• Visa is rolling out a new "V" to pop on mobile screens as people move to contactless payments.
• It's the company's first refresh of this size since 2021.
• Other brands have increasingly leaned on symbols and pared-down names for better mobile visibility.

Visa is betting that less is more when it comes to how it shows up to customers.

Starting Wednesday, the letter "V" will replace "Visa" in the center of its credit cards and on its digital properties, the company exclusively told Business Insider.

Visa's move signals that after 50 years of using the name, it feels it has enough brand recognition to be represented by a single letter. The change is also meant to pop more on small screens as people conduct more of their lives on their mobile devices.

In addition to the "V," Visa is introducing a new font, called Visa Sans, lopping off the serif in the first letter of "Visa."

The changes were developed by Visa's in-house creative studio and Base Design. It's Visa's first significant refresh since 2021, when it introduced a blue, white, and yellow flag-like brand symbol and a new font. With the new "V," that brand symbol will go away.

"There was an opportunity for us to modernize that and make it feel fresh, particularly for the next generation of consumers," Frank Cooper III, CMO of Visa, told CMO Insider. "We think it marries well with the evolution of the brand overall."

Cooper said the process took about a year.

"We do not have an awareness issue. We have deep trust. Playing around with the brand positioning is no light matter," he said.

Other big brands have increasingly leaned on symbols and pared-down names for better visibility on smaller screens.

Mastercard dropped its name from its logo in 2019. Google introduced a sans-serif logo and a new, four-color "G" icon in 2015.

Dan Nicholas, design director at creative studio Super Okay, said the move to a singular V aligns with a mobile-first approach that tech and media brands like Verizon and The New York Times have taken, in which they adopt a single letter as an icon.

He said the move simplifies Visa's appearance but could undermine brand recognition.

"What remains to be seen in the rollout is how Visa manages this new equity," he said. "If thoughtfully and strategically executed and invested in over the next few years, we can see it becoming a strong way for the brand to express itself."

Visa sees its visual changes as a companion to an effort to associate itself with culture and aspiration. It enlisted celebrities like Pharrell Williams for its "Power of Small Steps" campaign and has a partnership with the FIFA World Cup that extends through 2030. This year's World Cup campaign promoted its contactless payment option to emphasize that Visa's long-running slogan, "everywhere you want to be," was more than just a physical destination.

"We see that phrase now as representing both a physical destination and a personal aspiration," Cooper said.

• The Wall Street Journal has been planning a big streaming TV push with an ambitious slate of shows.
• It's explored shows around editor in chief Emma Tucker and creators like Feed Me's Emily Sundberg.
• Sundberg dropped out of talks a few weeks ago, Business Insider has learned.

The Wall Street Journal has been ramping up its push into video and had plans for an ambitious slate of streaming TV shows.

Internal documents viewed by Business Insider described an initial six-series offering that would include a flagship live morning program and an interview show hosted by the Journal's editor in chief, Emma Tucker. The docs are from the summer, and a person familiar with the Journal's strategy said that its plans, including dates and partners, are in flux.

The docs said the Journal had been "in negotiations" with creators such as Feed Me Substacker Emily Sundberg, as well as with the restaurant discovery platform The Infatuation. Sundberg dropped out of the talks a few weeks ago, Business Insider has learned.

The plans called for the shows to launch on the Journal's own channels, YouTube, and social media.

Journal parent company Dow Jones is also hiring a head of programming and content, who would be tasked with building "something ambitious in video." The live job description says the role will pay up to $330,000 in base salary, and involve developing talent that includes employees and external creators, translating the company's journalism into streaming formats, and creating live and on-demand shows.

The Journal and Dow Jones's effort shows how news outlets traditionally known for the written word — including The New York Times — are racing to beef up their video offerings in a media landscape that's seeing both the rise of social video and the decline of cable TV news. It also demonstrates that Tucker is taking a flexible approach to the market by looking to both build shows around in-house talent, including herself, and partner with creators and other media companies.

