Dave Jorgenson, formerly known as the “Washington Post’s TikTok guy,” has successfully transitioned from a prominent legacy media role to a thriving independent entrepreneur. One year after leaving the Post to co-found Local News International, Jorgenson has proven his business model sustainable. His company has achieved profitability and amassed a significant digital footprint, boasting hundreds of thousands of subscribers across YouTube and TikTok. This success signals that his unconventional approach—blending rigorous journalism with relatable, short-form digital storytelling—resonates deeply with modern audiences.
Central to Jorgenson’s creative philosophy is the strategic use of humor to combat the proliferation of online misinformation. By positioning himself as an empathetic, occasionally fallible narrator, he bridges the gap between complex news cycles and the public, avoiding the elitist tone often associated with traditional journalism. He argues that humor disarms audiences, making them feel less stupid when correcting misconceptions and creating a safe space for engagement. This approach is not merely for entertainment; it is a calculated effort to build trust in an era where audiences are increasingly skeptical of media institutions.
Transitioning from a staff journalist to a business owner presented Jorgenson with new challenges, which he addressed by leveraging the expertise of former colleagues. By partnering with former Washington Post managers Micah Gelman and Lauren Saks, he ensured the company could navigate the complexities of corporate infrastructure, accounting, and consulting. This structure allows Jorgenson to retain his creative focus, producing content while his partners handle the administrative and growth-oriented aspects of the business, including providing consulting services to other newsrooms seeking to modernize their social media strategies.
Jorgenson maintains a sharp distinction between his brand of “journalist-driven” content and the wave of unverified news aggregators currently populating social media. He emphasizes that despite the jokes and the casual medium of vertical video, his work remains rooted in traditional journalistic standards—fact-checking, rigorous research, and a commitment to transparency. This distinction is vital to his brand; he encourages his audience to understand his background, asserting that knowing the creator’s professional lineage helps viewers make informed decisions about the credibility of the information they consume.
Looking ahead, Local News International is expanding its scope with a new long-form series focused on untangling complex misinformation. The project aims to serve as a deep-dive resource for topics that often confuse or overwhelm the average viewer, with plans to incorporate interactive elements like audience voicemails. While the series will debut on YouTube to leverage their existing young audience, Jorgenson is actively exploring distribution partnerships with streaming platforms to broaden their reach, mirroring the successful multi-platform strategies seen in popular digital-first programs like Hot Ones.
Reflecting on the current state of his former employer, the Washington Post, Jorgenson offers a nuanced perspective on the industry’s volatility. While he acknowledges the necessity of the institutional support that initially allowed him to experiment, he suggests that his current independent venture is a truer realization of that early promise than the Post can currently offer under its present management mandates. Ultimately, Jorgenson’s trajectory offers a roadmap for journalists seeking autonomy, urging those following in his footsteps to embrace the risks of independence and rely on the growing network of peers navigating the shifting media landscape.
