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Screen shot of the WNBA league pass landing page to illustrate the growing importance of women's sports

Women’s sports are hot. Media: don’t miss your shot

June 19, 2025 Charlotte Henry – Independent Media Reporter

July 31, 2022 is a historic date for soccer fans in England. It’s the date on which they saw their women’s team win the Euros on home soil, becoming the first senior England side to triumph in a major tournament since the men won the 1966 World Cup. The Lionesses achieved this in front of a global audience of 50 million. Some 365 million people watched some part of the tournament according to UEFA figures, which are the sum of “TV, out-of-home viewing and streaming.”

Three years on, the Lionesses are set to defend their crown in Switzerland next month, and the appetite for women’s sport has never been greater. Whether you’re a broadcast, digital or print outlet, female athletes, the stories around them and the competitions they participate in provide the opportunity to attract new viewers. Revenue can take time to build, but the appetite is there. And, by failing to invest and get involved in the coverage now, there is the real risk of being left out of a crucial growth area that serves as a cost-effective way to get into showing live sports.

Expansion drive in women’s sports

On Tuesday, the Women’s Super League, the top female domestic league in England, announced that it is expanding from 12 to 14 teams for the 2026/2027 season. In the U.S., a peak of 2.8 million tuned in to watch Caitlin Clark return from injury on Saturday as she helped the Indiana Fever beat the New York Liberty. American tennis star Coco Gauff’s win over Roland Garros was watched by 1.4 million, a 94% increase over the previous year.

Francois Goddard, an analyst at Enders Analysis, noted that women’s football received a bump from the 2022 tournament. It looks like the same thing could happen again at the end of this summer too. With this in mind, the moment for companies to strike is now, according to The Athletic’s women’s football writer Megan Feringa. “If anyone is looking at the summer and hasn’t already assembled at least a one-person team, but ideally, more than that, I think they’re going to get to mid-July and think, oh shoot, we are so late on this,” she told Digital Content Next.

There are lots of reasons why women’s sports provide such an exciting opportunity for media companies. To start, while there is some crossover, women’s sports tend to attract a different type of audience from men’s sports, which lends them a family-friendly reputation. “I think we do see that in general women’s sports competitions, fans over index for having children in their households,” says Danni Moore, Senior Analyst at Ampere’s Analysis. This means streamers and TV could bring in the wider family audiences to their service by investing in women’s sports. (And this also offers a fresh and appealing audience for advertisers.)

Rights heat up

Another sign that moving into women’s athletics now makes sense is that the cost of female sports rights is already starting to go up. “The WSL, I think the women’s Bundesliga and the Spanish Liga F, they’ve all gone up,” according to Moore. However, they are still low-cost relative to their male equivalents, which provides a great entry point for streamers looking to get into the live sports game. “Now it’s a good time to get in because they are cheaper,” she says, “but if the prices do go up in the future, [media companies would] be missing that opportunity.”

This all helps explain why Disney+ has become the home of Women’s Champions League soccer in Europe. It has taken the rights previously owned by Dazn for an unknown prize in a five-year deal. ESPN, Disney’s multiplatform sports brand, will produce all live matches for Disney+ with commentary offered in multiple languages, alongside pre- and post-game programming. The broadcasts are set to launch in October, with no additional subscription cost for viewers to access the games.

It’s a good move for Disney, according to Goddard, because the company “needs more content in Europe, more local content and more regular content.”

The pan-European tournament ticks all those boxes. It also allows a platform that has not shown live sport in a mass way before to dip its toe into the water without splashing out huge amounts of cash.

The excitement around women’s sports goes beyond soccer and basketball though. “What if we look at women’s hockey,” says Feringa. “What if we look at women’s softball, cricket, rugby? You’ve got Ilona Maher, who has sort of exploded the rugby scene,” she adds. “It seems inconceivable that people don’t want to jump into this space. It just feels like an obvious win”

Adland’s interest increases

Advertisers are increasingly interested in women’s sport too. In the age of subscriptions and streaming, live sports are still a popular placement for advertising. “This makes it even more attractive as an option for local, regular content,” says Goddard. As with the price of the rights, the cost of advertising against women’s sport is understood to be less than in men’s sports, providing marketers and brands with a way to make their money go further in the sports space.

Rihanna’s brand Fenty Beauty has signed a sponsorship deal with the New York Liberty, the first time it has moved into marketing withing sports and Feringa notes:

“The [National Women’s Soccer League] NWSL and the WNBA have done such a fantastic job in terms of sort of aligning themselves with brands, and vice versa, brands aligning themselves with different sports and different teams.”

With the WNBA continuing to dominate the headlines, the women’s Euro’s set to bring some of the best in the world together. And there’s so much more to come in this booming space. Thus, media companies of all kinds need to think about how they are going to show up for female athletics to capture engaged audiences and advertisers seeking family-friendly fare.

Already, we’re seeing a growing number of media brands introduce targeted coverage for women’s sports – including Associated Press, USA Today, Roku and CNBC. Audiences and advertisers are showing up in growing numbers. But there are still plenty of opportunities out there. For media companies still sitting on the sidelines, now’s the time to get into the women’s sports game or risk being left behind.

Featured Post | Industry-Research | Perspectives

Don’t rush to replace your science reporters with AI just yet

June 12, 2025 Heidi Gautschi – Associate Professor, Digital Society, Haute école pédagogique Vaud

The promise of AI’s efficiency and speed in sifting through vast amounts of data and producing content has led many to speculate that it can replace parts of the journalistic process. (This despite a lukewarm reception from news consumers and ambivalence among journalists themselves.) However, Axios’ recent move to ask employees to argue why a human should do a job that AI might be able to do seems to signal a false binary. In this either-or situation, we’d replace expertise with expedience, possibly at the risk of accuracy – which could have grave consequences.

Axios is far from alone in experimenting with AI to augment journalism. However, as is the case in many industries, there is a rush to employ AI in a way that supplants rather than supplements. And that, in turn, could create a gap in the entry level employee pipeline. In the case of journalism, this may mean that the established process of developing expertise breaks down. It is certainly a challenge to build deep subject domain knowledge. But it is possible that this lengthy process could be restructured to be both more supportive and efficient.

A recent study, Generalization bias in large language model summarization of scientific research published in Royal Society Open Science, highlights a critical issue: media coverage of scientific research often fails to capture the nuance and complexity inherent in the scientific process. However, the research finds that AI also fails at the task of summarizing scientific papers and abstracts accurately. As more and more people – journalists, medical professionals, scientists, educators and students – rely on AI-generated summaries and content, the results of this study beg the question as to whether we’re integrating AI to effectively support work processes.

Media coverage of scientific research has issues

As the public’s primary source of information on the latest scientific discoveries and advancements, the media holds the power to shape public understanding, perception and opinion. Accurately presenting findings from scientific and medical studies is paramount. As this study and others show, AI agents tested weren’t able to do the job. This seemingly automatable task would appear to be not-so-automatable after all.

Reporting on scientific research isn’t simple, as we’ve seen in the past. The temptation to prioritize sensationalism and oversimplification over nuanced reporting looms large, in part because of media business models driven by engagement metrics and fast news cycles. Scientific work does not produce definitive outcomes (inferences) so much as it accumulates evidence to suggest a truth. Even in the case of studying phenomena that are reasonably and reliably measured, such as in physics, the theories that are the outcome of science are, in fact, theories! For example, if a study says a certain treatment was found to reduce incidences of a disease in a very specific group of people during a 10-week trial, the exciting news might seem to be that a given disease is now curable. Sadly, it isn’t. This would be a misinterpretation of the study results.

Moreover, science itself is rarely straightforward. Study results can be contradictory, because of subtle, or not so subtle, differences in hypotheses, cohorts, measurements and methodology. Particularly because journalists often work on tight deadlines, statistics may be misinterpreted or decontextualized thus potentially misleading the public.

This new research found that, when summarizing scientific texts, chatbots may omit details that limit the scope of research conclusions, leading to generalizations of results broader than warranted by the original study. (Mind you, they compared the chatbot-derived summaries to those published in The New England Journal of Medicine Journal Watch, and did not check other types of summaries written by individuals with lesser domain expertise.) Press releases written to “hype” new research, may succumb to overgeneralization, as well. And, like all research, there are likely other teams putting AI tools to similar tests. So, even as I anchor my point to the article published in RSOS, I remain keenly aware that new research that reinforces, expands, or contradicts these findings may be published imminently.

What’s at stake when media fails to get science right

It is critical not only that we best employ emerging tools such as AI to support the production of quality journalism, but also that we continue to support and foster the development of science reporters. There’s much at stake if we fail to get scientific coverage right.

At its worst, the media’s coverage of scientific research can contribute to misinformation and the erosion of public trust in science.

However, at its best, science-based journalism has the power to inform the public and help set the agenda in two ways: First, by circulating what the scientific community considers the most important discoveries and applications. And secondly, by generating public interest in specific ideas, discoveries, or technologies that have previously been rejected or overlooked, as noted by Maxwell E. McCombs and Donald L. Shaw over 50 years ago.