"Expanding our video presence across Dow Jones and The Wall Street Journal is a major strategic priority, as we have widely communicated," a Dow Jones spokesperson said. "We are actively hiring leadership to shape and execute our go-to-market strategy for video across Dow Jones, and we look forward to sharing our updated plans when ready."

The Journal name-checked familiar figures

The internal docs viewed by Business Insider described the live morning show as a 60-minute-long anchor of the initial slate. The docs said the Journal enlisted some familiar names in morning news and video to help execute the show. They said the Journal has been working with the production company EverWonder, which was cofounded by the former Time Studios executive Ian Orefice with backing from Jeff Zucker's RedBird IMI.

Another show in the proposed slate in the docs was "The Exchange with Emma Tucker," which was billed as a "prestige interview franchise" that would put viewers "in the room with the people running the global economy." The documents name-checked top CEOs, including Microsoft's Satya Nadella, JPMorgan Chase's Jamie Dimon, and BlackRock's Larry Fink, as potential guests.

The person familiar with the Journal's strategy said the documents represented one of a number of different avenues the outlet was exploring and didn't reflect the current status and form of its efforts. The person said the company is in active conversations with a number of external people for potential partnerships.

The documents said the Journal had been "in negotiations" with Sundberg — which have since ended — for a show called "Feed Me, On Camera" that would introduce her "highly engaged, younger creator audience to WSJ while bringing WSJ's scale, authority, and affluent professional audience to her world." The docs envisioned each episode beginning with a "tip, obsession, or question from the Feed Me universe," and following Sundberg to its conclusion while integrating business context and reporting from the Journal.

Other shows the docs said the Journal had explored included one called "Market Price with The Infatuation" that would tackle the "business behind taste, literally." It would combine the cultural authority and young audience of The Infatuation, now owned by JPMorgan Chase, with the Journal's business reporting chops.

Another was "Inside Sports" ("title to change"), a "next generation reboot of 'Real Sports' for the sports-as-an-asset class era," potentially helmed by Emmy-winning TV journalist Armen Keteyian.

The documents said the Journal had been "in negotiations" with The Infatuation and "in discussions" with Keteyian. Business Insider could not confirm the status of those discussions.

The last series listed in the docs was an AI show that aimed to get a big-name host.

The Journal compared its plans to 'The Daily'

In the docs, the Journal expressed big ambitions for a live morning news show, and said there had been "nothing new" in the category for a professional audience "in a decade." The last entry on a timeline included in the planning docs was The New York Times' "The Daily" in 2017, which has become a reliable top show on the podcast charts and one of the paper's most successful launches.

"We see an opportunity to reinvent the category," the documents said. The Journal also has its own daily news podcast, called "The Journal."

Like the Times, the Journal is in a rare position in a challenged media environment to make a transformative investment. The Journal, part of Rupert Murdoch's News Corp., is profitable, helped by an early move to paywall its journalism.

The documents said that in its video push, the Journal aimed to produce 20 hours of video a week, expand to a free, ad-supported streaming (FAST) channel, and add subscription options and other formats as demand warranted. Between WSJ TV, existing video shows, licensed shows, and co-productions with creators, the Journal aspired to be an "always-on streaming channel." The person familiar with the Journal's strategy said those goals didn't represent its current plans.

Tucker took the helm at the Journal in 2023, moving from the Murdoch-owned UK Sunday Times with a plan to increase engagement with the Journal's digital products. Digital subscriptions rose 8% to 4.5 million in the three months ended June 30 versus the year-ago period. She has called for more lively writing and enterprise reporting. The Journal had already begun to reorient its video strategy under its former head of video Maral Usefi. Under Usefi, the video team had grown by a third, to 65 people, as of April. She was succeeded by Samantha Henig, who was hired in July to lead a new multimedia team.

The docs said that with the Journal's new effort, it aimed to combine its authority and scale with the personality of creator-led media and modern distribution. In terms of audience, it intended to reach a younger viewership than the traditional business TV audience and more decision-makers than creator-led media.

