Each day we provide a roundup of five stories from around the Web that our editors read and found noteworthy. Follow us on Twitter for updates throughout the day @digiday.
YouTube to Real Tube?: Fred, the annoying squeaky-voiced YouTube star, got a Nickelodeon special and then a movie. Now, according to AllThingsD, Cartoon Network has snagged the rights to The Annoying Orange, another hugely popular YouTube series which has demonstrated the ability to draw a large, consistent audience. Are we on the cusp of a YouTube talent war? A few years ago, before the recession took hold, several of the major broadcast networks started trolling YouTube for talent, including NBC’s deal with the comedy duo Barats and Bereta. Now there are far more Web video producers to choose from, including Ray William Johnson, who just crossed the five million subscriber mark. Are the broadcast networks paying attention? All Things D— Mike Shields @digitalshields
Focusing on the Future: The premise of “Person of Interest,” one of CBS’s new fall dramas, is that a program that uses a complex algorithm that recognizes patterns occurring on computers around the world can predict the near future. That’s not too far off from the services a company called Recorded Future provides. The company looks at 100,000 Web pages an hour, scanning across 50,000 sources that include everything from Securities and Exchange Commission filings to Twitter comments in order to discern information about the future. Until recently, the company, which is funded in part by Google’s venture arm, provided hedge funds and investment banks with insights to the tune of $9000 per month. But now the company has begun selling a web-based version of its product for $149 per month. According to Quentin Harvey, author of this report in the Times, a look backwards and forwards turned up some eerily accurate connections from which some lucrative predictions might have emerged. NYT— Anne Sherber @annesherber
Labels Aren’t Happy With Spotify: Despite its growing popularity with users both in the U.S. and across Europe, Spotify is failing to satisfy some of its label partners, and over 200 have decided to pull their music from the service. Although the subscription-based streaming service argues its model encourages users to at least pay something for access to recorded music, as opposed to downloading it for free, the labels say revenues from it are poor, and suggest it’s having a detrimental effect on sales through other channels. Wired — Jack Marshalll @JackMarshall