Science communication acts as a bridge, shaping perceptions and priorities on both sides. As new breakthroughs emerge, the media plays a crucial role in determining which ones capture the public’s attention. This symbiotic relationship between science and society is an important dynamic for media professionals to understand. Journalists must embrace the nuance and complexity of scientific research to effectively inform and educate the public, even as AI threatens to displace journalists and media organizations move beyond delegation towards automation.

Using the tools properly to create the best science journalism

If science reporting is indeed in crisis, reliance on AI will not improve the situation. Instead, we should give novice journalists the opportunity to summarize abstracts and papers, thereby learning to translate scientific jargon into more accessible language without losing context and nuance. Perhaps, this could be achieved through collaboration with a “dumb” AI chatbot and a human mentor, fostering a learning environment that emphasizes the importance of nuanced understanding.

If the future of white collar work is to rely more heavily on experts and cutting entry level positions, as suggested by both Anthropic’s CEO and Axios’ chief executive, then the future does indeed look grim. Experts aren’t hatched fully formed. Expertise is cultivated through experience and engagement with complex tasks. It starts, however, by slogging through the boring, automatable tasks now passed on to AI. As a doctoral student, I would have been tempted to use AI to summarize academic papers, find relevant quotes. But I wouldn’t be the expert I am today if I had taken that shortcut. A person becomes an expert. No one is born an expert, and neither is an AI assistant.

I’m not arguing against the use of AI. It’s a brilliant tool with valuable applications. However, as with most major shifts – and scientific discovery and reporting itself – it is often necessary to invest time and effort to get things right. Media leaders may want to take a step back, evaluate the hype and explore ways to integrate AI that supports the delicate task of reporting on science in a nuanced, thoughtful way. Perhaps then, we can ensure that reporting on science informs rather than misleads, ultimately fostering a more scientifically literate society.

Media executive considers YouTube video distribution

Broadcasters take a considered approach to YouTube

June 5, 2025 Chris M. Sutcliffe – Independent Media Reporter

The reality of digital publishing means that audiences are exposed to a wider variety of voices. Newspapers compete for attention with Tumblr, Facebook, individuals’ newsletters and countless other sources of information. This requires media companies to periodically reassess their appeal. They must also consider how they can best use new platforms to build audience and revenue.

This has been especially true for broadcasters. Where once their competition for video content might have been a handful of terrestrial channels, they now compete for time and attention with digital video platforms. That has led to concern among commercial broadcasters, as advertisers seek to reach those younger audiences – often at the expense of ad spend on traditional broadcast channels.

Globally, media buyers GroupM predict that linear television revenue will decrease by 3.4% over the course of 2025 as ad spend shifts over to streaming television. And, while linear TV still accounts for a significant portion of viewing, streaming is nearly equal. Millennials and Gen Z viewers are driving the move toward streaming and social video platforms, favoring the flexibility to watch content on-demand and across devices. These factors put pressure on traditional broadcasters to accelerate the shift to digital-first strategies that will satisfy audiences and advertisers alike.

Programs and priorities

The form of video content audiences choose to watch has been altered by new platforms. Short-form video has become the standard for many viewers, particularly those who are spending increasing amounts of time on platforms like TikTok. That’s especially true for younger viewers: fewer than half of Gen Z viewers in the UK watch broadcast television. The 48% that do spend roughly three times as much time watching video on platforms like TikTok and YouTube. In the US the trends are similar: TikTok has roughly ten million more users than linear TV in the Gen Z demographic.

In particular, YouTube is too big for broadcasters looking to recoup those audience and revenue shifts to ignore. When it comes to competition, the video-sharing platform is now literally encroaching on traditional broadcasters’ territory: as of earlier this year more time is spent watching YouTube on TVs as on users’ phones.

That has led to radical shifts in production and distribution strategy. So, how are major broadcasters keeping up with those changing audience habits – and using their expertise to stay ahead of the pack when it comes to taking advantage of new platforms – YouTube in particular?

YouTube: A channel for video discovery

Ashley Hovey is Chief Digital Officer for the CW Network. She explains that YouTube is a priority for the company as it seeks to create new means by which audiences can discover its programs: “YouTube is a part of the broader fragmented media ecosystem, which plays a role in driving audiences that can complement our [owned and operated] platforms. YouTube is a great place for discovery and sampling, while owned properties can drive deeper engagement and brand advocacy.”

That speaks to the need for broadcasters to approach YouTube in a way that does not cannibalize existing video audiences or ad revenue. Despite the headlines, traditional broadcasting still attracts a vast amount of ad spend overall. Thus, it is vital to protect that revenue as broadcasters experiment with new platforms.

A Channel 4 spokesperson affirms that the strategy is to find complementary audiences on the platform, rather than migrating existing audiences over: “The audiences on YouTube are additive. So, it is a great way to direct people to content that we think they’ll enjoy and engage a larger, younger-skewing audience.

“We experiment heavily with the great data that YouTube generates. It is at the heart of everything we do. On YouTube, video distribution and views are as reliant on algorithm science as they are an entertaining format.”

As a result, that discovery flows both ways: through the use of YouTube’s tools – designed specifically for digital distribution – broadcasters are able to find out more about their audiences online. That informs not just ad sales, but commissioning strategy as well.

BBC Studios is the commercial subsidiary of the UK’s first public broadcaster. Its Digital Commercial & Partnerships Director Anaïs González Espinosa explains: “Through the YouTube Content ID tool, we’ve also been able to only not protect our content, which is very important for us, but also use the data as a demonstrator of consumer demand to inform our content pipeline and some of the choices we make.”

Space to experiment

For many broadcasters, YouTube is also a staging ground for new formats. That can range from content specifically created with digital video in mind – such as Channel 4’s upcoming “social-first short-form channel focused on cooking and food.” It also offers an opportunity to repurpose existing content.

Some broadcasters, for instance, upload entire episodes of their stock of programming to YouTube. That can be entire season, series, or “taster” episodes designed to entice viewers to seek out the rest of a season on their owned-and-operated channels. Others, meanwhile, create short highlight videos with the same goal in mind, but geared towards short-form social sharing.

The Channel 4 spokesperson shared that “One area we saw go from strength-to-strength in 2024 was full-episodes on YouTube, with an increase of 331% for UK views in the first nine months of 2024. Key titles that pulled in audiences were entertainment series… and documentaries including Click for Murder and 60 Days on the Estates, plus made for YouTube shows such as Minor Issues and Tapped Out.”

Compared with broadcast television, in which audiences were largely separate, watching from their own sofas, YouTube and other digital video platforms allow more opportunities for viewer interaction. Taking cues from livestreaming specialist platforms like Twitch, YouTube has prioritized live audience chat alongside much of its content. Espinosa says: “We use posts and community tabs to engage with our fandoms, enhancing their experiences with our content on the platform. Views are important but engagement on YouTube is key to success.”

Hovey confirms that the CW Network is also set to experiment with those “live” features soon, as a result of the increased engagement it can deliver.

However, she also notes that the platforms’ other creator-led features allow for experimentation with distribution: “The CW tests out new YouTube features depending on the content type. For example, we use the Thumbnail Test & Compare feature for our sports clips. This allows us to test different thumbnail designs for WWE matches and NASCAR races and helps optimize overall watch time for both.”

With YouTube’s increased focus on AI to translate its content to other languages, and further changes to memberships on the platform on the horizon, there is plenty of scope for broadcasters to continue experimenting. And thy have the added advantage of not needing to invest in those tools themselves.

Considered and careful

Traditional broadcasters, then, are approaching YouTube with both commercial and audience considerations in mind. The platform itself is too big to ignore. In fact, there would be an opportunity cost to not at least have a presence on it.

However, what is especially apparent in 2025 is that broadcasters are being highly considered when it comes to YouTube. It is a competitor for ad revenue, but also a collaborator when it comes to discovering new audiences and new opportunities for engagement.

As a result, broadcasters are constantly reappraising their strategy for publishing to the platform, as ad spend continues to shift and new tools and formats emerge. With the rise of features such as content locked behind memberships and in-app merch stores on the platform, broadcasters have access to new revenue and engagement models via YouTube – and are finding ways to do so without diminishing their opportunities on more traditional platforms.

Media must catch up to Gen Z’s video playbook

May 22, 2025 Jason Kint, CEO – DCN

At some point in 2020, accelerated by the pandemic and the kids using endless hours of TikTok scrolling as a coping mechanism, short-form video surged into a major part of modern media consumption. Even for those of us who grew up on cable TV and later binged on Netflix, Gen Z is reshaping how we discover, consume, and engage with video content. Younger audiences have turned scrollable, snackable video into something so much more satisfying than a Quibi; it’s now a cultural mainstay.

That’s the wake-up call from our latest DCN research, Decoding Video Content Engagement: Gen Z & Gen Y in Focus, a two-part study conducted with Magid. We launched the project last year with in-depth, hour-long qualitative interviews to get a baseline on the latest language and media mindset of younger audiences. We then took a quantitative dive into what we now see as a landmark report for DCN and its member companies. To be clear: the numbers don’t just hint at a subtle shift. They chart a generational rewrite of what video means and what audiences expect it to do.

The headline? They don’t watch. They participate.

