Frequently asked questions

An offer is a price held for your account, usually below the list price, and it is already applied to the plans shown below it. Twenty-four accounts that had been past due for years were written off and given one of these. It stands for this account rather than for a period, so there is no clock on it, and taking it does not commit you to anything a normal subscription does not.

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A balance appears when a payment failed and was not recovered. It is not automatically collected, which means it will sit there until it is cleared, and your site stays up in the meantime. Clear it by updating your card and letting the next payment go through. If the amount looks wrong, email us before paying it rather than after.

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Every charge, with its date, amount and status. A settled line is a payment that went through. A declined line is one that did not, and it is worth reading rather than ignoring, because a decline is usually an expired card or a bank refusing an unfamiliar merchant rather than anything to do with your account. A declined payment is retried before anything happens to your site.

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The name on the card and its expiration date. Update the expiration before it passes rather than after: a card that expires takes the payment with it, and the first you hear is usually a failed-payment email. We never see or store the card number itself. It goes straight to our payment provider, which is why changing the card means entering it again rather than editing a digit.

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A SnippedIt connection lets a category from there be pulled in as a page on your website, and it stays connected, so what you write there appears here. Use it for writing you already maintain in SnippedIt. For a one-off page, Website then Pages is faster than setting this up.

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Connect a Dropbox account and you can import photographs straight from a folder rather than downloading them and uploading them again. It is the right way to move a shoot across when a photographer has delivered to a shared folder, and it keeps the full-size files rather than whatever your phone decided to send. We only read the folder you point us at.

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Choose which blog feeds your site. This is what makes the Website then Blog page work and what lets AutoBlog put an approved article on your own site. Your posts live in the blogging platform rather than inside a website builder, which is why the connection exists at all: it keeps the writing portable and lets one blog feed more than one site.

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Paste your API key and choose an audience, and newsletter signups from your website are added to it automatically. Make the key in Mailchimp under Account then Extras then API keys. If you later delete that audience inside Mailchimp, we tell you rather than quietly stopping, and you can choose another.

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Find your profile and confirm it is you, and your tracks become available to your website and your link.actor page. We only ever read: nothing is uploaded to your SoundCloud and nothing is changed there. If the search finds several profiles with your name, check the artwork before confirming, because connecting the wrong one puts somebody else's music on your site.

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Each forwarder is listed with where it delivers, and both can be changed. Changing the destination is instant and harmless. Removing one stops mail to that address immediately and anything sent afterwards bounces, so retire an address you have printed on a resume with more care than one you made last week.

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Pick the part before the at sign, choose which of your domains it belongs to, and mail sent there arrives in the inbox you already use. It starts working within a few minutes. The domain list fills in once a domain is connected, so if it is empty, start on the Domains page. This forwards mail to you; if you also want to reply from the new address, see the article on sending through Gmail.

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At least seven characters, and longer beats clever: a passphrase you can remember is stronger than a short string of symbols you cannot. If you have forgotten the current one, do not use this page. Sign out and use the forgotten-password link on the sign-in screen instead. Changing it here does not sign you out anywhere else, so change it on your other devices too if you share the account.

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Turn off anything you do not want and it stops immediately. A few cannot be turned off, and they are the ones you would be angry to miss: a message left through your contact form, a receipt, a warning that a payment has failed or that your domain is about to expire. If our mail is not arriving at all, check your spam folder before changing anything here.

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This goes to the people who build the thing, not to a queue. It is the right place for something that is broken, something that is confusing, and something you wish existed. Say what you were trying to do and what happened instead. That one sentence is worth more than a paragraph of description, because it tells us where to look.

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Canceling stops future payments. Your website comes down at the end of the period you have already paid for rather than immediately, and your content is kept, so coming back later means subscribing again rather than starting again. If what you want is to stop being billed while keeping the address, cancel here and keep the domain, which renews separately.

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Your account type decides the words the control panel uses and which sections you are offered. Switching does not delete anything: what you have entered stays where it is, and a section that disappears comes back if you switch back. Change it when your work changes rather than working around a shape that no longer fits.

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This address is also your login, so changing it changes both. Use an address you will still have in five years rather than the one attached to a job or a school. Everything we send you goes here: password resets, receipts, and the warning that a domain is about to expire. If you lose access to it, the forgotten-password link has nowhere to send you, which is a harder problem than it sounds.

