves and are in production within less than a year of coming up with it.”

Kareem Rahma’s Road to YouTube — Through CNN’s Dead End

Perhaps no story at Brandcast captured the platform’s moment better than Kareem Rahma’s. The creator behind Subway Takes — the viral series that has put Cate Blanchett, Lil Nas X, and Ramy Youssef on a New York City train for hot takes — was supposed to be celebrating a television win. CNN had picked up his other show, Keep the Meter Running, in which Rahma rides along with yellow cab drivers to their favorite spots around the city. Then they sat on it. For three years.

“I did the whole rigmarole with television, and it was a disaster,” Rahma said. “I don’t want to wait anymore. I walked away from the deal and decided to do it independently on YouTube.”

At Brandcast, he announced Keep the Meter Running as a YouTube exclusive — nine episodes shot around New York and one international. CNN had required a rigid 45-minute runtime per episode. On YouTube, that constraint is gone. “Some episodes are 45 minutes, and some episodes are 12 minutes — we’re not really concerned with having an exact runtime. It’s more about the story and what is the best we can do for the audience. I was literally fishing with a Korean man in the forest yesterday,” he said.

Rahma’s pivot was well-timed. On the morning of Brandcast, a coordinated wave of coverage about him broke across the Wall Street Journal, the New York Times, Deadline, and others — a campaign that, as YouTube exec Adam Faze quietly acknowledged, had some help from Google’s own PR apparatus. That YouTube’s parent company now sees fit to lend its promotional muscle to individual creators marks a meaningful shift in how the platform thinks about talent retention.

The Retention Problem — and How YouTube Is Solving It

For all its dominance, YouTube has always had a version of the same problem: it builds careers that everyone else wants to buy. Justin Bieber was discovered here. So was Marques Brownlee. The platform’s algorithm, its monetization tools, and its sheer scale have made it the most powerful incubator for creators on the planet — which also makes it a prime target for poaching.

Netflix has been the most aggressive. In December, iHeartRadio brought 15 shows to the streaming giant — including The Breakfast Club and My Favorite Murder — on the condition that they stop distributing on YouTube. Netflix has also signed Pete Davidson and former NFL player Michael Irvin for original podcast-style shows. Co-CEO Ted Sarandos has called YouTube “a little bit of a farm league” for creators to “cut their teeth on.”

YouTube’s answer to all of this is Creator Partnerships, a newly reimagined product (previously called BrandConnect) that connects top creators directly with brand sponsorships, provides white-glove support across press, marketing, and technical needs, and now packages creator output into formal seasonal series with premiere dates and press kits. YouTube doesn’t fund or finance these projects directly — but it does everything else it can to keep creators happy enough to stay.

“All big creators today are multi-platform by default, but we definitely see YouTube as the crown jewel of the media portfolio,” said Taylor Kelly, chief strategy officer at Night Media, which manages talent including Kai Cenat, Hasan Piker, the Kalogeras Sisters, and MrBeast (from 2018 to 2024). “YouTube brand deals are usually bigger on a per-deal basis.”

MrBeast — Jimmy Donaldson, the world’s most-watched creator — is perhaps the clearest proof of concept. He has a sign in his North Carolina studio that reads “Rule #1: YouTube First,” even after producing Beast Games, the biggest unscripted series in Amazon’s history. Making that show, he admits, temporarily changed how he thought about his YouTube content — and not entirely for the better. “After the first season of Beast Games, we might have made our YouTube content a little too overproduced, where it felt inauthentic, which we’re curving back and fixing,” Donaldson said.

Mohan’s framing of all this is deliberate. “MrBeast can do a deal for a TV show, but he knows his brand, his business, and his community are built on YouTube,” he said. “They want to be entrepreneurs, own their work, and have a direct relationship with an audience. We give them that freedom.”

Brands Are Already Following the Audience

The brand side of the equation is catching up fast. Coach’s “Explore Your Story” creator-led campaign — which included episodic “Story Sessions” with Olympic gymnast Sunisa Lee and track and field athlete Tara Davis-Woodhall — drove a 60% jump in Gen Z brand awareness and a six-fold increase in consideration in a single quarter. Chanel has leaned into behind-the-scenes documentary-style content from its handbag campaigns and runway productions. Nike has used YouTube to distribute long-form athlete storytelling, including Grant Fisher’s first NYC half marathon and Keely Hodgkinson’s post-injury comeback, with engagement ranging from 50,000 to two million views per video.

