Social media and digital advertising dynamics are once again at a critical juncture. On January 19th, TikTok resumed service in the United States after a brief disruption, much to the relief of its 115 million U.S. users. President Donald Trump’s executive order to delay banning the app for 75 days allows TikTok to seek a U.S. partner to address security concerns. However, TikTok’s future uncertainty is shaking up the digital ecosystem as major platforms and advertisers prepare for potential disruptions.
Sensor Tower’s latest data paints a vivid picture of TikTok’s role in the U.S. media and advertising market. The platform drives 88 million daily hours of consumer engagement, generates approximately $2 billion in annual consumer spending, and commands an 8% share of the digital advertising market. Should TikTok face another ban, competitors like Meta and Alphabet, alternatives like Snapchat, and emerging platforms are all poised to capitalize.
Consumer engagement: the TikTok effect
TikTok’s popularity has reshaped how users consume short-form videos. However, its dominance in engagement reveals a troubling trend. Overall time spent on short-form video apps dropped by 4% year-over-year in 2024, with TikTok’s U.S. engagement declining by 12% in Q4.
Despite this decline, TikTok’s success has forced competitors to innovate aggressively. Platforms like Instagram, Facebook, and YouTube ramp up their short-form video offerings with features such as Reels and Shorts. In Q4 2024, users spent 54 million hours daily on YouTube Shorts, 28 million on Instagram Reels, and 26 million on Facebook Reels. Notably, Facebook Reels experienced the most robust growth, with engagement rising 87% year-over-year. Instagram (+18%) and YouTube (+7%) would follow.
Snapchat, too, is stepping up its game. The rollout of its “Simple Snapchat” interface aims to streamline access to Spotlight, its short-form video feature. This move positions the platform to attract a larger share of TikTok’s audience in the event of a ban.
Advertising dollars at stake
In 2024, Tiktok platform held an 8% share of U.S. digital ad spend, with Walmart, Google, and Amazon ranking among its top advertisers. If TikTok exits the U.S. market, Sensor Tower projects that platforms like Meta and YouTube will inherit significant portions of its ad revenue. Specifically, Meta is expected to gain four percentagepoints of TikTok’s ad spend share, split between Instagram (three percentage points) and Facebook (one percentagepoint). YouTube and Snapchat are likely to gain two percentage points.
This shift would reinforce Facebook’s position as the U.S. social media ad spend leader and enable it to command a 35% share by Q4 2025, followed by Instagram (30%) and YouTube (19%). Meanwhile, Snapchat’s share could rise to 6%, with smaller platforms like Pinterest and Reddit collectively accounting for less than 5%.
In-app purchases offer lucrative opportunities
TikTok’s innovative monetization strategies have set a high bar for competitors. Since its launch, U.S. users spend over $4 billion on TikTok Coins, an in-app currency for tipping creators and promoting videos. In 2024, TikTok’s $1.7 billion in U.S. in-app revenue outpaces Instagram, Facebook, YouTube, and Snapchat combined.
If TikTok exits the U.S. market, its competitors will inherit a significant portion of this revenue stream. Sensor Tower predicts that Instagram’s in-app revenue could surge by 790% year-over-year in Q4 2025, more than double the growth rate of its peers. YouTube, however, would maintain its leadership, with projected in-app revenue of $442 million in Q4 2025, roughly double that of Instagram and Facebook.
Lessons from India’s TikTok ban
India’s 2020 TikTok ban provides valuable insights into what might happen in the US. Before its ban, TikTok was India’s largest short-form video platform, boasting 169 million monthly active users and a significant share of app engagement. After the ban, platforms like Instagram and YouTube surged in downloads and engagement, while local players such as Moj and Josh quickly gained traction.
Sensor Tower estimates that Instagram and YouTube could see similar growth in the US, with their engagement hours rising by 40% and 12% year-over-year, respectively, in Q4 2025. Snapchat growth may lead the pack with an 89% increase in daily engagement hours, driven by its Spotlight feature and streamlined interface.
Challenges and opportunities
The media industry, particularly those in the social and short form video space, cannot ignore TikTok’s vast influence on consumer behavior, advertising, and monetization. Competitors are already responding by enhancing short-form video features and exploring new monetization strategies. Platforms that successfully replicate TikTok’s creator-driven ecosystem—complete with seamless in-app payment systems for tipping and promotions—will likely capture the lion’s share of user engagement and revenue.
With billions of dollars in ad spend and consumer engagement at stake, media companies and advertisers will closely monitor how this story unfolds. Whether TikTok stays in the U.S. market or not, its success—and potential absence—continues to shape the future of social media and digital advertising.
