‘Get Ready with Me’: Video Genre That Focuses on Everyday Life Is Everywhere — And Not Slowing Down 

TikToker Allie Pribula poses for a photograph in Mechanicsburg, Pa., Monday, Nov. 20, 2023. (AP)
TikToker Allie Pribula poses for a photograph in Mechanicsburg, Pa., Monday, Nov. 20, 2023. (AP)
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‘Get Ready with Me’: Video Genre That Focuses on Everyday Life Is Everywhere — And Not Slowing Down 

TikToker Allie Pribula poses for a photograph in Mechanicsburg, Pa., Monday, Nov. 20, 2023. (AP)
TikToker Allie Pribula poses for a photograph in Mechanicsburg, Pa., Monday, Nov. 20, 2023. (AP)

“Get Ready with Me” — to go on a date, go to work or ... get fired?

“Get Ready with Me” videos are everywhere these days, and they’re as straightforward as the name suggests. Social media users, often influencers, invite viewers to watch them get ready to do something or go somewhere. And embedded in the storyline are the skin care, the makeup, the hairdo and all the glam that goes into looking hot — and, of course, the personal stories about life or love that arrest your attention.

GRWM videos, as they’re also known, are part of a trend of “with me” content that has gained popularity over the past decade. Think “Clean with Me” videos where users watch people clean their homes for inspiration or pleasure. Or hours-long “Study with Me” videos for students who want buddies for intense cramming sessions but don’t have any friends nearby.

More than a decade after debuting on YouTube in the days when creator content was still relatively new, “Get Ready with Me” videos and their personal sensibilities have inundated social media thanks to a shorter iteration of the genre, which seems to have lent them a more personal and even revelatory tone.

“For creators, this is a vehicle for storytelling,” says Earnest Pettie, a trends insight lead at YouTube. “It becomes an excuse to share something about your life.”

People are watching by the billion

The videos have made everyday tasks a core staple of our online diets on platforms like YouTube by drawing in viewers who find it either informative, communal, or both.

Consumers, for the most part, seem to be really into it. In a report released in August, YouTube said there were more than 6 billion views of videos titled with variations of “grwm” at that point in the year. On TikTok, videos with the hashtag “grwm” have been viewed more than 157 billion times.

Celebrities and “it girls” have hopped on the bandwagon, often to promote their brands or as part of Vogue’s “Beauty Secrets” series, which draws from the trend. In April, model Sofia Richie Grainge joined TikTok and posted a series of Get Ready with Me videos to offer fans an inside look into her wedding.

In the initial years of the genre, Pettie says, people would simply put on makeup in front of the camera. Soon after, the videos evolved to what is seen today — content creators getting glammed up while talking to their followers about whatever’s on their minds.

It experienced another revival in recent years with the popularity of short-form video, TikTok’s bread-and-butter — which was cloned by YouTube and Instagram in the form of Shorts and Reels, respectively.

The genre is being adopted by up-and-coming creators who might be uncomfortable sharing a story in a video without doing anything else, says Nicla Bartoli, the vice president of sales at Influencer Marketing Factory. Adding activities has the tendency to make content feel less heavy and more inviting, especially to viewers who’ve never come across the creator but are interested in what they’re doing.

Because users also tend to scroll quickly on TikTok, creators must capture a viewer’s attention right away before they move on to the next thing on their “For You” page. More engagement means more popularity, which typically leads to partnerships with companies eager to pay influencers through brand deals or other means.

“The level of compelling stories has been increasing a lot,” says Bartoli, whose company connects influencers with brands who want to partner with them to promote products. “It can be because it’s more crowded. You need to step up the game, so to speak.”

Get ready for emerging personalities

One of the most-known influencers in this arena is 22-year-old Alix Earle, who shares her experiences with struggles like acne, an eating disorder and panic attacks as well as lighthearted episodes about nights out with friends. She has nearly 6 million followers on TikTok.

Alisha Rei, 18, who lives in Toronto and models, says she wants to create viral social media content to help her build her following and, in turn, her modeling career. She says her friends told her to make Get Ready with Me videos because they tend to be popular.

Because of modeling events, Rei says she’d missed some shifts at her part-time job working at a mall shoe store. So she decided to make a “get ready with me to get fired” video while doing her makeup before she went back for another shift. The video was tagged #pleasedontbelikeme.

In an interview, Rei, a college freshman, says she received a warning from her manager but didn’t get fired.

Often, behind the “getting ready” content lurk other, more commercial messages.

Bartoli notes that many of the confessional videos do more than they might first appear: They can provide more engagement from users who want to receive updates on a story that’s being shared or know more about the products creators are using. That can make the videos good for product placements and encourage brand partnerships, which, according to Goldman Sachs, is the largest source of income for creators.

The investment bank said in a report earlier this year that the creator economy is worth $250 billion today and could roughly double in size by 2027.

Allie Pribula, a 25-year-old TikToker who used to be an elementary school teacher in the Philadelphia suburbs, says she started making GRWM videos as a way to process her feelings about her old job. Pribula says some companies have since reached out to her to offer gifts and have paid her to market products on her page. She says she considers it a “side hustle.”

Camilla Ramirez Diaz, a 25-year-old optician who lives in Burlingame, California, recently bought a freckle pen that was featured on GRWM videos she watches at night to wind down her day. Diaz prefers to watch them more on TikTok, where she says the content can be a bit more personal. She cites a video she recently came across from an influencer who was getting ready while stranded in London due to an expired passport.