Research by social and influencer agency Billion Dollar Boy found that 70% of marketers planned to increase production of long-form creator content heading into 2024 — and the trend has only accelerated since. “Brands simply follow where consumer attention is,” said Thomas Walters, chief innovation officer at Billion Dollar Boy. “A rise in YouTube consumption on TV and a rejection of passive scrolling habits in favor of more intentional media consumption has helped prompt rising brand investment in long-form.”

That audience is broader than it’s ever been. YouTube’s 2.7 billion monthly users skew younger — research from Vogue Business and youth culture agency Archrival found that 88% of Gen Zs and millennials use YouTube to discover new products — but the aging of millennials is quietly becoming one of the platform’s biggest selling points with advertisers. “The older millennials will turn 45 this year, and they really are the first generation to grow up with a supercomputer in their pocket,” said Brian Albert, managing director of YouTube Media Partnerships and Creative Works. “As they grow older, we just don’t expect them to consume media the way their parents did. They are filling in that 18 to 49 demo that really was at the heart of TV buying for decades.”

Up to 78% of Gen Alphas also use YouTube regularly, making it the dominant video platform in their media diet, according to research from GWI.

The Ad Tech to Back It All Up

Beyond the programming slate, Brandcast introduced a suite of new ad products aimed at closing the gap between attention and commerce. Buy with Google Pay enables a two-click checkout flow directly on connected TVs — and YouTube says conversions from CTV ads grew more than 200% year over year in Q1 2026. AI-powered Custom Sponsorships can dynamically build thematic content packages at scale, while new generative AI creative tools powered by Gemini, Veo, and Nano Banana take advertisers from brief to finished ad in a single workflow.

The platform also introduced a Masthead with Custom Content Shelf, letting advertisers pair hero creative with a curated video lineup, and an Affiliate Partnerships Boost to amplify affiliate-linked creator content directly on the platform. The message, as YouTube chief business officer Mary Ellen Coe framed it, is that YouTube wants to handle the full funnel — from the first impression to the checkout — without the buyer ever leaving Google’s ecosystem.

Over the past four years, YouTube has paid out more than $100 billion to creators, artists, and media companies — a number Mohan cited not just as a flex, but as a defensive moat. “There’s no platform on planet Earth that has invested in the creator economy to the same extent that we have,” he said.

Brittany Broski, whose Royal Court show has featured Harry Styles and Charli XCX, summed up the cultural moment as plainly as anyone. “We’re in a new, exciting era of talk shows right now,” she said. “We’re watching the demise of Hollywood and the influx of new Hollywood.”

Mohan, for his part, isn’t trying to predict which creator or format will define that new Hollywood. “My job isn’t to predict what content will be front and center in three years,” he said. “It’s to make sure that when the next creator has a brilliant idea, they have the tools to share it with the world.”

Chappell Roan — who was creating on YouTube years before she became a superstar — closed out the night. It was the kind of full-circle moment YouTube couldn’t have scripted better if it tried.

The post YouTube Is TV Now — and Madison Avenue Is Listening appeared first on Cream.

• Byron Allen’s family office, Allen Family Digital, is acquiring a 52% majority stake in BuzzFeed for $120 million
• Allen will become Chairman and CEO; founder Jonah Peretti steps down after 20 years to lead a new BuzzFeed AI division
• The deal — structured as $20M cash plus a $100M promissory note — pulled BuzzFeed back from the brink of bankruptcy
• BuzzFeed stock more than doubled on the news, surging over 113% to around $1.60 on Tuesday
• Allen plans to pivot BuzzFeed toward free streaming video, audio, and user-generated content, directly targeting YouTube

Byron Allen is taking over BuzzFeed. The media mogul’s family office, Allen Family Digital, has agreed to acquire a 52% controlling stake in the struggling digital publisher for $120 million — a deal that hands Allen the chairman and CEO title and ends Jonah Peretti’s nearly two-decade run as the company’s founder and chief executive.

BuzzFeed stock exploded on the news, surging more than 113% to around $1.60 on Tuesday — a year-to-date high — after shares had closed Monday’s regular session at just 73 cents. Volume hit 61 million shares, dwarfing the stock’s average daily volume of roughly 360,000. For a company that was openly warning investors about its ability to stay afloat, it was a dramatic reversal.

The transaction values BuzzFeed shares at $3 each — more than four times Monday’s closing price — and is structured as $20 million in cash at closing plus a $100 million promissory note due five years out, accruing interest at 5% annually. The deal is expected to close by the end of May, subject to customary conditions.

A Lifeline for a Company on the Edge

The timing couldn’t be more critical. Earlier this month, BuzzFeed disclosed it had missed a $5 million debt payment due at the end of April and had moved to extend that deadline to May 18. The company had been openly warning investors about severe liquidity issues — operating with minimal cash against $58.4 million in debt while facing the threat of a Nasdaq delisting after shares fell below the $1 threshold. It had received a similar delisting warning in 2023 and resorted to a reverse stock split to stay listed.

