Time’s 100 Creators List is a Joke
Every year, Time and Forbes drop their “Top Creators” list. And every year, I’m left asking the same question:
Who made these lists—and what exactly are they measuring?
31 July 2025 | Written by Parker Floris
I just posted a podcast unpacking the Time 100 Creators list and why it’s genuinely terrible. The short version? It felt like a clout-chasing exercise more than a meaningful celebration of cultural impact.
Case in point: Haliey Welch, featured for being a meme and getting tangled in a crypto rug pull, makes the cut—while the Sidemen, who sold out 90,000 seats at Wembley for their charity match, are nowhere to be found.
When Forbes dropped their equivalent list a few months ago, I criticised that one too. Their priorities were transparently monetary—which makes sense for a brand like Forbes. But if we’re serious about recognising impact, then we need to ask: what actually matters?
Are we defining “top creator” by reach—or by relevance? By dollars—or by depth?
Max Klymenko
One immediate issue: these lists are wildly US-centric. It’s not a global snapshot—it’s just what’s trending in America. That’s why I with Valentin Farkasch and others created a rough list of the Top 100 European Creators (My input focused on the UK). These are people building something real—sustainable models with substantial cultural influence.
Yes Theory and the Sidemen I’ve shouted out endlessly. But creators like Max Klymenko are equally important—his videos regularly rack up hundreds of millions of views while seamlessly blending entertainment and education. He’s even featured people like the head of NATO in his content.
So, what’s the cost of only celebrating creators after they go viral in the U.S.?
It’s not just about clout. These lists shape who gets brand deals, funding, press, even access to global stages. Recognition is a form of infrastructure.
During COVID, while building Sydney Creatives, it became clear that young Australians were desperate for a creative community. But the resources weren’t there—no real ad dollars, no industry mentors, no networking ladder to climb.
That’s why I moved to London. I needed proximity to the industry. Australia just wasn’t cutting it … yet.
Watching Melbourne friends like Aidan Chua (editor for Yes Theory) launch From Me To You—hosting regular events for Aussie creators around the country—gives me hope. Because without a runway, you can’t take off. It’s Top Gun: Maverick trying to launch off a broken strip. Some scrape through. Most crash, and it’s not their fault.
While basic roles in New York go for $90,000 USD. I’ve seen CMO roles in London for creator companies working with Netflix go for only £30,000. And in Australia? Good luck, mate.
Even in the UK, creators routinely complain that Americans earn significantly more from brands for simply living in the continent—even if their audience demographics are identical.
That disparity has real-world consequences. And while it took time to find my people in London, the creator networks here are thriving compared to home. Once you're in—it’s game-changing. Since Aidan started his events, my friend Nicole Tabuena has kicked off her own, For The Record, in Sydney. The network effect is real—and I can’t wait to help it grow even further!
But back to impact. Let me give you a quick update.
Last time when I covered Ryan Trahan, he’d raised $5 million for St Jude Children’s Hospital. At the conclusion of his 50 States in 50 Days series, he’s now at nearly $12 million. That’s not a fluke. That’s not virality. That’s what community-led influence looks like.
So, when we talk about creator “impact”, let’s get one thing straight:
It’s not just follower counts or revenue goals. It’s the stories you tell and the communities you build.
And if traditional publishers like Time and Forbes keep pretending those things are invisible—see you later alligator.
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