Simply put, video is no longer a passive experience characterized by a surge of short-form experiences on social platforms. Our research shows that 92% of Gen Z interacts with video on social platforms at least once a week – liking, commenting, remixing and sharing. But even more striking, nearly two-thirds (64%) of teens aged 13–17 create and post original video content weekly. Notably, this statistic drops materially to 40% for ages 18-22 (the back half of Gen Z). That’s a clarion call for those seeking to understand the expectations of the next wave of digital natives and why we labeled them “The Creator Generation” in this report.

For the youngest Gen Z users, “watching” isn’t a lean back experience. It’s a ticket to creative expression. Video isn’t something they just watch. It’s something they do. This dynamic is upending the traditional hierarchies of content and control. The line between viewer and creator is fading and with it, many of the historic relationships between storytelling, advertising, and brands.

Creators are the new gatekeepers

In the past, a media brand’s value lived in logo recognition and distribution demand. Today, particularly with the youngest audiences, it’s more likely to live in the hands of creators with cultural credibility and fluency. These individual creators are now the benchmark: remarkably they beat out all other creator types in being perceived as more creative, entertaining, interesting, and informative.

These creators are not the typical influencers posting their user-generated content to make a paycheck. They are micro media empires of all backgrounds. And they’re setting the tone for what today’s audience deems engaging, real, and worth watching. All of this accumulates in more trust.

And that trust gap is telling. While 88% of younger audiences trust friends, family, and creators, traditional brands fall significantly behind even though they’re visible. Yes, 93% of Gen Z still says they often see brand content. But awareness isn’t the same as engagement. And in a world where users can scroll past your video in a second (with a paltry three seconds being the magical sweet spot for nearly half of the young users in the research), that difference can be everything.

Authenticity isn’t a bonus – it’s the baseline

If you’re still investing in glossy, highly produced videos that feel like they came from a corporate studio instead of an actual human being – stop. The bar has moved. Individual creators are not major media brands. Think about it: People are flawed. In a world where the individual creator is more trusted, entertaining and engaging, a perfectly pressed and buttoned up production will not resonate like a rumpled shirt and bit of bedhead.

Authenticity is the baseline. When asked what they value most in video content, Gen Z chose originality, honesty, and authenticity far ahead of production value or polish. This generation can smell marketing a mile away and they’ll scroll right past it – teaching the algorithm you aren’t worth their precious time.

Instead, they want content that reflects them: unfiltered, participatory, and emotionally resonant. Think behind-the-scenes looks, first-person storytelling, raw filming, and creator collaborations that feel like a natural fit rather than transactional development deal.

So, what should media companies do?

We know the stakes are high. Premium publishers – many of whom DCN proudly represents – are once again navigating a digital ecosystem shaped by generational shifts, platform upheaval, and algorithmic opacity described to our researchers innocently as “TikTok magic.” However, this moment is also an opportunity.

Here’s how media brands can strategically respond:

1. Design for engagement, not impressions

Simply showing up isn’t enough anymore. Content needs to invite participation. Whether it’s Q&As, remixable challenges, or comment-driven formats, the most successful brands treat viewers like collaborators, not consumers.

2. Co-create with cultural insiders

Want to build trust and relevance? Partner with the creators your audience already respects. Not as brand spokespeople, but as co-storytellers. This isn’t about inserting your brand into youth culture. It’s about amplifying voices that already move your audience.

3. Reimagine platform strategy

TikTok is not YouTube. Instagram is certainly not Facebook (even if it’s the same parent company). And your content shouldn’t be a one-size-fits-all proposition. Create native video strategies that reflect the tone, pacing, and expectations of each platform. If you can’t do it everywhere at once in ways that resonate on each platform then pick your platform(s) of choice based on your content, audience and opportunity.

4. Lead with values – and humanity

Gen Z and Gen Y want entertainment. But they also care about who is behind the content. Our research confirms that younger users reward brands that are transparent, socially aware, and human. If your brand voice on social sounds like it was built by a committee, it’s time to revisit the script.

5. Build with the “SHARES” formula

If you want engagement, your video content should tap at least one of the six drivers identified by our DCN research team. Our SHARES formula – which includes Storytelling, Humor, Authenticity, Raw, Engagement, and Surprise – isn’t merely a checklist. It’s a roadmap for emotional connection and engagement.

The future Is participatory

The question isn’t whether Gen Z and Gen Y will continue to redefine video. They already have. The question is whether the larger media industry will listen.

At DCN, we believe that high-quality, trusted content is more important than ever to the future. But trust now resides in how and where you show up, not just what you say. If media brands want to stay relevant, we must not only reflect the values of these generations. We must also create space for them to shape the stories themselves.

Premium media brands like our DCN members have a powerful edge: credibility, creativity, and a direct relationship with their audiences. But competing in this new era of short-form video requires humility, agility, and a willingness to let go of legacy thinking.

This isn’t a pivot to video. It’s a reinvention.

Icons that represent podcasting innovation

3 podcast innovations that build audience and revenue

May 15, 2025 Esther Kezia Thorpe – Independent Media Reporter

The hype cycle is over for Podcasting. Now that reality has set in, it is exciting to see examples of publishers pushing the podcasting envelope – experimenting to drive innovation in the maturing market. Whether it’s using AI to expand to new audiences, or smart show bundling, there’s a lot of inspiration for those with their own podcasts or looking to launch.

Here are some impressive experiments and innovations in the podcast space:

AI translations

UK news publisher The Telegraph has been producing a podcast called Ukraine: The Latest daily since the start of the war. It has been downloaded over 100 million times since 2022, with episodes exploring military strategy, history, weaponry, economics, and more.

In February, to coincide with the third anniversary of the war in Ukraine, The Telegraph launched translated versions of the podcast in Ukrainian and Russian. This was made possible using an AI-powered voice cloning and translation model. This creates a “digital likeness” of the presenters, closely mimicking the rhythm and nuance of their voices.

“To be clear, this is AI helping to present our journalism, not produce it,” said Associate Editor and presenter Dominic Nicholls in an introductory video demonstrating the technology. The translations help reach those with restricted access to news on the war, as well as expats around the world.

The AI model was adapted by The Telegraph team in-house, before being refined by a native Ukrainian speaker fluent in Russian and English. The Telegraph emphasises that all episodes will be checked to ensure translation accuracy, as well as fine-tune speed and pacing.

Although there have been experiments with AI hosts and translation, this is the first example of a media company deploying it on this scale. For a daily podcast, especially one where the information need is so critical, this is a worthwhile investment that will help it reach the people it needs to.

High quality AI translations like this will be beyond the budgets of many publishers. But as the translational tools improve and become more accessible, using AI translation to reach new audiences is worth considering. Editorial oversight, however, is vital to maintain trust and quality.

Bundled podcast subscriptions

Publishers have been experimenting with paid podcasts for some time now, as paywalling technology has improved. From The Economist putting almost all its podcasts behind a paywall, to The Local offering premium versions of its free weekly podcast for members, there are many variations of paid audio strategies.

One that stood out was the DMG Media’s launch of The Crime Desk. The publisher had seen success with true crime podcasts like The Trial of Lucy Letby. Now, it has brought all podcasts under ‘The Trial’ brand into one subscription bundle.

The Crime Desk offers subscribers ad-free bonus episodes on global trial cases. It also includes access to the archive of more than 200 episodes covering everything from the Holly Willoughby kidnap plot to the Diddy trial. Subscribers will also get new series released in their entirety. However, free listeners will only be able to access one episode a week. The launch offer is £1.99 a month, or £19.99 annually.

“There will always be a free trial to air – we’ve got to have a shop window. It’s arguably a public service as well,” the Daily Mail’s head of podcasts Jamie East told Press Gazette. A soft launch phase “had seen subscriptions well into the thousands, and at a similar conversion rate to the podcast industry standard of 5%.”

Building a paid bundle around groups of podcast topics is viable for publishers that produce a wide range of podcasts or with strengths in specific subject areas. However, East noted that although they’ve had success elsewhere, that doesn’t necessarily mean a paywall is viable. “You can only really launch a subscription model around a hit. There’s no point otherwise,” he told Press Gazette. “It needs to be pretty bedded in before you can do it, or achieve such huge scale that it’s a no-brainer. We’ve not quite reached that with any of the other verticals.”

Reusing popular print content

One unusual podcast launched last year is Your History, from The Times. The newspaper has published daily obituaries for over a century, many of famous people. The team realized that there was an opportunity to highlight some of the Times’ best writing, which happens here, as well as capitalize on audience curiosity in historical figures.

The twice-weekly podcast brings out”‘remarkable tales of lives well lived,” from musicians to politicians, scientists, and sporting legends across episodes averaging 10-15 minutes. Anna Temkin, deputy obituaries editor, presents the podcast.

This is an excellent example of taking existing content and transforming it into another medium. The obituaries pages of newspapers contain a wealth of fascinating life stories, especially when someone well-known dies. By simply reading out the obituary – a low tech and low cost solution – The Times makes this content accessible and relevant to a new audience who aren’t necessarily newspaper subscribers.