Without Allen’s investment, bankruptcy appeared to be the likely next chapter. The company’s market cap heading into Monday was roughly $28 million. Allen’s deal values the business at more than three times that.

The Q1 2026 numbers reported alongside the deal announcement didn’t offer much comfort on their own: revenue fell 12.4% year-over-year to $31.6 million, advertising revenue dropped nearly 20%, and net losses widened to $15.1 million from $12.5 million in the same quarter a year ago. Adjusted EBITDA came in at negative $7.8 million. The company exited the quarter with just $6.8 million in cash.

But investors weren’t focused on the rearview mirror. They were focused on what Allen brings to the table.

Who Is Byron Allen — and What Does He Want With BuzzFeed?

Allen founded Allen Media Group in 1993 and has built it into one of the largest independent media companies in the country. He owns 13 ABC, CBS, and NBC network affiliate TV stations across 11 U.S. markets, plus 10 24-hour HD television networks — including The Weather Channel — serving nearly 275 million subscribers. He also owns digital streaming platforms and is one of the largest independent producers of first-run syndicated television programming in the business.

He’s also about to become a late-night presence: Allen Media Group’s Comics Unleashed is set to take over The Late Show with Stephen Colbert’s time slot on CBS when Colbert’s run ends later this month.

Allen has spent years pursuing bigger acquisitions — he previously made bids tied to Paramount Global, BET, and Tegna — but none of those deals came together. BuzzFeed represents something different: a distressed but iconic digital brand he can acquire at a fraction of its former value and reshape on his own terms.

And he’s not being subtle about what he wants to do with it. “Our vision is to build on the iconic foundation of BuzzFeed and HuffPost by expanding into free-streaming video, audio and user-generated content,” Allen said in the announcement. “As of this moment, with the power of AI, BuzzFeed is officially chasing YouTube to become another premiere free video streaming service.”

That’s a bold swing for a company that, until yesterday, was struggling to make payroll.

The End of the Peretti Era

Jonah Peretti co-founded BuzzFeed in 2006 and turned it into one of the defining media brands of the social internet era — pioneering viral content, social distribution, and the quiz format that once made the whole internet stop what it was doing to find out which Disney princess they were. At its peak in 2016, BuzzFeed raised $200 million from NBCUniversal at a $1.7 billion valuation. In 2013, Disney reportedly offered $650 million for the company, an offer Peretti turned down.

The years since haven’t been kind. BuzzFeed went public via SPAC in 2021, took on heavy debt to acquire Complex Networks for around $300 million, then spent the following years selling off assets — Complex, First We Feast — and shuttering its award-winning news operation, BuzzFeed News, in 2023. HuffPost, acquired from Verizon Media in 2020, remained. So did Tasty, the food brand. But the company’s stock had lost more than 98% of its value before Monday’s rally.

Peretti, for his part, is framing his exit from the CEO role as a move he’s genuinely excited about. “I’m confident I can have a bigger impact and create more value in this new capacity,” he said on a conference call Monday, per the New York Times, adding that stepping down would allow him to play “a more hands-on role developing products and technology.”

In a formal statement, Peretti was effusive about his successor: “Byron Allen has built one of the world’s largest media companies and is one of the most accomplished media entrepreneurs in the industry, having spent 30-plus years transforming distribution infrastructure, identifying strategic assets, and scaling them into something much greater. Byron’s vision, operational experience, and long-term commitment to premium content makes him exceptionally well-positioned to lead BuzzFeed and HuffPost into our next phase of growth.”

He added a personal note that says a lot about the moment: “And personally, I’m thrilled Byron is taking over ‘The Late Show With Stephen Colbert’s’ time slot, and highly confident that his relationships with talent will bring some incredible stars to the BuzzFeed platform.”

As President of BuzzFeed AI, Peretti will focus on applied AI research, product innovation, and what the company describes as “technology-driven media formats.” It’s worth noting that BuzzFeed’s previous AI pivot — which included AI-generated quizzes and articles — drew significant criticism and didn’t move the needle financially. Whether Peretti can make the strategy work in a new capacity remains an open question.

What’s Getting Restructured

Alongside the Allen deal, BuzzFeed announced a round of cost reductions and a structural change: BuzzFeed Studios — which produces vertical micro-dramas, animation, digital video, and premium studio content including feature films — along with the Tasty food brand will be spun off into a new independent entity. The company hasn’t offered many specifics on that spinoff yet.

