‘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.”



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)