Jillian Bruno, FCLC ’26, wakes up at 5:30 a.m. every day to film her daily “coffee talk,” a short video posted to her TikTok account before heading to a full day of classes at Fordham University.

Bruno represents a growing trend of student content creators balancing academics with brand deals and digital production. Originally from New Orleans, she started posting daily vlogs on a Snapchat private story in high school and shifted to TikTok during her first year at Fordham.

“I’m shocked every day at how lucrative it is,” Bruno said. “It’s really helped me be able to pay my rent and not have to rely on my parents as much.”

Her TikToks began gaining popularity, and then the brands reached out. She has collaborated with Uber, Lenovo, Drunk Elephant, Hollister and Bumble.

“Once I got my first PR package, I was like, OK, this is actually a thing I could do,” she said.

Bruno recently signed with a talent management company that handles negotiations, contracts and invoicing for 20% of each deal. Before hiring management, she leaned on her father, a certified public accountant, and her aunt, a lawyer, for financial and legal guidance.

“I didn’t know you had to worry about usage rights, payment timelines or that some brands take 90 days to pay you,” she said.

Jessica Baldwin-Philippi, who works in the communication and media studies department and is the graduate director for Fordham’s master’s program in public media, said most student creators do not have access to that kind of support.

“You’re entering into legal contracts with companies,” Baldwin-Philippi said. “You’re on the hook for deliverables, and you’re laboring for them, often without fully realizing the extent of the work involved.”

Baldwin-Philippi said universities should expand media literacy education to cover corporate interests and creator labor practices, noting that current instruction often focuses only on disinformation.

“We should recognize this as labor, not just entrepreneurial spirit,” she said. “Companies often lowball creators, offering small payments or free products in exchange for extensive work.”

She added that many student creators underestimate the financial risks involved in content creation. Equipment costs, time investment and unpaid labor are often hidden realities behind the polished image presented online.

“Many young people invest heavily in cameras, lighting and props, believing they’ll see a return,” Baldwin-Philippi said. “But for most, that return never comes.”

Baldwin-Philippi emphasized that while brand deals can offer income, they also come with strict guidelines that limit creative freedom.

“Good content does not feel forced, but the reality is that most creators are working under specific brand requirements,” she said. “Even though it may feel creative, it is usually heavily prescribed.”

Bruno said her income has grown rapidly in the past six months, helping her cover rent, food and other expenses.

“Even though my parents still help, I’m out of their pockets a lot more,” she said.

Bruno says her strength lies in audience engagement rather than follower count.

“I’m definitely a small creator in the grand scheme of things, but I love my audience,” she said. “They interact with everything I post.”

Baldwin-Philippi noted that companies have shifted strategies, deputizing student creators as official “ambassadors” rather than relying on traditional advertising alone.

“Fifteen years ago, students were just customers,” Baldwin-Philippi said. “Now they’re seen as active promoters, with formal titles and paid responsibilities.”

The model also raises concerns about blurred lines between authentic recommendations and paid endorsements, Baldwin-Philippi said. She pointed out that regulations on ad disclosures are often poorly enforced, leaving room for confusion among audiences.

“Even when disclosure laws exist, compliance is inconsistent,” she said. “Students and young creators need to be cautious about the long-term implications of their brand relationships.”

Bruno said having an agency has helped with navigating the difficulties with compliance, while being able to focus on the thing she loves most.

“I always saw myself doing broadcast — maybe something like the Today Show,” she said. “And in a way, content creation lets me practice that every day.”

The autonomy and visibility offered by her platform, Bruno said, are key points of value compared to traditional media routes.

“You get to be yourself fully,” she said. “That’s what sets you apart.”

Baldwin-Philippi said that while content creation offers exciting opportunities, it is essential to approach it with realism.

“If you’re treating this as a career, you can’t just get paid in shoes,” she said. “You have to evaluate whether the work you are doing is properly compensated and sustainable.”

Even as she balances coursework, brand briefs and early morning shoots, Bruno said she remains committed to content creation.

“It’s more than worth it for me,” she said. “It’s opened doors I never expected — and I’m just getting started.”