Allen will oversee both BuzzFeed and HuffPost after the transaction closes, with his eyes set on the streaming opportunity. The incoming CEO’s track record in broadcast and his existing relationships across the television industry give BuzzFeed something it hasn’t had in a while: an operator who knows how to build and distribute content at scale.

Whether that’s enough to resurrect one of the internet’s most recognizable names — and whether BZFD stock at $1.60 represents a real turnaround story or just a momentary spike — Wall Street’s only analyst covering the stock currently has a price target of $1, implying meaningful downside from current levels. The stock is still trading more than 95% below its March 2021 peak.

But for a company that was staring down bankruptcy a week ago, even getting to ask that question feels like progress.

The post Byron Allen Buys BuzzFeed in $120M Deal, Takes CEO Role appeared first on Cream.

• Spotify launched “Your Party of the Year(s),” a Wrapped-style recap covering your entire time on the app — not just this year.
• It reveals your first day on Spotify, the first song you ever streamed, your all-time most-streamed artist, and total unique songs listened to.
• A personalized playlist of your top 120 all-time tracks — with individual play counts — is included.
• The feature is free for both premium and free users, available worldwide, but only for six weeks.
• It’s part of Spotify’s 20th anniversary celebrations, which also revealed Taylor Swift as the most-streamed artist in platform history.

Spotify just gave you the most dangerous gift imaginable: a full accounting of everything you’ve ever listened to since the day you joined. Every guilty pleasure. Every heartbreak anthem on repeat. Every song you definitely didn’t play 47 times in a single month. It’s all there.

The streaming giant rolled out “Spotify 20: Your Party of the Year(s)” on Tuesday as the centerpiece of its 20th anniversary celebration — and it’s essentially Spotify Wrapped, but instead of covering just the past year, it covers your entire history on the platform. We’re talking day one. The very first song you ever hit play on.

The experience surfaces a handful of stats that Spotify has never shared with users before: the date you first opened the app, the first track you streamed, your most-listened-to artist of all time, and the total number of unique songs you’ve played across your whole time on the platform. It’s the kind of data that’s been sitting in Spotify’s servers for years — and now it’s yours to cringe at, celebrate, or immediately screenshot and send to your group chat.

On top of the stats, every user gets a personalized All-Time Top Songs Playlist — 120 tracks, ranked by how many times you’ve actually played them, with the play count displayed right there next to each song. No hiding from the truth.

How to Find It (Before It’s Gone)

The feature is mobile-only — you won’t find it on the web player — so open up the Spotify app and search “Spotify 20” or “Party of the Year(s).” You can also go directly to spotify.com/20 on your phone. Like Wrapped, everything comes packaged in a custom share card you can post to Instagram or send to friends.

Both free and premium users have access, and the feature is available globally. The catch: it’s only live for six weeks, so don’t sleep on it.

“The real story of 20 years of Spotify belongs to the fans and artists who have come together to turn discovery into something personal, moments into movement, and listening into community,” said Angela Leffell, Spotify’s Global Brand Lead for Brand and Creative. “Instead of just celebrating Spotify, we wanted to give the story back to our users.”

Axel Ulfson, a Product Manager at Spotify, put it a different way: “Your Party of the Year(s)” gives users “the full listener journey from the moment they join Spotify.” The goal, he said, is less about what you listened to and more about “the broader story of how listening has moved us over time.”

The Bigger 20th Anniversary Picture

The personal recap is the latest piece of a much bigger birthday celebration Spotify has been rolling out. Last month, the company revealed the most-streamed artists, songs, albums, podcasts, and audiobooks in platform history — and the results were about as surprising as you’d expect.

Taylor Swift topped the all-time most-streamed artist list. Bad Bunny’s Un Verano Sin Ti took the crown for most-streamed album ever. The Weeknd’s “Blinding Lights” is the most-streamed song in Spotify history. The Joe Rogan Experience is the top podcast. And for audiobook fans: Sarah J. Maas’ A Court of Thorns and Roses is the most-streamed audiobook among premium subscribers.

It’s worth putting the scale of all this in context. Last year’s annual Wrapped — which Spotify said was its biggest ever — pulled in over 200 million engaged users within the first 24 hours, a 19% jump from the AI-heavy 2024 edition that landed with a thud. Users shared their Wrapped recaps 500 million times. “Party of the Year(s)” is betting that the same impulse — to see yourself reflected in your own data and immediately show other people — works just as well when the timeline stretches back years instead of months.

Given that most of us have a complicated, deeply personal relationship with our Spotify history, that bet seems pretty safe.

The post Spotify’s All-Time Wrapped Is Here for Its 20th Birthday appeared first on Cream.