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Connect an audience under Settings then Integrations and new signups are added to it automatically, so you can write to people from Mailchimp rather than exporting by hand. If the audience is later deleted inside Mailchimp, this page says so rather than quietly stopping, and you can pick another one. Without a connection the names are still collected here and still yours.

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Everybody who has signed up through the form on your website, with the date and their status. They are yours: export them whenever you like. A short list of people who asked to hear from you is worth more than a long list of people you added, both because they read it and because sending to people who did not ask is how a sending domain gets a bad reputation.

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Type a username and we ask the networks whether it is taken. There are three answers and the third is the one that matters: exists, does not exist, and the site did not answer clearly. The last one usually means the network blocked our check rather than that the name is free, so treat it as unknown and confirm by hand before building anything on it.

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Delete removes a mention permanently rather than hiding it, and it will not be found again by a later scan. Use it for false positives and for anything about a different person with your name. If you are only unsure, leave it as new. Delete is for tidying, not for deciding.

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One click promotes a mention into a press item, where it becomes part of your website. Check it first: the link should be to the piece rather than to a listing page, and the publication should be named as a reader would recognize it. A press list is only as persuasive as its weakest entry, so promote the ones you would show somebody rather than everything that mentioned you.

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Three states. New is anything we have found and you have not looked at. Bookmarked is something you want to keep but have not decided about. In your Press means you have promoted it into your press list, where it appears on your website. Working through New once a week keeps the list meaningful. Left alone for a month it becomes something you scroll past.

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This is the most important field on the page. We watch the trades and social platforms for the term you set here, so a common name returns other people's news and a stage name spelled differently returns nothing at all. Set it deliberately, check the first results, and adjust. If your name is genuinely common, adding a second word you are usually mentioned alongside is what makes the difference.

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Rather than typing people in, you can bring in an address book you already have. Import the working list rather than everything: a contacts page full of people you have never spoken to is a search that returns noise. Anything imported can be edited afterwards, and duplicates are worth clearing on the way in rather than later.

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Categories are how you find people again: casting, agents, crew, press. Keep the list short and consistent. Two categories that mean nearly the same thing split the people you were trying to gather. A contact can only be somewhere useful if you can guess, months later, where you would have filed them.

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Name, company, role, email, phone and notes. The notes field is searched along with everything else, which makes it the most useful field here: put where you met, what they were casting, who introduced you. Six months later that is what you will search for, because you will remember the circumstance long after you have forgotten the name.

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Obvious junk is held back rather than deleted, and you can look at what was caught. Worth doing once a month, because a filter tuned to catch marketing occasionally catches a short message from somebody real. If you find one, it is not lost. Anything genuinely from a person is better read late than never.

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Everything sent through the contact form on your website lands here. Replying opens your own email client, so the reply comes from your address and continues in your inbox rather than in ours. That is deliberate: a conversation that starts on your website should carry on somewhere you will still have it in two years. Messages stay here as a record even after you have replied.

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Media Enhancements offers images and clips to go with an article, drawn from your own media where it can and from stock where it cannot. Look at what it chose. A picture that is nearly relevant is worse than no picture, and it is the part of a generated article most likely to be almost right rather than right.

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AutoBlog can write without a blog connected, but it has nowhere to put the result except this page. Connecting Every Single Blog under Settings then Integrations is what lets an approved article become a post on your own site. Until then, treat what it produces as drafts you could paste somewhere by hand.

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An approved article can be copied onto your own blog so it lives on your site rather than only here. That needs Every Single Blog connected under Settings then Integrations first. It is worth doing: an article on your own domain works for your search results, and the same article somewhere else works for somebody else's.

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Read the draft and either approve it or decline it. Read it properly. It is written from what is on your site, which means it is factually yours, but it is a machine's account of your work and the occasional sentence will be wrong in a way only you can see. Declining costs nothing and the next one will be along.

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Search engines reward a site that changes and ignore one that does not, and most people have neither the time nor the appetite to write about themselves every month. Switch this on and we write articles about your work for you. Nothing is published automatically. Each draft waits here for you to read, and only what you approve goes anywhere.

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This page will gather casting notices and filter them to what you can actually be seen for. It is on the list rather than abandoned, and the page will fill in when it is ready. In the meantime the parts of the control panel that get you seen are your reel, your credits and your website being visible, so that is where the time is better spent.