As we barrel into the new year and all that awaits, the media industry is at the nexus of technological disruption, regulatory upheaval, and changing consumer sentiment in terms of media and expectations for it. From the rise of artificial intelligence to intensifying antitrust enforcement and the shifting stance of dominant platforms, the stakes for publishers and content companies have never been higher.
Here’s a look at five critical trends in the media landscape and what they may mean in the future.
1. AI disruption triggers both innovation and legal challenges
Artificial intelligence is reshaping content creation and distribution with breakneck speed. AI-generated search results are increasingly the norm, while the fate of the underlying articles and video remains murky. Publishers are leveraging AI to scale production, personalize experiences, and streamline workflow. However, while this boom propels media forward, the underlying AI models are contentious in their devaluation – or outright dismissal of – property rights, IP, and the fair value of content, not to mention debate around the quality and accuracy of AI generated search results and source attribution.
In 2025, marquee copyright cases are slated for trial. Courts will tackle questions about how intellectual property laws apply to works created or transformed by AI rather than humans. At stake are the legality of using copyrighted material to train AI models and the extent to which those models can monetize their output while risking, if not entirely supplanting, the clear licensing opportunity for publishers. These rulings will set precedents and could rewrite the rules of the road for both AI developers and publishers.
Joining the groundswell, Canadian media orgs jumped in last week by collectively suing OpenAI, alleging unauthorized use of their news reporting to train its models. Similar lawsuits are expected to continue globally as publishers push for enforcement against misappropriation and/or copyright violations of their work.
Media companies must once again prepare for these shifts by walking and chewing gum at the same time. As ever, publishers must safeguard their media content while continuously experimenting. The challenge will be striking the balance between embracing AI’s potential and ensuring accountability with their strategic technical platform partners.
2. The role of a free and plural press amid political threats
In this era of heightened political tensions, the role of the press as a democratic watchdog is paramount. In the U.S., the new administration brings with it a wave of uncertainty. Media leaders watch with a wary eye as leadership nominations roll in.
Concerns about surveillance, legal pressures and expense, and erosion of journalistic protections here and around the world are intensifying (to say the least). Globally, authoritarian regimes are leaning on tech to suppress dissent and control narratives, challenging the resilience of independent media.
For publishers, protecting and promoting a pluralistic media ecosystem is essential. This means investing in news reporting, supporting press freedom initiatives, and maintaining commitments to accuracy and integrity despite political pressures. As threats to press freedom grow, a robust fourth estate remains critical to the industry’s long-term viability as well as to democracy itself.
3. Social platforms: shifting sands in distribution
Social media’s dominance in content distribution is being reshaped by user migration. Elon Musk’s tumultuous leadership of X (formerly Twitter) has alienated advertisers and much of its user base, notably journalists. This has fueled the rapid rise of Bluesky, a decentralized alternative designed to resist the power of billionaires and governments. Remarkably, Bluesky is approaching or has surpassed Meta’s Threads in certain usage metrics. Bluesky’s embrace of open-web principles and support for journalism – very different from the current suppression of links on X and Threads – has further endeared it to journalists and publishers.
These platform shifts come amid the FTC v. Meta antitrust trial, scheduled for April 2025. Although the legal complaint focuses on the relevant market of social media built around the personal social graph (thereby excluding X, Bluesky, Threads, and LinkedIn), the dynamics of platform competition remain crucial for publishers to connect with new audiences where they want to be reached. It is also as yet unclear how the incoming Trump administration will respond to a potential ban of TikTok, which is set to hit a key milestone the day before his inauguration.
For media companies, platform diversification has long been a requirement. Relying too heavily on any one distribution channel leaves brands vulnerable to algorithm changes, shifting user sentiment, and unpredictable policy shifts. Building owned-and-operated platforms, prioritizing direct relationships with audiences, and leveraging multiple distribution channels are essential strategies to ensure resilience in this fragmented ecosystem.
4. Regulatory and court interventions reshape big tech
2025 is shaping up to be a watershed year for antitrust regulation and enforcement. The U.S. Department of Justice (DOJ) has already won its search antitrust case, calling for the divestiture of Google’s Chrome browser and potentially its Android operating system. Meanwhile, the DOJ’s Virginia adtech case (expected to result in another major win) foreshadows broader changes to Google’s dominance in digital advertising. Next up: the Texas adtech trial in March, followed by the previously mentioned FTC antitrust case against Meta.