It projected reaching about 75 million viewers through Dow Jones' social reach, upward of 5.6 million monthly watch hours by its 2028 fiscal year, and ad rates that were three to five times what business content on YouTube commands. The person familiar with the Journal's strategy didn't say if those figures represented its current ambitions.

The Journal made a big push into original video more than a decade ago, including the launch of video app WSJ Live in 2011 and expanding to episodic video doc series. Publishers overall have newly reprioritized video amid the rise of short-form content, YouTube's increasing popularity on TV screens, and the success of new live shows like TBPN.

While embracing creator talent — and getting its own staff involved in video content — could help the Journal reach a younger audience, it comes with risks. Journalists who become on-camera talent can often command higher paydays, or defect to start their own ventures, like The New York Times' "Hard Fork" hosts Kevin Roose and Casey Newton did recently. Creators often have their own audiences, which give them leverage over a news organization that staff reporters might not have.

Flagship video shows are also expensive to produce, which makes high ad rates crucial to the Journal's success with this slate. The internal docs explored pitching a variety of ways for advertisers to get involved, including as launch partners, with category-exclusive partnerships, and as "moment partners" tied to major news events like elections, earnings, and WSJ specials.

• Netflix's film chief Dan Lin is out after two years.
• He's the latest top exec to exit following a 6% cut at the streamer, its biggest since 2022.
• New content chief Peter Rice will oversee film until a successor to Lin is announced.

Film head Dan Lin is out at Netflix, the latest exec to be ousted in the wake of the streamer's biggest layoff since 2022.

Lin was hired as film chair in 2024 with a mandate to bring greater cost discipline and variety to Netflix's films, which had focused on big-budget output under his predecessor, Scott Stuber. Lin cut big upfront paychecks to actors, reduced staff, and reorganized his department. He oversaw a slate that included Oscar-winning "KPop Demon Hunters," "Happy Gilmore 2," and "Frankenstein."

Lin's exit is the latest big shocker at Netflix. Also out in recent days was chief content officer Bela Bajaria, who was replaced by Hollywood veteran Peter Rice, a former exec at Disney and Fox.

Rice will oversee film until a new head is announced, Netflix said in a statement confirming Lin's departure.

Last week, Netflix laid off 1,000 employees, or about 6% of global head count. That was the streamer's largest cull since 2022, when the company lost subscribers for the first time in more than a decade.

The streaming giant has been hampered by slowing engagement growth and a stock price that has declined more than 40% over the past year. The streamer is contending with the rise of free, ad-supported streaming led by YouTube and the popularity of social video. In recent months, Netflix has turned to podcasters and creators to bulk up its library.

Netflix is set to report third-quarter earnings after the bell on Tuesday.

• Khaby Lame's splashy $975 million deal is still on ice nine months after it was announced.
• Lame's plan to merge his business with a publicly traded firm was celebrated by creator economy insiders.
• The public company's stock price has fallen 99% since its January high.

A new financial filing provides fresh details — and more questions — about a mysterious $975 million deal struck by TikTok's top star, Khaby Lame.

On January 9, Lame — who has over 160 million followers — entered into an agreement that would theoretically net him a major payday and take his company public. The mechanism: a merger with the publicly traded Rich Sparkle Holdings, a financial printing firm based in Hong Kong.

Then, in late January, Lame went silent on the merger. Now, we have an update: the deal is still on ice. A Rich Sparkle financial filing on September 30, its first since March, described the deal as conditional on a due diligence process, a minimum valuation of Lame's company, and stock exchange approval. That's the same language that has appeared in previous filings.

While the deal has been in limbo, Rich Sparkle's stock has plummeted 99% from its peak. In the wake of the announcement of the deal with Lame's company in January, the stock shot up to a high of about $180. On Thursday, it closed at $1.93. Several prominent brokerages had restricted or blocked trading in the stock, Business Insider exclusively reported in April.

The original deal announcement was celebrated throughout the creator economy, since such rich valuations are rare among influencer-founded companies, and it would give everyday investors an unusual opportunity to directly bet on a creator. The high profile of Lame, a Senegalese-Italian creator who rose to fame from dialogue-free comedy videos, means the outcome of the deal could impact how investors assess the viability of backing businesses centered on individual creators.