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A chapter is a name and a start time in seconds, and it lets the person watching jump straight to the scene you want them to see. Name the chapter after what the scene is rather than which project it came from: somebody casting a hard-edged detective is looking for the word, not the title. Casting people decide in the first fifteen seconds, so your strongest material goes first and chapters cover the rest.

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If you have connected SoundCloud, you choose which playlists show on your link.actor page. Pick one. This page is a signpost and a wall of playlists is not a signpost. If you have a reel and an album, the reel is the one that belongs here.

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Pick a color and the page takes it. Match it to your website and to whichever social profile the link sits in, so somebody arriving does not think they have landed somewhere else. That continuity is most of what this page is for; it is the step between a profile and your site, and it should look like both.

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A single page at link.actor, for the one link social profiles allow you. It is built from what is already on your site, so there is nothing to maintain separately: your photo, your links, your reel and your contact details are already there. It is a signpost rather than a website, so the fewer things it points at the better it works.

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Dismiss tells us a profile is not you, and it will not be offered again. Use it freely. The list gets shorter and more accurate every time you do, and a dismissed profile costs nothing to bring back if you dismissed it by mistake.

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The scan finds profiles that might be you and asks. Confirm the ones that are and its later results get better, because it knows what to follow. Be careful with common names: confirming somebody else's profile imports somebody else's credits, and untangling that afterwards is more work than reading the list carefully now.

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A scan goes and looks for your work in the places it is already listed and brings back what it finds. It takes a few minutes. Run it when you first set up, and again after a job goes public, since a credit that is not yet listed anywhere cannot be found. Running it twice in an afternoon will not find more than running it once.

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Short, specific and honest. This is the one part of an actor's site allowed to sound like a person rather than a resume, which is exactly why it works: everything else on the site is formal and this is the page that makes somebody feel they have met you. Name real things. A specific bad audition is worth more than a general thought about persistence.

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Pick from the stock list or write your own. The stock questions are there because they get interesting answers out of most people, which is harder than it sounds. Choose the ones you actually have something to say about. A question you answer dutifully reads worse than one you skip, and three questions is a perfectly good interview.

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Your existing forwarders are listed with where each one delivers, and either can be changed or removed. Removing one stops mail to that address immediately, and mail sent to it afterwards bounces rather than sitting anywhere, so retire an address you have published on a resume with more care than one you made last week. Changing the destination is instant and safe.

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Choose the part before the at sign, pick which of your domains it belongs to, and say where mail should land. It starts working within a few minutes. The domain list fills in once a domain is connected, so if it is empty, start on Settings then Domains. Keep it simple enough to read out over the phone, because you will be reading it out over the phone.

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HTML Source gives you the markup to paste into Outlook, Apple Mail, a CRM or anything else that accepts an HTML signature. Copy the whole block. Do not edit it by hand unless you know what you are doing, because email HTML is deliberately old-fashioned and the parts that look redundant are usually the parts holding it together in Outlook.

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The Add this to Gmail steps are written in Gmail's own words because Gmail moves things around and a paraphrase goes stale. Follow them exactly. The one that catches people is that Gmail wants the signature pasted with formatting rather than as plain text, so use the copy button here rather than selecting the block yourself. Gmail has a size limit; if it complains, remove a link rather than shrinking the photo.

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The photo can be a circle or a square, the accent color drives the rule and the links, and the icon style decides how your social marks are drawn. Match the accent to your website and the two read as one thing. A signature is seen at the bottom of an email on a phone more often than anywhere else, so favor legible over decorative and keep the icon set small.

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Eight layouts, and the difference between them is where the photo sits and how much room the text gets. A layout with your photo beside the text suits a short signature. One with the photo above suits a longer set of links. Try two or three and look at them in an actual email rather than in the preview, because every mail client renders these slightly differently and Outlook renders them worst.

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Your own link sends the button anywhere: a casting profile, a ticket page, a campaign, a film's own site. Paste the whole address including the https. Check it after saving, because a call to action that goes nowhere is worse than none at all, and it is the one thing on a site nobody thinks to test.

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Pick a page you already have and the button links to it, staying correct even if you rename the page later. The best call to action asks for one thing: watch the reel, read the resume, get in touch. Two buttons asking for the same thing in different words are worse than one. If your design shows no buttons then nothing set here appears, and that is the design's decision rather than a fault.