“It's almost like you’re watching your friend on FaceTime with you,” Diaz says. “I could sit there all day and watch Get Ready with Me videos from different creators. They’re just a mix of everything.”



'Sonic 3' Bests 'Mufasa: The Lion King' at the Box Office

This image released by Paramount Pictures and Sega of America shows the character Sonic, voiced by Ben Schwartz, in a scene from "Sonic the Hedgehog 3." (Paramount Pictures and Sega of America, Inc. via AP)
This image released by Paramount Pictures and Sega of America shows the character Sonic, voiced by Ben Schwartz, in a scene from "Sonic the Hedgehog 3." (Paramount Pictures and Sega of America, Inc. via AP)
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'Sonic 3' Bests 'Mufasa: The Lion King' at the Box Office

This image released by Paramount Pictures and Sega of America shows the character Sonic, voiced by Ben Schwartz, in a scene from "Sonic the Hedgehog 3." (Paramount Pictures and Sega of America, Inc. via AP)
This image released by Paramount Pictures and Sega of America shows the character Sonic, voiced by Ben Schwartz, in a scene from "Sonic the Hedgehog 3." (Paramount Pictures and Sega of America, Inc. via AP)

In the holiday season battle of big-budget family movies, Paramount Pictures’ “Sonic the Hedgehog 3” sped past the Walt Disney Co.’s “Mufasa: The Lion King” to take the top spot at the box office ahead of the lucrative Christmas corridor in theaters.

“Sonic the Hedgehog 3” debuted with $62 million in ticket sales over the weekend, according to studio estimates. With strong reviews (86% fresh on Rotten Tomatoes) and a high score from audiences (an “A” on CinemaScore), “Sonic 3” is well positioned to be the top choice in cinemas during the busiest moviegoing period of the year.

It was telling of some wider trends that “Sonic 3” — made for $122 million — bested one of Disney’s top properties. Videogame adaptations, once among the most derided movie genres, have emerged as one of the most dependable box office forces in recent years. The two previous “Sonic” movies together grossed more $700 million worldwide and the third installment appears likely to do better than both of them. A fourth “Sonic” movie is already in development.
“Mufasa,” however, was humbled in its opening weekend, coming in notably shy of expectations with $35 million in domestic ticket sales. The photorealistic “Lion King” prequel even opened wider than “Sonic 3,” launching on 4,100 theaters and gobbling up most IMAX screens, compared with 3,761 locations for “Sonic 3.”
Yet “Sonic 3” nearly doubled the haul for “Mufasa,” which cost more than $200 million to make. Disney could look to $87.2 million in international sales to help make up the difference. The third “Sonic” will rollout in most overseas markets in the coming weeks.
In director Jeff Fowler’s “Sonic 3,” Ben Schwartz returns as the voice of the hedgehog, alongside Tails the Fox (Colleen O’Shaughnessey), Knuckles the Echidna (Idris Elba) and Jim Carrey in scene-stealing dual roles as Dr. Robotnik and his grandfather.
“Moonlight” filmmaker Barry Jenkins directs “Mufasa's” voice cast, including Aaron Pierre, Kelvin Harrison Jr., Donald Glover, Beyoncé Knowles-Carter, Mads Mikkelsen and Blue Ivy Carter. It follows Jon Favreau’s 2019 photorealistic “The Lion King” remake, which made $1.66 billion globally despite mixed reviews. “Mufasa” didn’t come close to that film’s huge $191 million opening weekend.
Many of Disney’s live-action adaptations – including “Aladdin,” “Beauty and the Beast” and “Jungle Book” – have been big hits. Others, such as “Dumbo,” “Mulan” and “The Little Mermaid,” have been less well received. More are on the way, including a new “Snow White” in March, “Lilo & Stitch” in May, and plans for “Moana” and “Tangled” to get the same live-action treatment.
Despite “Mufasa's” muted opening, Disney is still celebrating its strongest annual performance in years. The studio has accounted for more than $5 billion in ticket sales worldwide, including the year’s top two hits: “Inside Out 2” and “Deadpool and Wolverine.” The animated “Moana 2” is poised to round out the top three films of the year. In four weeks of release, it has collected $790.2 million globally, including $13.1 million in US and Canadian theaters over this weekend.
Though Christmas often sees some of the biggest releases of the year, November movies released around Thanksgiving really drove the box office this year. That includes “Moana 2” and Universal Pictures’ “Wicked,” which managed third place in its fifth weekend.
“Wicked,” the hit musical adaption starring Cynthia Erivo and Ariana Grande, added $13.5 million in North American theaters to push its domestic total to $383.9 million.
Those films, among others, have led a Hollywood rebound in 2024. After a significant deficit earlier in the year, overall sales are drawing close to those of 2023. According to Comscore, the gap has narrowed to 4.4% behind last year's results. While that’s still significantly less than pre-pandemic years, it’s enough to flip the script on what once looked like a rough year for the movies.
Family films like “Inside Out 2,” “Moana 2” and “Sonic 3” have played a major role. Paul Dergarabedian, senior media analyst for Comscore, noted animated movies have accounted for 26% of this year's box office.
“The box office year was saved by the family audience being drawn to the multiplex,” said Dergarabedian.