Podcasting has room for innovation

Reader revenue is an important strand for each of these publications. The Telegraph and The Times both have hard paywalls, and use podcasts as a top-of-funnel strategy to introduce listeners to their journalism. In these cases, applying strategies that help widen listenership through translation or opening up paywalled content is key.

Although the Daily Mail has some paywalled content, the majority is accessible to read for free. This allows the podcasts to build up a large audience.In this case, The Daily Mail has created a paid bundle around popular shows to monetize a smaller but more dedicated fan base.

The extent to which other publishers can use these tactics will depend on where podcasts sit strategically. If they’re a “shop window” to showcase journalism, it is worth exploring options to leverage podcasts to expand audiences. However, podcasts also have great power as a retention tool superserving a publisher’s most loyal readers. With continued experimentation and innovation, podcasts offer the potential to grow audiences and support, or even build, direct revenue. That’s not hype; that’s just smart strategy.

Image of New York Post video production Studio, which is part of its multi-platform strategy

The New York Post’s multi-platform publishing strategy

May 8, 2025 Charlotte Henry – Independent Media Reporter

Founded by Alexander Hamilton in 1801, The New York Post prides itself on being America’s oldest newspaper. These days, it boasts 871k daily print readers. However, in its more than two centuries of existence, the outlet has grown to be far more than a scrappy New York tabloid. It has developed into a true multi-format media brand by respecting audience needs across the networks where it operates and by making full use of its IP. It has also deployed other techniques worth exploring.

Warren Cohen, Vice-President and Head of Video and Audio at New York Post Digital Network, jokes that despite the age of the publication, his team is the “youngest video department” in the country. This underscores how relatively-new the brand’s cross-platform approach is. (Cohen has had his role for just under a decade.) Yet, The Post’s multi-platform strategy is a mature one that seeks to maximize the various tools at the team’s disposal.

A video strategy means YouTube (and more)

Central to any brand’s video approach is, of course, YouTube, where The Post has 1.86 million subscribers. Its content focuses on news, entertainment and sports and the channel features both timely clips and original series. There is plenty of video at NYPost.com too. However, Cohen explains that “we want to offer our audience things that they can’t get anywhere else on site.” He adds that the brand also wants “engagement throughout our owned and operated platforms, our open web product, our mobile app.”

This neatly sums up how Cohen and his team are doing things. Respecting the platforms they use is central to the strategy. Not everything is intended to be part of a funnel leading people to the outlet’s website or the print product. While doing so would be possible in an ideal world, Cohen is realistic. “I just don’t think that’s user behavior,” he says.

Cohen also notes that the audience on places like YouTube “tends to, in general, be younger. They also “spend most of their lives in the social networks and not necessarily websites.” This all means “we are trying to tweak the way we approach the off-platform audience” The takeaway is that trials and testing is crucial.

Beyond YouTube, The New York Post has built up a significant presence on the video-based social platforms. It has 2.2 million followers on TikTok and 1.6 million on Instagram. The Post also has a separate NY Post Sports Instagram account with over 41,000 followers. Cohen believes that “social really excels with short duration views… It’s the joke, the quick hit, the reaction.” Meanwhile, he observes that YouTube videos are increasing in length.

Cross-platform monetization strategy

As the video work is not primarily a funnel to subscriptions, it has to be monetized separately. This is done through a mix of programmatic advertising and sponsorships. For instance, a tri-state Cadillac dealership sponsors “24 Hours”, as series the publication makes with reality stars. Cohen is looking to develop more such deals in the future.

The determination to fully cash-in on IP goes beyond sponsorship. Cohen reveals that “we’ve had a good upsell to kind of the television and broadcast markets, and that’s always been really organic.”

He has a word of warning for others in the industry: “I think a lot of rivals might have been overly invested in studio and development operations.” While The Post wants to use the best technology and infrastructure it can, and its infamous Page Six column launched a video studio in January 2024 “we really try to let the content speak for itself, and then see where can use it to adapt.”

He also says that others “have added a lot of staff and infrastructure, hoping for big payoff.” In part he notes that this is impart because of consolidation the TV markets, and because “selling the networks is not as lucrative as it once was.”

The New York Post licensed it's IP to Peacock as part of its multi-platform strategy.

Success stories from The Post’s approach include “Bronx Zoo ‘90”, a show about the 1990 New York Yankees which was turned from a newspaper series into a TV series by Peacock. There is also “Smothered”, a digital video series that was upsold to TLC and ran for several years. Of the strategy, Cohen says, “we’re really trying to leverage and ‘video-ify’ the best of the newsroom.”

Despite being a New York institution, The Post has been sure to have connections in Los Angeles. Troy Searer, president of New York Post Entertainment, serves as the company’s ambassador to Tinseltown and Cohen works closely with him “to make sure that no IP is left behind”.

An adaptable audio strategy

On the audio side, The Post’s podcast strategy is to offer deeper context for its audience. “They’re the number one product for engagement,” says Cohen. Sports is a particularly important player in the company’s podcasting roster. It has separate shows for almost every New York-based team. Turns out, Giants fans don’t want to listen to podcasts that are discussing the Jets, or, as Cohen puts it: “It would be hard to have a football podcast overseas and have it feature Manchester United and Manchester City, right?”. Quite so!

The New York Post's Page 6 Radio team, which is part of its multi-platform strategy

“Podcasting is a giant area for us to … use our expertise in a different way,” he adds.

There is more to come on the podcasting front. The New York Post has struck a deal with Red Seat Ventures, an independent podcast production firm that was bought by Fox, to develop a flagship podcast. Cohen describes the creation of such a show as “long overdue.”

He and his team try and maximize the value they get from every piece of podcast content. “We get a lot of breakout clips,” from a 30 to 45-minute podcast, reveals Cohen. “We get a lot of moments.” He says that The New York Post wants to “micro chunk the content in a way that the audience can consume it however they want.”

Don’t fear cannibalization

The big worry many publishers have when they start making content on platforms outside of their own website is cannibalization. While they might be helping YouTube get an audience, they may not necessarily be doing so for their own outlet. This is not a concern for Cohen. “We don’t see any cannibalization of audience” he says. “We see audience that we might not have otherwise reached.”

During the recent New York Knicks NBA playoff game against the Detroit Pistons, The Post held a watch party from which it shared clips. “We’re creating content that we do distribute through all our platforms,” says Cohen.

Ultimately, Cohen says that the work he and his team is doing is “a meaningful contributor [to] revenues for the company at this point.” It shows that investing in a dedicated multi-format approach that adapts each piece of content specifically for the it is on can pay off.

digital dove flying off of a screen to portray press freedom on World Press Freedom Day

In Support of World Press Freedom Day

May 2, 2025 DCN

In recognition of World Press Freedom Day tomorrow May 3rd, DCN reaffirms the importance of a free, independent press. Around the world, media organizations face escalating governmental threats, including efforts to reshape regulation, restrict access to information, defund public media, and discredit quality journalism.

At the same time, a few powerful technology platforms are eroding journalism’s foundations both economically and ethically. Google has been found guilty of illegally monopolizing search and ad tech, inflicting measurable harm on publishers. And a Meta whistleblower recently testified that CEO Mark Zuckerberg not only sought to crush the news industry, but also personally led efforts to build censorship tools for the Chinese government—actions fundamentally at odds with a free press.

These threats, whether overt, covert or systemic, make it difficult for the free press to flourish. And, in a world where journalism cannot thrive, truth fades, power operates without scrutiny, and people are left without the information they need to understand and shape the forces that affect their lives.

We stand with our members—premium publishers rooted in integrity, trust, and journalistic excellence—and with journalists around the globe who uphold truth in the face of adversity. A healthy media ecosystem depends on a vibrant press that is protected, sustainable, and supported by its communities. We urge publishers, policymakers, advertisers, and the public to actively support its future.

Here are several ways to engage and show support:

Subscribe to trusted news organizations: Direct support from audiences strengthens the ability of newsrooms to produce independent, high-quality journalism.
Support public media: Visit Protect My Public Media today to learn more and to contact your elected representatives about the importance of public media.
Champion clean, brand-safe advertising environments: Advertisers and agencies can take action by aligning budgets with trusted, high-quality publishers.
Support and amplify trusted journalism: Share credible reporting widely to counter the spread of misinformation, just as bad actors amplify disinformation.
Stand with journalists at home and abroad: Organizations like Reporters Committee for Freedom of the Press, The Committee to Protect Journalists, Reporters Without Borders (RSF), International Federation of Journalists, and UNESCO are among those doing important work to protect press freedom and journalists under threat.
Push back on platform dominance: Advocate for policies that ensure fair competition and protect the original work of news organizations to support diverse, local, and independent journalism.
Foster media literacy: Encourage educational initiatives that help audiences identify credible sources and value factual reporting.

Press freedom is not a guarantee; it is a shared responsibility. It is a right that we must steadfastly defend.

Jason Kint, CEO of DCN, kicks off the 2025 summit which focused largely on the value of direct audience relationships

Direct audience relationships highlight of DCN Next Summit

May 1, 2025 Jessica Patterson – Independent Media Reporter

The 2025 DCN Next Summit kicked off in Miami April 22 with an energizing atmosphere as senior media executives from DCN’s member companies came together to discuss the biggest issues and opportunities impacting the future of media.