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A post stays a draft until you make it active, so you can leave something half-finished without it appearing on your site. Nothing is published by accident. Turning a live post back to draft removes it from your site immediately, which is the fastest way to deal with something you have thought better of and better than deleting it while you decide.

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A title, the body, an image with a caption, a video link if you have one, and tags. Write about the work rather than about yourself. A post about how a scene was built gets read and a post about how excited you are does not. Tags group posts on your site, so keep to a handful and reuse them. Writing regularly is the cheapest thing you can do for your search results.

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The blog itself lives on Every Single Blog, so this page does nothing until you have connected an account under Settings then Integrations. That is a one-time step. The reason it is built this way is that your posts stay yours and stay portable: they live in a blogging platform rather than being trapped in a website builder, and they can feed more than one site.

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Orders land on the Orders tab and you get an email. Fulfilling them is on you: we take no cut, hold no stock and ship nothing. That is the trade, and it means an order sitting unfulfilled sits there until you deal with it. Check the tab rather than relying on the email, because one email in a spam folder is one customer who thinks you took their money.

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Categories split the shop into sections a visitor can navigate. With fewer than about eight products you do not need any, because one list is easier to read than three short ones. They start earning their place when you sell genuinely different things, a course and a print say, where somebody arriving for one has no interest in the other.

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Title, description, price and at least one image. A sale price shown beside the full one does more work than quietly lowering the price. Set a quantity where there is a real limit and leave it blank where there is not. The description is where the objection gets answered: what they get, in what form, and how quickly. One good photograph sells better than four ordinary ones.

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Enter your Clicky site id and we install it. Clicky shows visits as they happen rather than the next day, which is genuinely useful the week you send something out and mostly a distraction the rest of the time. As with Google Analytics it goes in here rather than in Script Tags, and you can run both if you want.

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Paste your G- measurement id here and we add the tag to every page properly. You do not need the Script Tags page for this. Google Analytics gives you far more than this screen does and is worth having if you are going to look at it. If you are not, our own numbers are enough, and one fewer tracker on your site is a small kindness to your visitors.

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Where your visitors were, by country and by city. The same caveat as the dashboard map applies: it comes from the connection, so it is approximate, and somebody on a VPN lands somewhere else entirely. The question worth asking it is whether the people looking at your site are in the market you want to work in. If they are not, that is about where you are being listed rather than about your site.

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The sites that sent people to you. Direct means they typed the address or clicked a link that carried no referrer, which includes most links in emails and messaging apps, so direct is usually larger than it looks and tells you less. What is worth watching is a casting site or a social profile appearing here, because that is the one telling you which of your listings is doing work.

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Which pages people actually opened, most first. It is the most useful thing on this screen, because it tells you what visitors came for rather than what you assumed they came for. If your reel sits below your contact page, people are arriving already convinced. If a page you worked hard on is at the bottom, the problem is usually that nothing links to it.

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One person, over the fourteen days shown, however many pages they looked at. Somebody who comes back tomorrow counts once tomorrow as well. It is worked out from the browser, so the same person on a phone and a laptop is two, and a browser that blocks tracking may be none. Treat it as a trend rather than a headcount. The shape over weeks is real even where the exact number is not.

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For a standalone page that is not part of your website: a one-off landing page, a file somebody asked you for, something you were given as finished HTML. It is served from your own domain at its own address, outside the menu and outside your design. If what you want is a real page of your site, with your fonts, your colors and a menu entry, use Website then Pages instead.

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A new script tag is held until we have looked at it, usually within a day. That is not us being precious. A script tag can read everything on the page it runs on, including anything a visitor types, so a bad one is a real problem for you and for us. Send the code your provider actually published rather than something found on a forum and it will go through without a word.

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Paste the code your provider gave you, whole, exactly as they gave it. It is added to every page of your site. If all you want is Google Analytics or Clicky you do not need this page: enter the id on the Statistics page instead and we wire it up properly. Use this for the things that have no other route, such as an advertising pixel or a chat widget.

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Your CSS is loaded after the design's, so anything you write here wins. This is the right place for a small correction: a heading you want tighter, a color the design uses in one spot you dislike. It is the wrong place to rebuild a page. Save little and often, and if something breaks the layout, clear the box and save again to get back to where you were. Nothing here can damage your content, only how it looks.

