The trends that would hit hardest for YOPE are the ones that already live in that private, chaotic, only-my-actual-friends-would-get-this space.POV friend group skits are a no brainer. Who never replies in the group chat, who overshares everything, how completely differently each person reacts to the exact same situation. That content practically writes itself and it maps directly onto what YOPE is actually about.Types of people or recurring character formats are another strong one. The dramatic friend, the silent observer, the one who's always overthinking. Build those personalities out across multiple videos and suddenly you have a series people are coming back for because they want to see what that character does next.Day in the life but make it unhinged also performs really well right now. Normal campus moments like walking to class, taking photos, or just hanging out, but told in that slightly chaotic exaggerated way that makes everything feel funnier and more recognizable than it has any right to be.And then the nostalgia angle is probably the most natural fit for YOPE specifically. Content around "things we don't post but still want to remember" or "camera roll moments that never make it to Instagram" taps directly into what the app is built for. It's not just a trend, it's literally the product story told through content.

The first few seconds are everything and I'm not negotiating on that. If the hook doesn't immediately pull someone into a situation they recognize or make them curious about where it's going, they're already gone. I'd make it hyper specific, like a very particular Gen Z or college moment that feels so real it's almost uncomfortably accurate.From there I'd keep the premise tight. One strong idea, a quick escalation, and a punchline that feels unexpected but lands because it was always kind of inevitable. The comedy content that actually performs doesn't try to do too much. It just does one thing really well.Character work is something I take seriously too. The second an audience can clock who someone is by how they talk or move or react, you've got them. That's what makes sketches memorable and what makes people come back for a series.And then the editing is where it all comes together. Fast cuts, strong reaction shots, intentional pauses for comedic timing, captions that add to the joke rather than just repeating it. The goal is always content that feels like something that could genuinely happen, just turned up slightly past the point of normal. That's the sweet spot.

Here's a natural way to answer:Yes, I graduated a few years ago. I started my career as a media planner which gave me a really strong foundation in understanding audiences, platforms, and what actually makes content perform. From there I transitioned into freelance UGC and content creation which honestly felt like a natural next step because it combined the strategic side I already understood with the creative side I wanted to lean into more.Since then I've worked with brands like Condé Nast, BMW, and MINI which gave me experience creating content across different industries and audiences at a pretty high level. That background is a big part of what makes my approach a little different. I don't just think about how something looks, I think about why it works and who it's actually for.