LONDON — An emerging trend in the creator economy has caught the attention of industry insiders: male content creators pivoting from online entertainment to pursuits in mixed martial arts, particularly aspiring to join the Ultimate Fighting Championship, or UFC. Julie Bogaert, head of creator partnerships for Europe, the Middle East, and Africa at Snap Inc., highlighted this shift during a panel discussion on developing community-led intellectual property at MIP London on Wednesday.
The event, held at the Savoy Hotel and the Institution of Engineering and Technology in London, is in its second day as of February 24, running parallel to the London TV Screenings. Bogaert, speaking to an audience of media professionals, cautioned creators against abandoning the authentic content that initially built their followings in favor of trendy pursuits that may not resonate with their audiences.
"These days I’m seeing a lot of male creators in certain markets who want to become UFC fighters. They started with very different types of content," Bogaert said, according to attendees and reports from the session. She described a recent "really difficult conversation" with a European content creator who was struggling in his attempt to transition into the fighting world.
This creator, Bogaert explained, was not properly documenting his journey toward becoming a UFC fighter, which undermined his efforts. "You can see he is trying to get on that boat because he is seeing other people succeeding," she noted. Her advice centered on maintaining credibility, emphasizing that audiences built on trust for specific content types are quick to disengage if a pivot feels inauthentic.
Bogaert warned that such missteps could be disastrous. "The credibility piece is super important," she said, adding that rebuilding lost trust is "very difficult." Her comments came amid a broader discussion on how creators risk alienating their communities by chasing viral trends without genuine commitment.
The panel also featured Saruul Krause-Jentsch, head of podcast for Central and Western Europe at Spotify, who echoed Bogaert's concerns about the fragility of audience loyalty. "If you risk credibility you have lost everything," Krause-Jentsch stated. She described the creator economy as reliant on "organic audiences of fans who hunt specific topics or themes," underscoring that followers make deliberate choices to engage, making those connections inherently vulnerable.
"It is really about people making an act of choice to follow you and that is very fragile," Krause-Jentsch added. "Credibility can be lost so easily." Her perspective aligns with ongoing conversations in the digital content space, where platforms like Snapchat, Spotify, and others grapple with how to sustain creator growth amid shifting algorithms and audience preferences.
Tobias Schwiek, CEO of European creator studio We Are Era, offered another angle during the session, challenging attendees to rethink the dynamics of influence in the creator world. He argued that the term "creator economy" might be misleading, proposing instead a focus on the "community economy." Creators, he said, depend more on their audiences than vice versa.
"It’s the community economy, not the creator economy," Schwiek declared. He positioned creators as the "northern star" guiding niche communities, but stressed that their success hinges on serving those groups authentically rather than dictating trends. This viewpoint provides context to Bogaert's observations, suggesting that the UFC aspirations among male creators may stem from a desire to tap into the sport's growing popularity, which has exploded globally thanks to high-profile fights and streaming deals.
The UFC, owned by Endeavor Group Holdings, has seen its events draw millions of viewers worldwide, with pay-per-view numbers often exceeding 1 million for major cards. This visibility has inspired a wave of influencers and athletes to cross over, from YouTube personalities training in MMA to TikTok stars promoting fight camps. Bogaert's anecdote about the European creator fits into this pattern, where social media fame intersects with combat sports' allure of physical prowess and financial rewards.
However, not all such transitions succeed. Industry observers note that while some creators, like former Vine star Logan Paul, have dabbled in boxing with mixed results, the rigorous demands of UFC training—often requiring years of dedication—can clash with the fast-paced, low-barrier world of content creation. Bogaert's example illustrates the pitfalls, particularly when the pivot lacks transparency or authenticity, leading to audience backlash on platforms where engagement metrics are king.
MIP London, organized by Informa Markets, serves as a key gathering for the international content industry, attracting executives from streaming services, production companies, and digital platforms. The 2026 edition, marking the event's continued evolution post-pandemic, features sessions on everything from microdramas to family-friendly animations like BBC's 'Bluey.' Bogaert's talk on community-led IP ties into these themes, as creators increasingly license their personal brands for TV, film, and branded content deals.
Beyond the UFC trend, the panel touched on related challenges in the creator space. For instance, BBC Studios has been eyeing "inorganic" streaming growth strategies, while other discussions highlighted international sales for projects like 'Tall Tales & Murder,' starring Aidan Gillen and Ella Lily Hyland. These elements underscore the event's focus on sustainable content strategies in a fragmented media landscape.
The implications of Bogaert's insights extend to how platforms like Snap Inc. support creators. With Snapchat boasting over 400 million daily active users, many of whom engage with creator content, the company emphasizes partnerships that foster long-term authenticity. Losing audience trust, as discussed, could ripple through ad revenue and sponsorships, which form the backbone of the $100 billion-plus creator economy.
As MIP London concludes on February 24, the conversation around creator pivots like those into UFC careers highlights a tension between innovation and fidelity in digital media. Experts like Bogaert, Krause-Jentsch, and Schwiek suggest that while ambition drives the industry forward, preserving community bonds remains paramount. For aspiring fighter-creators, the message is clear: document the grind authentically, or risk fading from the spotlight.
In the coming months, it will be worth watching whether this trend gains traction or serves as a cautionary tale. With UFC's global expansion and the creator economy's maturation, the intersection of social media and sports could yield new stars—or stark lessons in audience retention.