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Some designs have a More page that gathers what has no home of its own: past events, reviews, a client list, a gallery. What it contained was never something anybody chose, it was whatever the design's author decided, which ranges from two blocks to eight. Leave it on In your design and nothing changes. Switch to Your choice and you pick the blocks and their order yourself.

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Deleting asks you to confirm and then it is gone, along with whatever was on it. Anything linking to that address breaks, including links you have handed out and any menu item pointing at it. If you only want it off the site, take it out of the menu instead: the page stops being listed and the content survives. Delete is for a page you are certain you will never want back.

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If you keep material in SnippedIt, a category from it can be pulled in as a page here rather than copied across by hand. It stays connected, so what you write there appears here. It needs the SnippedIt connection under Settings then Integrations first. This is the right route for writing you already maintain somewhere else, and the wrong one for a one-off page, which is faster to write here.

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When somebody posts a link to this page, this is the image that goes with it. Get it right and a shared link looks like something worth clicking. Leave it and the platform picks whatever it finds, which is often your logo at the wrong crop. A landscape image works everywhere. A portrait headshot gets cut top and bottom by every platform there is.

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These are what Google prints in a search result. We write them for you from the page content and the automatic version is usually fine, so change them only when you have a reason. If you do write your own, put the thing somebody would search for near the front, and treat the description as an advert for the page rather than a summary of it. Neither of them appears on the page itself.

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The slug is the part of the address after your name. Change it and the page moves. Anything you have already handed out pointing at the old address stops working, so change it early or not at all, and never on a page whose link is on a business card or in a casting profile. Use words rather than numbers, keep it short, and put hyphens between words.

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Drag pages into the order you want, rename one, or take it out of the menu without deleting it. A page out of the menu still exists at its address, which is what you want for something you link to directly but do not want listed. Keep the menu short. Six items is comfortable and ten is a wall, and the order matters because the first and the last are the two people actually see.

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This is the one that matters. Your bio, your credits and your descriptions are all set in it, and it is the only font on the site somebody reads rather than glances at. Choose for readability and nothing else. If you are torn between an interesting body font and a plain one, take the plain one and put the personality in the headings.

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Subheadings sit between your headings and your body text: production names, category labels, the line under a title. Setting it to the same family as one of the other two is a perfectly good answer and often the best one. Three unrelated typefaces on one page is the commonest way a site made by a careful person still looks homemade.

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The heading font is used for your name, page titles and section headings. It is the one with the most personality and the least text set in it, which is exactly why it can carry a display face that would be unreadable in a paragraph. Pick it for how your name looks, because your name is the largest thing on your site and the first thing anybody reads.

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No Background means the design uses whatever its author intended, which is usually the right answer and always the safe one. Every design here was made to look correct with its own background and most were not tested against yours. Switching back costs nothing and does not delete the image you uploaded, so it is a free way to check whether your background is helping or just present.

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Use something large and low in contrast. A background competes with your text for attention and it should lose. Around 1920 pixels wide is enough for any screen, and a quiet image at that size looks better than a busy one at twice it. Textures work. Photographs with faces in them almost never do. If your text becomes hard to read once the background is on, the image is the problem rather than the font.

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The swatches are a starting point, not a limit. Enter a hex value and you get exactly that color. Use this when you have a brand color to match, a headshot to pull from, or a poster whose palette you want the site to echo. Paste the six characters with or without the hash. If you are matching print artwork, expect it to look slightly different on a screen. That is the difference between ink and light rather than a fault here.

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The secondary color sits behind headings, dividers and the quieter parts of the design. It is doing supporting work, so it wants to be closer to your background than your primary is: two strong colors fight and neither wins. If you are unsure, take a muted version of your primary. Some designs use it far more than others, so change it and look at the live site rather than assuming it did nothing.

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The primary color carries your buttons, your links and most of the accents. Change it and the whole site follows, which is why it is worth choosing here rather than overriding things later in the CSS editor. If you have a headshot the site is built around, sample a color out of it and the pages hang together without you doing anything else. Very light and very dark primaries both cause trouble, because the design assumes it can put white text on this color.

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If you already have a website somewhere else, Import design asks us to rebuild it here rather than making you start again. Send us the address and we look at it. It is a real person doing the work, so it takes days rather than seconds, and there are sites we will say no to. It is worth asking when you have a design you like and a platform you have outgrown. It is not a way to copy somebody else's site.

