€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
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THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
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A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
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THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
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TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
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THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
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A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
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THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
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THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
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||#HSLdiary #HSLmichael

HOUSE STATION LIVE: A COLLECTIVE SABOTAGED

Of course, I edited and hosted most of the videos myself. But House Station Live was never meant to be the project of a lone individual. It was a collective—a platform to showcase young talent, not yet another vlog centered on my own persona. This YouTube channel was supposed to serve as the launch campaign for an ambitious webTV, broadcasting 24/7 on our own servers. An alternative to traditional media, with our rules, our voices, our style. But very quickly, I had to put House Station Live on hold. YouTube was too demanding. And paradoxically, it was the only way not to end up in debt.
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JOSÉ, DINOH, KÉVIN

I worked with several presenters:

- José, charismatic but without his own following,

- Dinoh, competent but limited by lack of visibility,

- And Kévin, a freelance editor I hired for some episodes.

I spent a tremendous amount of time organizing castings, looking for hosts, trying to convince people. But how do you persuade someone to represent a channel that gets 20 views—even with decent pay? Even "generous" payments weren’t enough to keep people motivated. Eventually, candidates dropped out.
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THE TRAP OF FULL-TIME COMMITMENT

I no longer had the means to produce both House Station Live and YouTube content in parallel. So I bet everything on the platform. YouTube consumed me. Managing production, editing, recruitment, technical direction, scheduling, testing formats, durations, themes, hosts—I tried it all:

- Videos from 1 to 50 minutes,

- On all kinds of topics: video games, Formula 1, news, reviews, let’s plays.

But convincing a freelancer to commit long-term at a low rate is a nightmare. I couldn’t afford to pay for many hours or high rates. My channel brought in zero revenue. I had nothing to reinvest.
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A TEAM SACRIFICED

And yet, I tried. House Station Live wasn’t just a personal project. It was a collective hope. A launchpad. Momentum. We wanted to build an audience ahead of time, so that once the set was ready, we could immediately produce, publish, and exist. But in reality, YouTube swiped us away with a single gesture—like a Tinder match rejected with a left swipe. And it cost them nothing. No time. No money. No emotional weight.
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A CHANNEL, A GRINDER

YouTube contributes nothing to the creation of videos. It has no personal interest in whether your content finds its audience. The algorithm sorts, tests, eliminates. It's math-driven, disembodied, dehumanized. And the creator falls alone. On TV, you don’t air a million-euro show at 4 a.m. There’s programming, a respect for what’s been produced. On YouTube, no distinction: whether your video cost €10,000 or €0, it’s treated the same.
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A FRUSTRATED AUDIENCE, A BROKEN CREATOR

13-year-old trolls watch your content for 5 seconds, dislike your face, and move on. The algorithm knows this—and exploits it. It drives hatred and constant frustration, so you keep trying harder. For nothing. And if you dare believe your freshness, creativity, and sincerity will resonate... you crash into a machine that despises who you are.
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CREATING ON YOUTUBE MEANS PAYING TO WORK

YouTube is like Uber. Uber asks you to own, in your garage, a black sedan with less than 100,000 km on it—one you’re not using—and claims you can start making money from it. “It doesn’t cost you anything,” Uber says, since the car is just sitting there anyway. But in reality, it’s the most financially vulnerable people who see it as an opportunity. They take out a loan to buy a car. And when that car hits 100,000 km and the loan isn’t paid off, they get a second one—and now they’re stuck with two loans. Uber “earns” you €5/hour, but the cost of maintaining your setup is €7.50/hour. The more you work, the more your tool degrades. You earn 25% more, but spend 25% more. The vehicle is repurposed for an economic model that only benefits Uber.
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YOUTUBE IS NO DIFFERENT

When you become a YouTuber, they make you believe that “anyone can stream with a smartphone.” That all you need is an idea, a bit of courage, and some basic gear. That you can compete with MrBeast—who spends a million per video—on a shoestring budget. That’s a lie.
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THE REAL COST OF A SETUP

I spent five years, from 2018 to 2023, saving up to buy a €5,000 PC solely for production. Because streaming isn’t just “playing a game.” Your PC becomes a 4K broadcasting server. You need two graphics cards—or even two separate machines:

- One to run the software or the game

- The other to encode, stream, and record

You also need:

- A second monitor (for video return and replay)

- A replay buffer (to capture instant replays)

- A Stream Deck for seamless transitions

- A Wave XLR for professional audio quality

- Audio interfaces, mixers, USB cameras, XLR microphones

All these high-end peripherals constantly tax your system. You need two USB hubs capable of handling 15 devices at once with no signal loss. A single weak link can ruin everything. And that’s not all. To stream a Nintendo Switch, you need a capture card—and you can’t rely on your streaming software’s preview because of input lag. You have to play directly on the other screen already in place.
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ONGOING TECHNICAL LEARNING

Streaming requires broad technical expertise:

- Lighting, audio, capture devices, networking

- Compression, codecs, editing, formatting

- Live direction, visual/audio transitions, real-time coordination

And you’re doing all this with zero support from YouTube.
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STORAGE AND ENERGY COSTS

Your PC isn’t enough anymore. You’ll need a NAS—a network-attached storage system—cheaper than the cloud in the long run, but which demands:

- Two 20 TB drives (mirrored) → 40 TB

- A dedicated server, which adds another €1,000

It’s become a mini television studio. Which brings with it:

- Planned obsolescence

- Frequent breakdowns

- Hardware wear and tear

- Electricity costs of a 1,000-watt PC plus a 24/7 server

Altogether, the setup costs more than a car.
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AND YOUTUBE PAYS NOTHING

And yet, it’s YouTube that cashes in. It runs ads on your videos—even if you’re not monetized. It hijacks your gear, your energy, your skills. And if your content doesn’t “perform,” it simply ignores you. A PC, cameras, capture cards, hubs, microphones, lights—tens of thousands of euros invested just to exist. And the platform invests nothing in return. No visibility. No value sharing. Not even a word of encouragement.
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||#HSLdiary #HSLmichael