Beyond the U.S., Canada’s competition regulator called for the breakup of Google’s adtech business last week, with the European Union likely to follow suit. These developments could significantly reshape the global ad market, which would offer publishers an opportunity to regain control over their data and revenue streams.
However, it also introduces uncertainty. Navigating new partnerships, technologies, and regulatory frameworks will require adaptability and leaning into a long-term strategy while bearing short-term headaches (read: costs). Building strong first-party data capabilities and exploring alternative adtech solutions will be crucial for growth in this evolving environment.
5. Advertising reinvented: privacy, AI, and accountability
Advertising is undergoing a transformation driven by consumer privacy concerns and regulation. The death of third-party cookies and the rise of privacy-focused technologies have elevated the importance of first-party data. This means that publishers’ direct relationships with audiences and the high-quality content they provide are more valuable than ever.
Google’s antitrust challenges are also poised to reshape the future of advertising. The cases brought against the company globally allege manipulation of ad auctions and abuse of its monopoly power to harm publishers and consumers alike. If successful, these actions could reinvigorate competition and enable publishers to negotiate better terms, which would have been available for the past 10 years if it weren’t for Google’s behaviors. The greatest fruit of Google’s abuses across search and adtech may well be YouTube where Google has been able to marry its unparalleled access to search, location, web-wide browsing, and adtech data with the largest pool of streaming video inventory on earth. It will be interesting to see if this attracts regulatory scrutiny in 2025.
At the same time, AI is accelerating the evolution of advertising strategies. Predictive targeting, on the fly ad creative, and more advanced tech to control ad campaigns are helping large platforms capture new dollars from offline retail media while better maintaining privacy. For publishers, a dual focus on consumer trust and innovative monetization will be critical for success if they want to peel off some of these dollars.
Outlook: shaping the future of media
In 2025, the media industry is defined by rapid change and high stakes. From AI-driven innovation and platform fragmentation to regulatory challenges and shifting consumer expectations, content companies face a complex and evolving landscape. Success will require a commitment to trust, adaptability, and creativity.
As DCN has long advocated, publishers prepared for these shifts – whether through diversifying revenue streams, strengthening first-party data, or doubling down on audience relationships – will be well-positioned to survive if not thrive. In this new era of accountability and competition, it’s not just about outlasting disruption; it’s about shaping what comes next.
WhatsApp may be the fourth most popular social network in the world. However, to date it has not been a place publishers have had much success building audiences. Over the last few years though, the Meta-owned messaging app has been building out capabilities for brands to connect with its thousands of millions of users.
One promising component, WhatsApp Channels, was launched globally in September 2023 following a few months of trials. Rather than being a two-way communication tool like Communities or chats, Channels are a broadcast feature; the first time WhatsApp has experimented with this type of one-way communication.
Despite the relative newness of Channels, WhatsApp is an established, trusted and popular platform with audiences. A year on from its official launch, publishers who made the move to launch Channels early on are seeing success. Here’s how Bloomberg, Yahoo Finance and Reach plc are using Channels to connect with global audiences, drive pageviews, and experiment with content sharing.
Bloomberg: leaning into global audiences
Bloomberg was one of a few publishers invited by Meta into a pilot program of WhatsApp Channels 18 months ago. This meant that they were present when Channels was rolled out more widely, which Katie Boyce, Head of Digital Editorial at Bloomberg says was an advantage. “Being there at the start has really helped us grow that audience,” she said.
The main Bloomberg News WhatsApp Channel has 2 million followers. The publisher also has a number of more targeted accounts, from Bloomberg India with 32k followers and Bloomberg Africa with 36k followers, to Spanish and Portuguese language Channels with 9k and 1k followers respectively. They also have a separate Bloomberg Opinion account, to separate out columns from the news shared in their primary channel.
“We have a robust global audience so we’ve been looking for an opportunity to do something with them for a while. And, given WhatsApp’s international user base, they opted to launch region-specific Channels. During the run up to elections in India, they also experimented with offering free articles to audiences who came from newsletters and WhatsApp Channels as a way for them to sample paywalled content.
This was used as a tactic the other way too, as Boyce explained. “In [articles about the] India election, we then promoted following us on WhatsApp and subscribing to the newsletter as a way to get more of an engagement tool to reach those users directly.”
However, Boyce said that the majority of users are finding Bloomberg’s Channels within the app themselves as they’re browsing, searching, or onboarding.
The team receives metrics on traffic and clicks from WhatsApp Channels. And, given that sharing news links is a very strong user behavior on the platform, it makes sense to promote links there. But it’s not just links that work; images and polls also perform particularly well.