In his welcome, DCN CEO Jason Kint highlighted the challenging environment the media finds itself in. “Let’s be honest, the last 12 months have been volatile,” Kint said, “And the volatility isn’t just economic, it’s institutional. The forces testing our economy are also now testing our democratic norms, including a free and plural press itself. [We face] a direct challenge to the independence of the press and the principle that journalists, not governments, get to determine the language of truth.”

This, Kint said, is the new normal: accelerated pressure, relentless power grabs and heightened scrutiny all at once. “It’s messy, it’s uncomfortable, and it’s redefining the rules that we all play by.”

In the midst of this, Kint highlighted premium content still matters but what defines it is changing. “Growth is harder, but it is possible, especially as you strengthen your direct relationships with your audience and customers. Trust… is everything. It’s foundational and it must be defended. And, in times of vulnerability is when you build on it.”

While the topics of discussion both on stage and off were wide-ranging, three significant themes emerged: the importance and evolution of trust, the value of direct audience relationships, and new influencer dynamics impacting media brands.

Trust in a fragmented world

In an era where audience attention is fragmented across numerous platforms, trust is the core value exchange between a media brand and its audience. Katherine Maher, president and CEO of NPR, emphasized the importance of maintaining editorial independence and impartiality as essential components of trust.

Katherine Maher, president and CEO of NPR

She said, “Our editorial independence is paramount. People listen to NPR and they care about public media because they trust it and they know that it is independent. To my mind, if we cannot maintain that editorial integrity, we cannot serve our audiences the way we need to be served.”

This foundational trust faces new challenges. New research from DCN and Magid on Gen Z’s video consumption reveals a significant difference in trust levels between individual creators and brands, with individual creators generally being perceived as more trustworthy. The study, called “Decoding Video Content Engagement,” talked to 1,000 young people aged 13-40, to understand how they saw media brands. The results (available to DCN members) suggests that Gen Z’s understanding of what is trustworthy is evolving based on where they spend their time and energy.

“When you talk to Gen Z, it’s the individual that’s most valued. It’s the influencers, it’s the streamers,” Andrew Hare, SVP, head of quantitative research at Frank N. Magid Associates explained to attendees. Media companies face a significant challenge in building trust with Gen Z and Gen Y, and being seen as trustworthy, authentic and interesting, compared to individual creators, who are overwhelmingly trusted more by these generations.

Hare mentioned an opportunity for digital media companies to “collaborate and co-create with creators themselves to maybe even add some trust back to the brands.” He noted that digital media companies must focus on humanizing their brands, fostering direct relationships with audiences, and finding ways to be real and relatable while upholding their journalistic standards.

The evolving role of creators

Discussions at the summit frequently touched upon the evolving role of journalists in today’s media landscape and the rise of individual creators/influencers as a force in news. According to a November 2024 study by the Pew Research Center, 21% of U.S. adults now regularly get news from influencers. This figure rises to 37% among those under 30—an age group that is increasingly difficult for traditional outlets to reach.

Tiffany Sam Chow, SVP, strategy and business development at NBCU News Group, pointed out that news anchors are becoming personalities on platforms like TikTok, which allows them to build individual connections with audiences. This shift changes the role of anchors from authoritative figures to relatable personalities, she explained.

Chow cites the example of Savannah Sellers on TikTok. “She does these behind the scenes where people can understand her as a person,” Chow explained. “People start following her on social as a person and then start following her on social as a news anchor.” As people engage with the on-air talent on a personal level, they begin following them as journalists, and in turn, engage with the NBC News and Today Show handles, Chow said.

Sam Felix, SVP, Strategic Partnerships & Business Development, at CNN echoed this shift. She noted CNN has also been thinking about how to drive that relationship between their on-air talent and audiences. “Part of our superpower is our ability to produce video at scale and this amazing talent. We have the right ingredients to engage with this audience. But we have to figure out (how) to pull back the curtain, get them sort of like closer, one-on-one, with this audience in a way that they seek us.”

In addition to their shows, CNN personalities produce multiple vertical videos per day, published on social channels and on CNN’s platform, Felix said. “Over the next several months, as you see the kind of next phase of CNN come out into the world, you’ll see that same type of production format be at the center of the content and our products, because it is resonating.”

MLB’s VP, Social Media and Innovation Cameron Gidari noted that some baseball creators are as popular, if not more so, than baseball players “kids are recognizing them!” Thus, their strategy involves empowering these creators. “We have a really robust crop of up and coming baseball creators,” Cameron. “They’re non-traditional media for a new age.”

MLB’s creator strategy involves helping empower creators, to help them grow, giving them access to events and sharing their content. “We went to help them grow because we know that they’re Baseball Tonight for the next generation, right?”

Building deeper connections with direct relationships

Publishers have long held direct relationships with audiences, built on trust and high-quality content. These relationships allow media companies to understand and anticipate audience needs. Strategic insights also inform monetization strategies like subscriptions, events and advertising.

In 2025, strengthening direct relationships with audiences has never been more critical. As media companies expand beyond traditional advertising into licensing and other D2C strategies, deepening audience connections is essential for sustainable growth.

CEO Daniel Alegre credits his company’s success to TelevisaUnivision’s vast Spanish-language content catalog, built over 80 years, which helps nurture a direct, multi-platform relationship with audiences. TelevisaUnivision integrated its operations and created a single content strategy that serves linear TV in both the U.S. and Mexico and ViX, its streaming platform.

Alegre noted that the company continues to innovate in video content to engage new audiences. They are developing one-minute “micro telenovelas” specifically designed for mobile consumption. “These are essentially made for the phone, and can create new commercialization opportunities for subscription and advertising … We can also work on microtransactions,” he said.

At the Athletic, Publisher David Perpich explained that the company is exploring partnerships to leverage its content and audience, including a partnership with MGM which integrated betting coverage, and Stubhub which allowed users to purchase tickets within The Athletic’s content.

And in a move that is certain to be a fan favorite, MLB formed a “partnership with eBay where we have a collectibles vertical and you can buy on eBay,” he said. The focus of these initiatives is on “how do we create content that consumers would love but then let’s figure out the right business model on the other side to take advantage of it.”

Relationships are also changing between media companies, brands and advertisers, with a greater emphasis on direct relationships and mission alignment.

Shannon Watkins, chief marketing officer at Fiserv, explained that Fiserv increasingly bypasses media agencies, instead partnering directly with media companies, viewing them as extensions of their own marketing team. This direct model allows Fiserv to keep strategy development in-house while collaborating with media partners to execute.

“It’s less about the dollars and cents and more about that symbiosis that you can have with your partner media or otherwise, where it is a true mission alignment because then the conversation moves beyond placements and dollars, but how can we grow together? And that’s what we’re looking for,” she said.

Persevering and pushing forward

As digital media companies grapple with the challenge of maintaining trust amid increased scrutiny and competition from more personalized, often more relatable creators, the importance of direct, authentic relationships with audiences has never been clearer. Media are learning to adapt to this shifting landscape, where collaboration with creators can help rebuild trust while still maintaining journalistic integrity.

Media companies must evolve to stay relevant. However, they must also safeguard the foundational values that have long underpinned their role in society, including press freedom. This Summit highlighted how they are persisting through challenges. As Kint pointed out, “We must keep pushing for fair value, for IP protection, for a level playing field, in equal competition. And above all we must defend the role of a free and plural press at a moment when institutions are being tested from every angle, even at the highest office in the land.”

Robot head and AI doodles to suggest the use of AI in the media business

Featured Post | Industry-Research | Innovation

Four AI trends and why they matter to media businesses

April 17, 2025 Damian Radcliffe, Carolyn S. Chambers Professor in Journalism – University of Oregon

It’s no surprise that investment in AI tools and platforms is a major priority for media companies. Recent research from the Reuters Institute found that investing in platforms such as OpenAI and Perplexity is the leading priority for industry leaders in the year ahead. Meanwhile, WAN-IFRA’s annual World Press Trends study highlighted this as an area of both improving relationships and continued investment.

These moves are driven by a combination of factors such as fear of missing out and falling behind as Generative AI continues to evolve. Companies also want to have the ability to use these technologies for a range of benefits including efficiencies and the development of new products.

The opening months of 2025 have witnessed the continued integration of AI into workflows and further developments that promise to yield a range of benefits for content creators.

Here are four noteworthy AI trends and how media executives should be thinking about the emerging opportunities they present.

1. Conversational AI enhances connections

Both audio and text-based conversational AI are gaining traction. According to the Reuters Institute, harnessing AI to turn text into audio is the top audience-facing AI application for media leaders in the year ahead. These moves are driven by “advances in voice technologies [that] have made it possible to transform text articles into audio (in multiple languages or tones).”

Moreover, as noted by ElevenLabs, an AI Audio research and deployment company that works with publishers such as Time, “the shift to AI-driven audio isn’t just about convenience — it’s about survival in a landscape where audiences increasingly prefer to listen rather than read.” (NB: their italics.) This trend is evidenced at outlets such as The Washington Post which saw daily audio listens double in the first six months of last year.