The January deal terms promised Lame's company 75 million shares, which would be worth about $145 million at Thursday's closing share price. The initial agreement had valued that stake at $975 million.

Rich Sparkle and Lame did not respond to multiple requests for comment.

At the time of the original announcement, Rich Sparkle said that it planned to create an AI avatar of Lame to do brand deals and sell products on social media. It projected this business could drive more than $4 billion in annual product sales.

An unusual stock detail

The new filing contains another intriguing detail: Rich Sparkle issued nearly $39 million in stock to its staff as part of their compensation during the six months ended March 31, resulting in an operating loss of almost $40 million. In the year-earlier period, it issued no share-based compensation.

This new share issuance means some employees could have benefited from the stock's massive spike following the Lame deal announcement. The filing doesn't indicate which staffers received shares or exactly when they got them within that six-month period.

Paul Nary, a management professor at Wharton, said the size of the share issuance was unusual relative to the company's valuation and revenue.

If the deal is in motion, we haven't heard a peep from Lame, who removed Rich Sparkle's stock ticker, ANPA, from his social-media bios in late January. The content creator continues to post for brands, recently making a cameo in the James Bond-inspired video game "007 First Light," signing on as a brand ambassador for travel eSIM company Holafly, and promoting the Dakar 2026 Youth Olympic Games.

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Creators ranging from Substackers to "SNL" stars are jumping off the screen to in-person events — and marketers can't get enough.

"IRL is the No. 1 brand equity builder of all the channels," said Justin Thomas-Copeland, CEO of the American Association of Advertising Agencies (4As).

As it becomes harder to reach customers online, in-person events offer a way for brands to connect with their biggest fans — and hopefully inspire a flurry of social content.

One night last month, Snapple turned a decommissioned Staten Island Ferry into a floating comedy club featuring Colin Jost and Pete Davidson.

Lindsay Burstein, a top marketer at Snapple parent Keurig Dr Pepper, said the night resulted in about 200 pieces of user-generated content.

"It is the buzziest thing that the brand has done in a very long time," she said.

Events aren't a new phenomenon, but interest from marketers is surging. In its annual survey of marketers, Linqia found that 53% said they planned to work with influencers on events in 2026, up from 34% in 2025.

"We've seen an uptick in both custom brand pop-up experiences and brand activation at large events," Linqia's chief strategy officer Keith Bendes said.

Influencer marketers are becoming event planners

IRL activations and events can also help brands gauge the depth of a creator's connection with their audience — and how valuable partnering with them might prove.

Substack creators, for instance, have "rabid fans and followers" who are hungry to connect in person, said Rothy's VP Anna Doré.

After Substacker Erika Veurink's article for New York Magazine featuring Rothy's shoes went viral, Rothy's struck a partnership with the writer that included a vintage pop-up experience at a Rothy's in New York City.

The Rothy's pop-up drew over 200 people and grew the store's foot traffic by 75% that day.

There can be category-specific reasons some brands are going all in on events. Flushable wipes maker Goodwipes, for one, leans on IRL experiences, said SVP of marketing Meredith Diehn, "partially because it's an intimate category, but there's a lot of questions around flushability and why should I leave toilet paper for Goodwipes."

Still, it can often be harder to measure success from an IRL event and prove it's an efficient use of marketing dollars.

"Live experiences is not an efficient business," Bilt CMO Zoe Oz said. "It's like the most inefficient, unscalable thing you can possibly do. But we found those to be 10 times more effective than the other ways we used to spend money."

Events also aren't a foolproof strategy, Copeland of 4As said.

There's a lot that goes into an experience, and if one part goes wrong or a creator is involved in an inauthentic way, criticism can spread quickly.

They present practical challenges as well, sometimes forcing marketers to wear yet another hat: event planning.

Burstein said that planning Snapple's comedy event — despite its eventual success — took her "blood, life, sweat, and tears."