“We have been experimenting more with image list posts, to see if we can add variety in the channel,” Boyce said. “Polls have also seen some nice engagement. But generally, we focus on having an image with every post, because those perform best.”
Despite Bloomberg’s success so far, they still view their foray into WhatsApp as an experiment. “For us, our top priority from a distribution perspective is to build direct connections with our audiences,” Boyce emphasized, noting that audience-building on homepages, apps and newsletters is where most effort is focused. “But we see WhatsApp as an experimental platform, particularly in key international markets where we can reach new audiences.”
Yahoo Finance: focused experimentation
Yahoo Finance has also benefited from being early to Channels. They spotted that Meta was leaning into the platform last year, and once Channels were available more widely, they set one up. “We approached it like any new platform where we can go and meet different audiences, and figure out what they like,” said Yahoo Finance’s Head of Distribution, Michael Kelley.
Kelley believes the early mover advantage has helped propel them to 2.6 million followers. “Organic growth is hard to come by on mature platforms,” he said, explaining that from an audience development standpoint, opportunities like this are rare as a rush of people check out new tools, and platforms make it as easy as possible to discover. “From a publisher standpoint, getting in early and posting things consistently that are resonating, you can catch that initial window of organic growth.”
Unlike Bloomberg, Yahoo Finance has decided to concentrate on one Channel and build engagement and growth there. So far, the team is concentrating on posting, building up workflows and best practice, and seeing what works best.
Charts and data visualizations have done especially well, leaning into the publication’s authority in the finance space. He has also noticed increased interest in international stories, with one chart about the Mexican peso performing particularly strongly.
Yahoo Finance is also still in an experimental stage with WhatsApp Channels. “I’m encouraging our editors to experiment, have fun, try to see what the audience is reacting to, and focus on the brand and displaying the quality content,” Kelley emphasized. “Everything else will follow.”
Reach plc: a strategic approach to WhatsAppcommunities and channels
UK regional publisher Reach plc has had a presence on WhatsApp for some time. They were early experimenters with WhatsApp Communities; a unified space for multiple groups with various topics and interests. Audience & Content Director Dan Russell explained that Reach saw an opportunity for a different type of communication with Channels, and they now run both.
“For instance, we’ll have a WhatsApp Community for a local area, but a WhatsApp channel for all our money content. So it’s the same platform, but different mechanisms and results,” he said, noting that many of Reach’s 70+ regional publications will all write about money in one way or another.
However, Russell has noticed some differences between the two tools. Channels, in his experience, grow very, very quickly. But the returns – pageviews in Reach’s case – aren’t nearly as high as Communities. Reach has 2.3 million people following various Channels compared to 270,000 members of Communities. He told the World News Media Congress in May that Channel members only drove around 1 million page views a month, but by contrast, almost every Community user reads at least one thing a month.
The engagement disparity is partly down to the way WhatsApp notifies for new content between the two. But Russell acknowledged that for them, the focus on growing a UK audience on Communities for Reach’s primarily UK-based content makes it more relevant than the more global audiences reached through Channels.
There is an opportunity here for the publisher. “Channels gives us access into different markets, especially for things like sport; Man United, Arsenal – those teams have members from around the world,” Russell said. “Channels in some countries is a lot bigger, massively bigger than they are here. So what that’s allowing us to do, which is very valuable, is to reach those people wherever they are.”
“Say 45% of [a Channel’s] members are from African countries. Do we commission a piece on an African football player specifically for Channels, does that get a better click through rate?”
Like Bloomberg and Yahoo Finance, Reach has found that growth to Channels is rapid without requiring much additional promotion, especially in other countries. Russell noted that their Arsenal Channel has 550,000 followers which have all grown completely organically.
“Polls do very well,” he said, when asked what types of content they were experimenting with. “We want people to click through because at the end of the day, that’s how we make money.
“But the other thing we do is share YouTube videos in there, because YouTube’s videos in Channels work really well. You can watch it [in the app], and get your share of the advertising revenue that YouTube puts on it.”
As Meta continues their work on Channels, building out more detailed analytics, Reach is continuing to invest effort into their presence on the platform. They also use Channels as an opportunity to promote related newsletters, which helps get more first-party data on users.
Challenges with WhatsApp Channels
Despite the positive organic growth all three publishers have seen on WhatsApp Channels, the experience has not been without its challenges. Metrics are still very basic. Publishers aren’t given much of a sense of the demographics or who the users are who follow them, unlike other social media platforms.