And as these AI tools get cheaper, more accessible, and sound increasingly more human, AI-powered consumer experiences will become more mainstream across the media landscape. That includes local – as well as national and international – media outlets.

Alongside these audio formats, AI-driven chatbots are also becoming more prominent.

Although there are legitimate concerns about the accuracy of news summaries provided by these tools, the way in which they access content from sites that have blocked their crawlers, coupled with a frequent inability to cite sources or provide referral traffic, these products are becoming more prevalent. This week, for example, saw The Straits Times in Singapore launch a chatbot that answers questions from readers on career-related topics, drawing on an archive of 5,000 stories published on this topic since 2020.

Sensing the opportunity, businesses like Tars offer a chatbot specifically designed for news organizations. Its functionality allows audiences to interact with news stories in a conversational format, ask follow-up questions, rate articles, and access related visual content.

Meanwhile, several major media providers have signed deals to provide content for AI chatbots owned by some of Silicon Valley’s biggest players. Late last year, Meta revealed it would use content from Reuters to answer user questions in its chatbot about the news and current events. More recently, AP inked a similar deal with Google, which will see news from the Associated Press featured in the tech company’s Gemini app.

Takeaway

As user needs and preferences continue to evolve, media companies must respond accordingly. Delivery of content via voice and chatbots, may become more mainstream, given the growing demand for more informal and conversational interactions with content. Catering for these audiences will become further engrained in media distribution strategies.

2. The return of content at scale

AI-assisted content creation is not a new phenomenon. However, it is creating an opportunity for some media outlets to turn back the clock to the era when scale was seen as king.

Patch, the local news provider that was acquired by AOL in 2009 (and offloaded in 2014) has used AI newsletters to expand Patch’s reach over the past few months from 1,100 U.S. communities to 30,000. As Axios explains, these newsletters feature five stories from Patch sites along with material aggregated from other online sources.

Despite its use of AI to scale, Patch purportedly has 85 full time newsroom employees. However, Nieman Lab reported in January how a company producing AI-generated newsletters in 47 states and 355 towns and cities across the U.S. appeared to be operated by a single person.

These examples demonstrate the ease with which AI can help curate content at scale.

Although these efforts can curate content to consolidate coverage, they don’t deliver original journalism. Moreover, it can be difficult to check the veracity and accuracy of content produced at this volume.

Questions around accuracy and the absence of fresh reporting were similarly leveled at the Italian conservative newspaper Il Foglio, which recently published a four-page edition produced entirely by AI. “The articles were structured, straightforward and clear, with no obvious grammatical errors,” the Guardian notes. “However, none of the articles published in the news pages directly quote any human beings.”

These examples may make some media leaders, and audiences, uncomfortable. Nevertheless, they can be viewed as an extension of some of the ways AI technologies are already being used.

AP has been using AI to produce stories based on earning reports for over a decade, dramatically increasing the number of stories it produces in this arena as a result. At the same time, Gannett publications in the Boston area have begun harnessing a generative AI tool called Espresso to draft articles from community announcements and press releases.

Similarly, Semafor has revealed how The New York Times is exploring using AI tools to assist with SEO, research, headline writing, content for social media and other purposes. This can speed up the production process, potentially creating time for employees to produce more in-depth and creative content, as well as increasing the volume of output.

Takeaway

The use of AI to automate routine tasks has long been cited as a benefit of these tools. Advocates argue AI will enable staff to focus on original and deeper work. However, there is a risk that these technologies will have the opposite effect, encouraging creators to publish more content, much of it low quality “AI slop.” The need for originality and distinctiveness will be the differentiator for most players in an AI-driven world. While some providers can use AI to scale their output, doing so while maintaining quality, distinctiveness and value isn’t always easy or an approach that will work for everyone.

3. Beyond efficiency: AI as a tool for accessibility

Discussions around AI often focus on efficiencies, the ability to streamline workflows, or harness these tools to create new products. This can certainly be true. Last month, political news outlet Politico launched their Policy Intelligence Assistant — a new AI-powered tool enabling Politico Pro subscribers to generate in-depth policy reports using the company’s proprietary reporting and analysis.

However, at the same time, AI can also be used to ensure that content is able to reach wider, more diverse, audiences.

Publishers are already using AI to help with translation. But the benefits can go well beyond that. Speech-to-Text tools can generate captions for live broadcasts, webinars, and events, making the information more accessible. Similarly, these technologies – augmented by human input – can aid with audio description, the creation of ALT text, and personalization. This can represent a business opportunity that expands reach and potentially fosters greater audience loyalty.

In Austria, the APA (Austria Press Agency) is developing an AI tool to generate alternative text for infographics. The goal is to help visually impaired users better access data-driven journalism.

Chitranshu Tewari, the Director of Product and Revenue at Newslaundry in India, argues that “AI-driven accessibility isn’t only better product design but also good business.” Reflecting on their own experiences, he comments that “our accessibility efforts didn’t just make our platform more inclusive — they also attracted new paying subscribers.”

Takeaway

AI can do more than help media companies tick compliance boxes. By making content more user-friendly there are opportunities to better serve all audiences, especially those that have historically been underserved or overlooked. AI can help to embed inclusive design principles, while at the same time making access to your products more equitable and valuable.

4. Trust and transparency in media’s AI age

As AI becomes more deeply integrated into content production and consumption, media leaders must continue to understand – and address – attitudes towards these technologies among consumers.

Research demonstrates that public sentiment towards AI in the production of content, such as journalism, varies widely. “On the whole, people are generally positive about journalists’ ability to use technology for professional purposes,” says the Center for News, Technology & Innovation. Nevertheless, attitudes are often shaped by users’ personal experiences and knowledge of these technologies.

This divergence in public opinion reaffirms the need for transparency about the usage of AI technologies. That can be particularly true in the creation of news content.

Takeaway

In an age of low levels of trust in mainstream media, disclosure and the presence of clear – publicly available – guidelines around how AI is being deployed, is important. Media companies should be upfront about when and how AI is involved in content creation, as well as the potential limitations inherent within these technologies. For example, do audiences understand how answers generated by your AI chatbot are produced? If they don’t, arguably they should.

Putting the AI pieces together

AI is already a transformative force that is reshaping the media industry. It is redefining workflows, as well as how content is produced, distributed, and consumed.

As we’ve seen, some of the trends in this space have only accelerated in the first part of 2025, although they are often underpinned by core principles which have always made good, strategic, sense. These changes touch on the core of what great content looks like: how those stories are made, where – and how – they are consumed, and what trust looks like in an increasingly AI-driven world.

Chief among these, media companies must continue to meet audiences where they are. In 2025, this is increasingly in conversational online environments. Whether it is via voice or chat, AI can be used to create experiences that feel more informal, responsive, and interactive.

At the same time, even though AI enables publishers to automate routine tasks, freeing up some staff time in the process, outlets should avoid the temptation to flood platforms with more material. In an era of abundance, content isn’t a numbers game. Originality and distinctiveness will determine which providers survive and thrive.

AI’s role in the origination of creative work also needs to be effectively communicated. Audiences want, and deserve, transparency, ethical clarity, and the knowledge that there is still human and editorial oversight of the content they consume.

And lastly, in doing all of this, it is incumbent on media players to integrate inclusive design into everything they do. This approach isn’t just important from an ethical or compliance standpoint, it can also be commercially beneficial, with AI potentially making this easier to do than ever before.

The strategic use of AI tools and technologies offers media companies considerable opportunities, but leaders also have to recognize that there are also inherent risks too. This includes resisting the urge to use AI simply to do more. Rather, the focus for folks in the C-Suite must be to do better: creating enhanced opportunities for engagement and doing so in a way that is transparent and where accuracy and quality remain paramount.

The next chapter of AI in the media business is being written now. It’s up to all of us to ensure it’s one worth consuming.

A row of marbles lined up to show how when product and revenue are in alignment media organizations flourish. Media Revenue

Moving the media marbles in the same direction

April 10, 2025 Richard E. Brown, Media Revenue Consultant

Lately, I’ve found myself frequently saying variations of the same concept: “I like to see all the marbles fall at the same time,” or maybe “I like to see all the marbles moving in the same direction.” It’s a simple image, but it captures something critical that media leaders are grappling with.

Right now, both for-profit and nonprofit news organizations are pulled in multiple directions, sometimes in ways that feel conflicting. There’s the urgent pressure to meet short-term revenue and development goals. There’s also the equally critical responsibility to build a scalable, high-quality content product that earns long-term trust and engagement. On the surface, separating those efforts can seem logical, even principled. Many media organizations intentionally silo revenue from editorial to protect independence, maintain credibility and avoid the perception of influence.

But here’s the problem: That separation, while well-intentioned, often leads to organizational disconnect, inefficiency, and even burnout. Editorial teams operate without a clear understanding of audience needs or funding realities. Revenue teams chase dollars without being fully connected to the mission or the product value that fuels those relationships. When these efforts are misaligned, the result isn’t integrity. It is inertia.