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Clients are the brands and companies you have worked for, as distinct from the productions themselves. A commercial actor, a voice artist or a crew member often has a client list worth showing even when the individual jobs are not worth listing one by one. Add the name and, where a design supports it, the logos are arranged into a wall. Keep the list to work you would be happy for somebody to check.

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Some awards are for a body of work, a scholarship or a competition rather than a single production. Mark those Not Applicable and the award lists without a project beside it. It is a small thing that stops you inventing a link that is not there, and it keeps the awards list honest for the ones that genuinely belong to a title.

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The award, the organization that gave it, the year, and the project it was for. Nominations count and are worth listing as nominations rather than being dressed up. Name the organization in the form a stranger would recognize, because the organization is what gives the award its weight, and an award nobody has heard of from a body nobody has heard of is doing very little work on your behalf.

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Drag credits into the order that reads best. The default is chronological, which is the safe answer and rarely the persuasive one: the strongest credit belongs at the top of its category whether or not it is the most recent. Order is saved as you drop it. If your best work is three years old, leading with it is honest, and burying it under newer smaller jobs is the mistake this control exists to fix.

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A poster or a production still beside a credit turns a line of text into something a reader stops on. Use the poster where there is one and a still you are actually in where there is not. Not every credit needs one, and a resume where every line has artwork reads as a gallery rather than a list. Pick the five or six that carry your case and leave the rest plain.

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Genres group your credits so a reader can see the shape of your work rather than a flat chronological list. They also drive the filtering some designs offer. Tag honestly and sparingly: a project tagged with five genres tells nobody anything. The useful question is which genre somebody casting that kind of work would expect to find this job under.

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A hidden credit stays on file and stops appearing on your website. Use it for work that no longer represents you, a production you would rather not discuss, or a credit that is fine but crowds a resume that has moved on. Nothing is lost and it can be shown again in one click, which is the reason to hide rather than delete: a credit you delete in a bad mood is one you retype later.

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Lead, supporting, featured and the rest. It prints beside the credit on your resume and it is what a reader uses to size the job without asking. Be accurate. Inflating billing is the fastest way to lose a reader who knows the production, and it is a small industry. If a job does not fit any of the options, leave it blank rather than reaching for the nearest generous one.

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Project, company, category, your role, the billing and the dates. Category is what groups the credit on your resume, so a film in the television category lands in the wrong block and looks like carelessness. The company is the production company rather than the distributor. If a project has changed name since you shot it, use the name it was released under, because that is the one somebody searching will recognize.

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How your videos are framed on your website: the styling around the player, not the videos themselves, which are added under Media then Videos. Pick a skin and your reels are shown in it everywhere they appear. As with the audio player, some designs impose their own treatment and will override this, so check the live site rather than the preview if the two disagree. The page appears once you have at least one video.

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The preview is the player on its own, on a neutral background. It is showing you the control, not your page: it does not use your site's colors, fonts or spacing, and it does not know where on the page the player will sit. Use it to choose between styles, then open your actual site to see the result. A player that looks wrong in the preview and right on the site is behaving normally.

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Pick a look for the player that appears on your site. The preview shows roughly what visitors will see. Some designs draw the player their own way and will ignore parts of what you choose here, so if the preview and your live site disagree, your live site is right. This page only appears once you have uploaded at least one track, since there would otherwise be nothing to configure.

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PDF is the safest choice: it looks the same on every device and cannot be edited by accident on the way to somebody else. You can upload a Word file and we will convert it. Uploading a new one replaces the old, so there is nothing to delete first and no way to end up with two. Replace it whenever you add a credit, because the version sitting here is the version a casting director downloads.

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The title and description appear under the player. Name the production and your role rather than the file: somebody watching wants to know what they are looking at within a second of it starting. Keep the description to a line. If a clip needs a paragraph of setup before it makes sense, the clip is the wrong clip, and no amount of explanation under it will fix that.

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Grouping clips into categories is what makes separate reels on your site: a drama reel, a comedy reel, a commercial reel. That separation is worth doing even with a handful of clips, because a casting director looking for comedy will not sit through drama to find it. The order inside a category is yours to set, and the strongest thirty seconds you have should be the first thing in the first one.

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If your YouTube account is connected, you can search your own uploads from this page and add one without leaving to find the address. It saves the tab-hopping and it stops the commonest mistake, which is pasting the address of the watch page you happened to have open rather than the video you meant. It only ever shows your own uploads.

Open this on its own page