“They don’t have established analytics, but that’s not surprising given it’s basically a year old… Even with Instagram and Facebook before that, it takes time for the platform to figure out and build, from a product and engineering standpoint, those robust back-end analytics,” Yahoo Finance’s Kelley pointed out.
He says this has led to a lack of clarity over what the best cadence is for publishing to a Channel. Some publishers post hundreds of updates each week. Yahoo Finance posts once or twice a day to their Channel, with Kelley worrying that too often will turn people off.
Although the broadcast-style nature of Channels can be appealing to publishers, Bloomberg’s Boyce said that the lack of interaction with followers could be a challenge. “We’re able to track what users click on, but we’re not able to engage with them like a traditional social platform,” she said, explaining that users can only respond through emoji reactions.
Reach’s Russell said that it had taken some hoop-jumping to get their Channels verified by Meta. But he believes this has immensely helped growth when people are looking for trusted Channels to follow. He warned other publishers that it can be difficult to get a workflow going that makes it worth it, “because you do have to put a lot of work in to get going. But once you are going, it’s a big benefit to us.”
The elephant in the room when it comes to any Meta-related platforms is the somewhat turbulent relationship they have with publishers, particularly news organizations. Major brands were courted for many years when Facebook prioritized getting quality content into newsfeeds, only to have licensing fees, journalism initiatives and huge followings canceled or reach dialed down when it no longer suited Meta. More recently, there have been regulatory conflicts in Canada which has seen news completely banned on Facebook and Instagram and has had a deep impact on Canadian media.
Russell’s approach to this is pragmatic. “We still get good referral traffic from Facebook,” he said. “It’s nowhere near what it was, but if it’s there, we’ll use it, and if it’s not there, we won’t!”
Yahoo Finance’s Kelley is also unconcerned. “Our approach to social media is more about the brands and audience development, and meeting people where they are with our high quality content,” he explained. “So there’s not as much of a downside or risk of a rug pull, because we’re not dependent on it for that.”For these publishers, riding the wave of growth while WhatsApp offers easy tools to build a following to Channels is a no-brainer. As more Channels are set up, it will be harder for publishers to stand out from the crowd. But any strategy which explores WhatsApp Channels as a component should also build in a way to turn unknown, relatively anonymous followers into known, direct audiences.
TikTok is becoming an increasingly important platform for content creators, brands and media companies of all kinds. That’s especially true for those seeking to connect with younger audiences. Today, young people take a distinctly different news journey than older generations in which social media and visually-led content plays a leading role. Specifically, about 40% of those under age 30 in the USA regularly get news from TikTok. That’s up from around 10% in 2020, highlighting how quickly this demographic is adopting the platform as part of their news diet/habits.
TikTok – once viewed as a passive entertainment platform – is evolving into an algorithmically driven engagement powerhouse for content of all kinds. Estimates of its audience size vary, spanning from a massive 1.5 billion to close to two billion users worldwide. Regardless of this variance, there’s no denying that the network has a huge reach, and that it has grown astronomically since launching globally in 2018. It’s now the sixth-largest social network in the world, and its users worldwide spend 34 hours a month on it. That’s way ahead of its rivals in terms of time spent.
“Roughly 170 million Americans use TikTok,” The New York Times noted earlier this year. “That’s half the population of the United States.” Charting 19 ways the platform has influenced American life, the Gray Lady observes that “Even if you’ve never opened the app, you’ve lived in a culture that exists downstream of what happens there.”
With that in mind, here are four things media companies need to know about TikTok, and how to harness it to reach new audiences effectively and build brand awareness, while at the same time making their content more accessible and relatable to younger consumers.
1. TikTok is a highly participatory social network
There’s a widely held misconception that TikTok is a “lean-back,” passive platform. However, new research from Weber Shandwick, a global communications and consulting firm, shows that TikTok consumption is more engaged and intentional than you might realize.
“Comments are king,” the report states, observing how “the comments section is where people go to learn more, fact-check claims, make jokes and attempt to make sense of what they have seen.”
Talking to Digital Content Next, Dr. Claire Wardle, a Cornell Professor who worked on this research, shared in more detail how users actively engage with TikTok content through the comments. This includes visiting the comments to determine if they agree, or not, with certain stories, the entertainment value they offer, as well as using insights from their peers to determine the veracity of a video. Many consumers see these behaviors as an intrinsic part of their experience on the platform.
For media companies, this may mean that engagement on TikTok should go beyond just creating content. It might require active involvement in the comment sections, given that this is where audiences spend a great deal of time and energy.
