I started as an editor on Arab Uncut, and grew into managing a team of 12 editors, taking the page from 150,000 to over 1,000,000 followers in a year. That track record carried over: other networks have since brought me in to run the same playbook, including Clickable.
Arab Uncut is a raw, unfiltered travel page: its creator, Arab, films in some of the world's most difficult places to reach. As the manager overseeing the editing team and the page itself, I'm responsible for what goes out and when, and for the seven-figure audience it's grown into.
I pull the best moments from each raw upload and brief an editor on the cut, the visuals and the sound.
I review every video in Frame.io before it's approved, every element from the cut to the audio, music and titles, holding 12 editors to one standard.
I schedule and post it through Meta Business Suite.
Before we took over, Arab averaged 137,000 views a month on Facebook. Our first month brought in 2.9 million, and the page now averages 35 million a month, more than 250 times where it started, with our biggest month, January 2026, hitting 87.4M. A single 11-second video ("Finding a Wife in the Philippines") pulled 43.7M views on its own, and since I took over managing in November 2025 the page has reached nearly 106M unique viewers, roughly 1 in every 100 people on Earth.
I started as an editor on Arab Uncut. My videos performed well, and it was clear communication and organization, not just editing chops, that moved me into running the team, a path that rarely opens up for editors. That background is exactly why I can direct a production pipeline well: I know what a good edit actually takes, so I know what to ask for and how to spot problems early.
Content runs across three formats: short-form hooks (15–60s) built for reach, standalone pieces (1–4 min) built to hold watch time where the revenue upside is bigger, and top-X compilations that give older moments from the archive a second life.
We put out 4–6 videos a day, plus a daily photo post, and the photos pull their weight too: one image from Bangladesh, posted organically, reached 1.5M views.
Clickable produces long-form YouTube retrospectives and deep-dives on cartoons, TV shows and movies, across a network of channels. I worked my way from editor to reviewer across their production pipeline.
I started on Jartoon, their biggest but most straightforward channel, cutting two full retrospectives: a 4h42m Game of Thrones piece and a 2h18m Narcos piece. That led to work on Scribbl, one of Clickable's more advanced channels, which demands multiple animations, on-screen counters, and tighter technical execution throughout.
From there, Clickable brought me on to review the rest of the team's output on their most animation-heavy channels: No Villains Are SAFE!, Scribbl, and TV Guy. Every video gets a first-pass review from Clickable's Head of Editing, who leads the department, and from me. We both check the crucial opening minutes and the design choices in the counters and animations; I also go through the full runtime, catching wrong or mismatched B-roll, missed VO lines, and script and animation errors before it goes live.
Edited · Jartoon · Full‑series recap · 4h42m
Edited · Scribbl · Custom animations · 34m
Reviewed · No Villains Are SAFE! · 41m
From the people who've handed me the keys, on both sides of the work.
"Pav joined us as an editor and became the first person on the team to move into management, and he has run that side on his own ever since. He assigns, reviews, publishes and handles the comms without anyone needing to look over his shoulder, and he has been imperative in scaling the project to where it is today, now past 600 million views. What I have come to rely on most is the diligence: he does the work to properly understand what a project is actually for before he touches it, rather than just delivering the brief as written. I would hand him almost any project and trust him either to finish it or to figure out how it should be done."