The most resilient and forward-moving organizations are the ones that challenge that separation. These media companies don’t treat building an audience and driving revenue as separate (or even competing) goals. Instead, they invest in infrastructure and culture that make it possible for product-led and sales-led strategies to operate in sync. They build systems that allow each side to inform and strengthen the other without compromising editorial independence. It is a deliberate tactical shift and a shift in mindset reset that has become essential in today’s climate.

Leading with product or sales

While coaching organizations through infrastructure strategies, I repeatedly run into a familiar question: In an early startup environment, how do you appeal to potential sponsors when your audience is incredibly valuable but statistically small?

It’s not quite a paradox, but it does expose a frustrating contradiction at the heart of early-stage media revenue and audience growth. It strikes a nerve and speaks directly to the false binary of whether an organization should be focused on building or selling. The truth is, you can–and should–do both. When the entire team is grounded in the heart of your mission and has a clear understanding of who you are and what you offer, it actually becomes easier to move forward confidently on both fronts.

A product-led approach focuses on the quality of the news product, including its content, features and the consistent delivery of value to the audience. It helps media companies drive growth and can convert into revenue through subscriptions, memberships or recurring giving. This strategy emphasizes seamless content design, audience segmentation and member benefits, using clear calls to action to increase engagement and improve retention. Success requires research, surveying, behavioral analysis and continuous assessment. While typically slower and more intentional, product-led growth is essential for long-term sustainability.

What I’ve learned and often emphasize is that sales is not a mad scramble. It is a system. It is an opportunity to design and execute a strategy where effort, decision-making and influence come together to create real value for partners. Strong sales strategies lead to stronger sponsorships, better partnerships and long-term retention. Just like product development, this requires time, intention and strategic alignment.

Understanding the nuances of both models and how product-led and sales-led growth can operate independently as well as together is critical. A dual-engine model that integrates both allows organizations to be nimble and intentional at the same time while building something sustainable, scalable and mission-aligned.

Leading with product and sales

We see this logic applied in the tech world. Companies known for product-led growth, especially in the startup space, don’t shy away from integrating a sales function. A product-led approach drives user acquisition and early traction, much like how a news organization might use free content or limited-access models to grow engagement. According to McKinsey research from 2023, companies that pair product-led strategies with traditional enterprise sales often outperform peers in both revenue growth and company valuation. That hybrid model, often referred to as product-led sales, allows organizations to serve both individual users and high-value institutional clients at the same time.

This shows something very clear. Building and selling are not competing forces. In reality, they are most effective when aligned through shared infrastructure. They are like marbles in a well-designed marble run. Each follows its own track with different curves, drops and timing. But when the system is aligned, all the marbles arrive at their destination together. That kind of coordination, guided by clarity and discipline, allows organizations, especially in news media, to grow with intention instead of remaining stuck in cycles of reactive decision-making.

When a newsroom builds systems that allow both models to operate in sync, everything becomes more intentional, more measurable and more resilient. A robust CRM connects audience data with donor and sponsor relationships. Strong analytics make it possible to track which content is performing and which audience segments are most engaged. Brand development provides both editorial and revenue teams with a shared language and a clear point of alignment.

When this kind of integrated infrastructure is in place, product-led strategies such as newsletter personalization and loyalty programs help surface warm leads. At the same time, sales-led efforts like sponsorship pitches and donor stewardship can be guided by real user behavior and remain connected to the overall product experience.

The landing point

Too many for-profit and nonprofit mission-driven media organizations are being forced to choose between building a content product that earns trust or hustling for revenue that keeps the lights on. That false choice is costing more than just money; it is costing momentum. When product-led and sales-led strategies operate in silos, teams burn out, missions stall and infrastructure cracks under the weight of missed expectations.

A hybrid growth strategy, anchored in infrastructure, is sustainable, scalable and adaptive. It helps organizations become more responsive to opportunity and less reactive to disruption. By definition, marble runs help us explore how forces interact to influence motion, momentum and timing. They offer a powerful visual for how systems can be designed to create coordinated outcomes. That is exactly the kind of growth news media needs right now. This is not just about generating revenue or building an audience. It is about creating alignment so that every team, every strategy and every mission-driven decision moves with purpose and arrives exactly where it is meant to, together.

How MIT maximizes editorial value with newsletters

April 3, 2025 Esther Kezia Thorpe – Independent Media Reporter

For subscription-driven publishers, newsletters can be a valuable way of building relationships with potential paying readers. But it can be a challenge to effectively promote newsletters and justify the extra work required to create them. However, MIT Technology review has seen success with a portfolio of editorially-driven newsletters published across the week. Key to their growth strategy is effectively reusing the newsletter content online to drive sign-ups, and maximizing opportunities to promote the newsletters across all MIT activity.

“Once someone has signed up to our newsletters, they’re two or three times more likely to become a subscriber,” said Niall Firth, executive editor, newsroom at MIT Technology Review.

With newsletters forming a key part of the publication’s subscriber funnel, promotion and growth of these products is a priority. Here’s how MIT Technology review structures its newsletter portfolio and promotes sign-ups to begin building those vital reader relationships.

Using the editorial to go deeper

MIT Technology Review has a variety of editorial newsletters in their portfolio. The Download is a daily weekday newsletter that features short, snappy summaries of key stories. It also includes a quote of the day, links from around the internet, and a throwback to a feature story that was published during the last year.

MIT also offers a selection of weekly “beat” newsletters. AI newsletter The Algorithm publishes every Monday, led by AI and hardware reporter James O’Donnell. Energy and climate newsletter The Spark comes out every Wednesday, and The Checkup, focused on health and biotech news, is released on Thursdays. Editor in Chief Mat Honan then publishes The Debrief, an analysis of the biggest tech news story, every Friday.

In terms of editorial strategy, these newsletters begin with a full editorial piece of around 700 words, which can be used for scoops, analysis, or context around bigger stories. “These are written from scratch every week,” Firth explained. “[The writing] that goes in there is in there first, so if you sign up to a newsletter, you’ll get to read it before it appears anywhere else.”

The second half of these beat newsletters is used for other relevant links, news and bite-sized updates, as well as subscription upsells and event promotions.

Each beat newsletter is led by a named editor, as they find readers connect better with a person or expert. Editors are encouraged to be conversational. “They’re like your smart friend guiding you through [topics]. So, if something is complicated in the world of your beat, your reader can rely on them. They’re going to lay it all out to you and tell you what’s important, which bits you can ignore, what you should be aware of,” said Firth.

It also offers the opportunity to go behind the scenes in a way web-first articles don’t. Casey Crownhart, MIT Technology Review’s senior climate reporter and writer for The Spark newsletter was at the ARPA-E Energy Innovation Summit recently, a conference dedicated to energy technology. For the newsletter, she wrote about what it was like to be there, and the undercurrents around emerging technology and climate change. “The vibes were weird,” she reported, using a more explanatory and informal tone than would normally be used for an article.

Publishing newsletters as stories

One of the key drivers of MIT Technology’s newsletter growth strategy is effective use (and reuse) of the content. Although newsletter articles are written first and foremost for the inbox, they are then republished the following day as a story on MIT Technology’s website, with a note pointing out that newsletter subscribers saw the story first.

This achieves an often tricky balance between offering newsletter readers exclusive content. It offers an exclusive window to subscribers, yet allows MIT to promote articles to as wide a readership as possible.

“Once they’re on the site, they get treated and promoted like every other story,” Firth said. He also pointed out that sometimes these newsletter-first stories do as well as, or even better than, standard web-first pieces.

When newsletter articles are published online, they appear with multiple notes about originally being published as newsletters, with sign-up boxes to capture interested readers. This also provokes a bit of FOMO (fear of missing out), and highlights that the value of the newsletter is in being the first to get relevant news.

MIT’s newsletter-first strategy lets the editors go deeper on stories that have already been published, as well as smaller or more timely scoops. Firth explained that there may be a big story from earlier in the week with off-cuts or reporting that didn’t fit into the story, but can be used as a whole new story for the newsletter. “That does double-duty: It’s cool to read an interview with a researcher on a topic that only got a line in the main story but is worthy of a whole separate interview. But then it calls back to the main story, and all fits together,” he said.

Although newsletter stories contain multiple calls-to-action (CTAs) for the relevant newsletter, Firth also noted that contextual newsletter sign-up boxes are promoted on relevant stories throughout MIT Technology’s site. Energy stories will have a promotion for The Spark, AI stories for The Algorithm, and so on. This means site visitors are given visible and frequent opportunities to sign up to newsletters, even on a first visit.

Another tactic which has seen success in driving audience growth is visible promotion of newsletters at MIT events. The publisher has a stable of large-scale conferences and focused gatherings, from their flagship EmTech emerging technologies summit to digital leadership “classroom,” Future Compute.

“At all of our events, we have these massive boards in the lobby of the event. They have QR codes for all the different newsletters, with a specific UTM so we know it came from that event for that newsletter,” Firth outlined.

He explained that both new event registrants or new subscribers to the brand get a dedicated email about the newsletters they can sign up to. For example, a registrant for their EmTech AI conference would also get an email from James O’Donnell, newsletter writer for The Algorithm, showcasing their weekly AI deep dive.

Relevant newsletters are also promoted at online events, including webinars and live streams.