Determining the best way to do that, however, isn’t easy. “If I’m a publisher, what am I doing in the comments? What’s my role?” Wardle asks.
One potential solution stems from an idea proposed by Sophia Smith Galer. The freelance journalist and former BBC and Vice staffer has argued that newsrooms should encourage and support “individual journalist creators” on TikTok. It may be easier for people in that guise, to respond to comments on the platform, instead of through an anonymous brand account.
Nevertheless, despite the importance of TikTok’s comments section, Weber-Shandwick’s report cautions that this arena can be a home to trolls and other bad actors. Subsequently, “a detailed protocol for engagement in the comments of your own TikTok videos or videos posted by others is a must,” they advise.
2. Authenticity is key to audience-media connections on TikTok
Authentic was Merriam-Webster’s Word of the Year in 2023. “Authentic (their italics) is what brands, social media influencers, and celebrities aspire to be,” the company said.
On TikTok, as with many other visually led social networks, perceptions of authenticity are fundamental to audience engagement. I say “perceptions” because, as Social Sprout points out, seemingly lo-fi content is often actually highly produced.
Nevertheless, at its heart, this is content that intentionally looks a little less polished. In turn, this rawness can also make it more relatable and accessible. Furthermore, this style of content may be seen as more trustworthy and authentic with younger audiences than traditional media, the latest Digital News Report found.
However, the style of content that often does well on TikTok may fly in the face of traditional media production values, and that can sometimes be difficult to reconcile.
That’s amplified by an anti-establishment feel that the platform has, a notion “that came through very strongly in the research,” Wardle says.
As a result, TikTok “is not an obvious place for The Wall Street Journal or CNN to turn up,” Wardle reflects. That’s partly based on the style of content on the network, user preferences – which lean towards independent creators – and a concern that media outlets just look like they’re trying too hard to fit in.
Nevertheless, it’s no surprise that the most successful brands on TikTok lean into authenticity. Morning Brew’s account, in my opinion, is a great example to learn from. It’s funny, irreverent and looks like the creators shot it in their home (perhaps they did). As a result, it fits seamlessly with the style and tone of other content in my feed, while also managing to make some valid points (on occasion).
For publishers, key ways to curate an authentic aesthetic include using more casual delivery styles, behind-the-scenes content, and collaborating with creators who understand TikTok’s culture. Adapting, or partnering, in this way matters if you want to be relevant on the platform.
3. Navigating algorithms when familiarity breeds contentment
Reflecting on how Americans use TikTok, the Pew Research Center recently highlighted the value of its recommendation technology, and in particular its “For You” page. For users, this is a highly curatable space, one that enables you to teach TikTok what you want to watch. As Buffer explains, that is part of the app’s secret sauce. “The blend of familiar and new content is tailored meticulously to user preferences, making the social network addictive and fresh,” they explain.
As a result, it’s perhaps not surprising that “users generally like the content the algorithm serves them,” Pew’s research found. Their data revealed that “40% of users say this content is either extremely or very interesting to them.” In contrast, just 14% of their survey respondents said this wasn’t relevant or interesting to them.
For brands and content creators, this makes it all the more important that users know you’re on the platform. If they’re not following you, it can be hard to find and discover you on TikTok.
The success of this algorithm is a key factor behind users devoting so much time on the app. eMarketer anticipates that Gen Z, adults aged 18-24, spend an average of 77 minutes per day on the platform.
There are long-standing concerns, however, that algorithms can create echo chambers. This could reduce the perspectives that audiences are exposed to and lay the foundations for misinformation.
TikTok users, it seems, actively embrace – and are highly cognizant of – these concerns. Users acknowledged that “I know I’m not seeing anything from the other side, but I really love that,” Wardle said. “I love that I never come across people who are different to me.”
Users are aware that they are in echo chambers, but rather than trying to break out of them, they revel in the familiarity of their feeds. And they also feel confident that if they need to step outside of their comfort zone, then they know how to do so.
Responding to this is challenging, especially for news outlets. But, rather than trying to fight the echo chamber, publishers may just want to lean into it. This may mean producing more non-news content, as well as niche or specialized content that resonates with specific audiences, alongside evergreen content, and material beyond the daily news cycle.
4. News media and social issues on TikTok
That said, despite these cultural and algorithmic challenges, news does still have a place on the platform. Despite its reputation for entertainment, TikTok has become an important arena for consuming news and discussing social issues.
In fact, many users report encountering social and political content regularly, even though TikTok is not traditionally seen as a news platform. The latest Digital News Report found that nearly a quarter (23%) of 18–24s in the markets they surveyed, use the platform for news, as did 13% of all digital news consumers.
“These averages hide rapid growth in Africa, Latin America, and parts of Asia,” the authors note, with “more than a third now use the network for news every week in Thailand (39%) and Kenya (36%).” Figures are lower in countries like the United States (9%) and the UK (4%).
Perhaps more importantly, according to Weber Shandwick, although users don’t necessarily seek out news on the platform, they do stumble upon it through trending content.
Users often perceive that they see these stories first on TikTok, Wardle told us, with the mainstream media playing catch up. “Our survey results validated this,” Weber Shandwick’s research says, “77% of users said TikTok is where they first learn about news on political or social subjects at least some of the time.”
However, much of this news discovery does not come from traditional news brands. Instead, individual creators and commentators drive many of these conversations.
This once again reinforces the need for news organizations to partner with influencers and creators who have already mastered the platform’s style and audience. Encouraging individual journalists to build their own presence on TikTok may also help bridge the gap between traditional reporting and this new media landscape. Collectively, collaboration and empowering journalists to engage with the platform directly could be pivotal for ensuring many publisher’s stories reach and resonate with younger, highly engaged audiences.
So, is TikTok right for your media brand?
The size of TikTok’s audience suggests that the platform is too big to ignore. However, the style of content and community culture that flourishes on it can be difficult to tap into. As a result, publishers need to carefully consider if it is a good fit for them.
Media companies that can adapt to this environment will find opportunities for deeper connections with audiences. Meanwhile, those who simply see TikTok as just another outlet for distributing their content, often doing so in the same format as elsewhere, may struggle to make an impact.
Worse still, efforts to blend in risk being seen as trying too hard. “How do you show up in a way that doesn’t look like a dad dancing at the wedding?” Wardle asks.
Audiences, Wardle says, are “kind of resisting” traditional players, preferring instead to get their content from native providers like Under The Desk News. A consistent favorite with my students, Kelsey Russell is a Media Literacy Influencer and Co-Host of First Stop News. Russell, the self-professed ‘Print Princess’ reads different newspapers and magazines to her audience, and has garnered nearly 100,000 TikTok followers in the process.
The key takeaway for publishers wanting to flourish on TikTok is to balance being relatable and informal, with being useful and entertaining. They need to do so in a way that doesn’t force humor or tap into trends in a way that feels inauthentic and “cringe.”
That’s potentially a tall order, and these efforts may not drive traffic to your site or other platforms in the way that most publishers have historically used social media.
Nevertheless, if media companies can foster authentic connections with audiences, this can help to build brand loyalty and awareness, potentially unlocking long-term benefits that go beyond simple click-through metrics.
As Enrique Anarte, a journalist at Context previously told IJNet, “You’re not on TikTok to go viral; you’re really on TikTok to reach the audience you wanted to reach.” “It’s better to get a video with lower views, but high positive engagement from the people you want to reach,” they added.
For many younger audiences, TikTok may be the first time they encounter your brand, creating a connection that may well pay even further dividends down the line. It won’t be for everyone, but if you’re prepared to play the long game, mix up your video style to fit in, and find the right people to collaborate with, then TikTok might well become a key plank in your social media strategy in 2024 and beyond.
The fediverse buzz continues to grow, with articles highlighting the potential to revolutionize the digital landscape. Proponents say it’s similar to the Internet’s early days, before Big Tech platforms built their algorithmic fiefdoms. Instead, the fediverse is about interoperability and flexibility.
Media companies are always on the lookout for ways to attract new audiences and engage more meaningfully with their readers. And – given Google’s experimentation with AI answers and social sites “distancing themselves from news” – finding new routes to audience development has become an increasing imperative.
The decentralized nature of the fediverse offers a compelling alternative to traditional search and social. Importantly, this approach allows media companies to retain their direct relationship with audiences, which removes the dependency on social and big-tech platforms for reaching new people.
Unlike traditional social media platforms that operate within closed ecosystems, fediverse represents a decentralized network of interconnected servers and platforms. It comprises a federation of independent servers, each hosting its social media platform.
These platforms, which range from microblogging to image sharing to video hosting, communicate using standard protocols. Their interoperability allows people on different servers to interact seamlessly. The fediverse decentralizes media companies by enabling them to distribute their content across interconnected servers and platforms rather than relying on a single, centralized platform.
Emphasis on choice and control
Unlike centralized platforms, where a single server owned by the platform provider stores user data and content, fediverse lets people choose their server. This server is selected based on individual preferences regarding privacy, content moderation, and community guidelines. This decentralized approach empowers audiences by putting them in charge of their online experience. It also mitigates concerns about data ownership and platform censorship. For media companies, this translates into an environment where people are more likely to engage with content they trust and have control over.