Other growth tactics

Firth outlined a number of other strategies used to grow their newsletter audiences. MIT Technology Review has a hard paywall for around a third of the stories on the site. But for stories promoted on social media platforms, the team will offer access in return for signing up to a related newsletter.

“On Instagram, if we have a new big feature around AI, we do Instagram Stories where the ‘front page’ of the story would be the article, and the second page is a sign-up box to The Algorithm to get access to it,” said Firth.

The team has seen success using this tactic with some more surprising platforms like Reddit, too. Firth noted that Reddit attracts people who want to go particularly deep into various topics, rather than surface-level technology coverage; an audience their newsletters suit well.

Last year, the publisher experimented with exit intent popups – banners that appear when a user looks like they’re about to click off the page. Firth shared that these drove 4,000 new sign-ups over the test period last year. They are hoping to roll out a wider test of exit intent popups this year.

In October last year MIT launched a free six-week limited series newsletter, Intro to AI. Newsletter courses like this can be a good way of letting potential readers sample work without committing to a more regular newsletter. Each newsletter in the course takes the opportunity to promote the Algorithm.

Chief Executive Officer and publisher Elizabeth Bramson-Boudreau told A Media Operator that since launching, the course had attracted 17,000 subscribers with an average open rate of 57%. Now, the publisher is looking at other complementary areas to its regular beat newsletters, like healthcare.

MIT Technology review has also been experimenting with newsletter promotion swaps as part of its growth strategy. Axios and Semafor have been early partners for this, with newsletters exchanging ads for the other publication to attract interested audiences who are already engaged with newsletters.

Crucially, all newsletter promotions make it as simple as possible to sign up, with readers being asked for just their email address.

There’s no silver bullet or one tactic that will result in sustainable newsletter growth. MIT Technology Review’s approach is to ensure that beat newsletters are consistently promoted across relevant pieces online. Every opportunity is taken – from events to social stories – to funnel audiences into topical newsletters. It is this combined, holistic approach that fuels MIT’s success.

A concept image that shows elements of digital video production and measurement to suggest finding the ideal length for video

Is there a perfect length for digital video?

March 27, 2025 Charlotte Henry – Independent Media Reporter

England Women’s National Team soccer player Lucy Bronze is sitting in an armchair, in front of the camera, being interviewed for the BBC by her former teammate turned TV presenter Alex Scott. She explains that she was diagnosed with autism and ADHD four years ago and outlines how the conditions have impacted her hugely successful career.

It’s a significant conversation, but it didn’t go straight to a BBC channel. Instead, the final six-minute edit appeared on the BBC iPlayer last week and then YouTube. It was a perfect demonstration of an increasingly popular and important video format – and length.

Standing out from the video crowd

Videos that are a few, even 15, minutes long might not seem on trend in our scroll-happy world. However, in genres such as news and explainers this content length has proved to be powerful and increasingly popular.

There is an overwhelming amount of video available now and certain formats and lengths of duration are starting to stand out. Most noticeable are very long podcast episodes (think three-hour Joe Rogan episodes) and tightly edited, punchy social media clips lasting 60 to 90 seconds.

However, structured, often scripted, work lasting in the region of six to 15 minutes, is becoming a crucial part of some publishers’ strategies. Adam Tinworth, a lecturer at City St George’s in London and a commentator on audience strategy, said that “seven to 15 minutes is a kind of nice slot,” because publishers can “get a decent amount of depth without boring people.”

One outlet that produces this kind of content as part of a wide range of output is The News Movement. It publishes an eight-to-15-minute video on YouTube each month. Editor-in-Chief Rebecca Hutson told Digital Content Next that the work is “a kind of reinvented or slightly deconstructed documentary”. She explained that her team strips out b-roll and lots of the other quirks we are accustomed to seeing on television because “it just doesn’t quite suit the medium”. The objective is to balance pace as well as depth. “The sequences are tight,” said Hutson.

Again, YouTube is the destination. Quite simply, the media companies want to go where they already know there is an audience, instead of trying to drag them to their own website.

“All our content appears quite differently on different platforms,” Hutson added, and this impacts the kind of work published there. “On Instagram, it’s a little bit more of a kind of leaning in experience, people are in a slightly different headspace…that content is appearing next to people’s friends and family.”

It’s a point Tinworth echoes. He noted that TikTok is “not an environment where people are hunting for news-based stuff. They will encounter it, and they might consume it, but it’s not where they’re looking for it.”

Longer, perhaps more serious videos are viewed in a whole different context. Videos of longer lengths will be much more palatable on somewhere like YouTube. Viewers are increasingly comfortable with longer formats as they watch more YouTube on big TVs. Data from Tubular Labs published in July 2024 found that the number of videos over 20 minutes long being uploaded to YouTube each month rose from 1.3 million in July 2022 to 8.5 million in June 2024.

Specialist shows optimized for video length

Indeed, there are companies that are built around making highly produced videos in the six-to-15-minute-length sweet spot. Complexly, for instance make a range of shows, including science education content for children. Underknown also do this kind of work. (I particularly enjoyed learning what would happen if I fell into Jupiter as part of their “What If” series”.)

Explainers, in which a specific topic is unpacked in depth, work well “because those videos have an inherent longer life,” said Tinworth. “You can build up this sort of body of explainer videos, which then drive traffic over long periods of time.”

Complexly is, at least in part, supported by Patreon. However, in general monetization of this kind of content seems to be based on the familiar pillars of advertising and brand sponsorships, sticking with the consensus where it is published.

Traditional broadcasters are experimenting with this format too. In addition to the Lucy Bronze interview, the BBC has previously created Ranked, a game show where groups compete for cash by guessing the correct ranking of things related to their shared passion or profession. It went out on both YouTube and the iPlayer CNN has created the more documentary-style Great Big Story on YouTube too. Nigel Dacre, a former editor of ITV news who now works as a media and digital executive said:

“In TV News, there’s an ongoing debate about how much TV news organizations should cut up their normal TV programs into short form reports. It’s not just for social media (which they all do), but also for their new streaming apps. ITV News really focuses on short form videos on ITVX, for example… a lot more than BBC News does on the iPlayer.”

Keeping control of your work

Giving work over to third parties who have… changeable… algorithmic and monetization criteria is something Jane Ferguson is trying to push back against. The eminent former foreign correspondent spent much of her career at PBS and has now founded Noospere, a subscription-based service that lets journalists own their own work instead of giving it to giant tech platforms. Think of it as a mix between Substack and a social media feed.

Yes, it’s another platform but “we’ve taken control of the distribution and put it in the hands of the journalists so effectively, you know, disintermediating the news business,” Ferguson explained.

Furthermore, “many of our colleagues and our contributors come from a Vice background where they really leaned into longer form filmmaking, but also that magazine length. I think that many field reporters have felt has been something that audiences, for years, have responded so well to. They want these more substantive pieces, but they don’t want to give you 45 minutes of their day,” said the Noosphere boss.

Ferguson also refutes the idea that not posting on giant tech platforms means you’re not going where consumers are. “We’ve gone to where the eyeballs are by going on our phones app first,” she said. For her, the hardware platform seemingly matters more than the software one.

As media executives strive to engage younger audiences, finding the sweet spot for digital video will be critical. Certainly, it’s not a one-size-fits-all proposition. Like the vast breadth of content that appeals to people, different lengths will suit different individuals.

As ever with creative work, this as much an art to finding the right length for video as there is a science. Testing with your audience will always be crucial. However, the success of companies like Complexly and Underknown, and the successful individual pieces of content like the Lucy Bronze interview demonstrates that seven to 15-minute-long videos are a powerful way to get in-depth information to viewers in an accessible format, particularly in the news and explainer genres.

Expansion drive in women’s sports

Rights heat up

Adland’s interest increases

Media coverage of scientific research has issues

What’s at stake when media fails to get science right

Using the tools properly to create the best science journalism

Programs and priorities

YouTube: A channel for video discovery

Space to experiment

Considered and careful

The headline? They don’t watch. They participate.

Creators are the new gatekeepers

Authenticity isn’t a bonus – it’s the baseline

So, what should media companies do?

1. Design for engagement, not impressions

2. Co-create with cultural insiders

3. Reimagine platform strategy

4. Lead with values – and humanity

5. Build with the “SHARES” formula

The future Is participatory

AI translations

Bundled podcast subscriptions

Reusing popular print content

Podcasting has room for innovation

A video strategy means YouTube (and more)

Cross-platform monetization strategy

An adaptable audio strategy

Don’t fear cannibalization

Trust in a fragmented world

The evolving role of creators

Building deeper connections with direct relationships

Persevering and pushing forward

1. Conversational AI enhances connections

Takeaway

2. The return of content at scale

Takeaway

3. Beyond efficiency: AI as a tool for accessibility

Takeaway

4. Trust and transparency in media’s AI age

Takeaway

Putting the AI pieces together

Leading with product or sales

Leading with product and sales

The landing point

Using the editorial to go deeper

Publishing newsletters as stories

Linking newsletter strategy with events

Other growth tactics

Standing out from the video crowd

Specialist shows optimized for video length

Keeping control of your work