Encouraging diversity and inclusivity
The fediverse enables people to connect across different platforms and communities within the federation. For example, a user on a microblogging platform can follow and interact with users on a video hosting platform. This functionality breaks down the barriers that typically separate content and conversations on traditional social media platforms. This cross-platform interaction fosters a rich tapestry of ideas, perspectives, and content, creating a more vibrant and dynamic online ecosystem. Media companies can leverage this aspect of fediverse to reach diverse audiences actively seeking varied content.
Organic and community-driven engagement
In contrast to the centralized model, where platform algorithms often dictate content visibility and user interactions, fediverse promotes a more organic and community-driven approach. Users have greater control over their timelines and content visibility, allowing for a more personalized and authentic online experience.
This user-centric design aligns with evolving expectations of digital privacy and autonomy, resonating with individuals seeking alternatives to mainstream social media platforms. Media companies can benefit from this by creating content that naturally finds its way to interested audiences without algorithmic interference.
Media companies test the fediverse
At least two digital media companies are exploring the fediverse to gain more control over their referral traffic and onsite audience engagement. The Verge and 404 Media are building new functions that allow them to simultaneously distribute posts on their sites and federated platforms like Threads, Mastodon, and Bluesky. Replies to those posts on those platforms become comments on their sites.
This functionality means people from different platforms can interact with the content without creating individual accounts for each platform. For media companies, this interoperability can significantly enhance audience reach and engagement.
Advantages for media companies using the fediverse
Usability and interoperability are ideal for enhancing user experience. This approach enables seamless communication between platforms, ensuring autonomy, and providing robust content control.
Interoperability ensures that different platforms can communicate using common protocols like ActivityPub. This allows people to interact with content across various platforms seamlessly, thus creating a unified and interconnected ecosystem.
User autonomy empowers people to select their servers (instances) based on their preferences for privacy, moderation, and community guidelines, offering greater freedom and reducing the dominance of any single platform.
Content control enables media companies to host their servers or collaborate with trusted ones, giving them direct control over content distribution and audience engagement. Therefore, it mitigates risks associated with algorithm changes or policy shifts on major social media platforms.
Cross-platform interaction allows content like a media company’s article shared on one platform to receive comments, likes, and shares from users on other platforms, broadening reach and engagement without being confined to a single platform.
Community-driven moderation decentralizes content moderation, allowing it to occur at the community or server level. Media companies can set moderation policies to ensure their content meets their standards and audience expectations.
Enhanced privacy through decentralization gives media companies more control over their data and privacy settings, protecting user data from being exploited by large platforms.
Although federated platforms have smaller user bases than the larger walled gardens like Facebook and X, they offer significant audiences for media companies. Federating sites allow media companies to tap into the growing demand for decentralized, user-centric platforms, attracting new audiences and fostering a more loyal and engaged user base.
Federated platforms offers the potential for a fundamental shift in how media companies interact with their audiences. Media companies that experiment with the fediverse can initiate engagement and have an opportunity to build stronger, more direct connections with their audiences.
n the rapidly evolving digital landscape, content producers constantly seek new ways to engage with audiences and promote their brands. That’s especially important right now as traffic continues to fall from sites such as Facebook and Twitter/X.
One weapon in their arsenal with some powerful potential is LinkedIn, a site that may offer a higher likelihood of referrals and engagement than some publishers have historically considered.
2. LinkedIn users tend to be millennials and professionals
LinkedIn is typically described as a social network for business professionals. As a result, it doesn’t yet attract much of Gen Z, but it is a site they transition to as they enter the workforce. Worldwide, 60% of users are in the advertiser-friendly 25-34 age bracket.
In the USA, a 2023 survey by the Pew Research Center found that 40% of 30-49-year-olds had used the site. That’s on a par with Pinterest (40%), TikTok (39%) and WhatsApp (38%) and some way ahead of Twitter/X (27%) and Snapchat (30%), platforms many publishers continue to invest considerable energies in.
3. Around 1 in 5 American users harness LinkedIn for news
Further data from Pew finds that 17% of U.S. adults using LinkedIn regularly get their news on the platform. Interestingly, in contrast to other social networks, LinkedIn has the greatest gender parity among news consumers.
Its news audience is not huge, c.5% of U.S. adults. However, this is on par with Snapchat (4% of the total adult population) and WhatsApp (3%).
The site also offers a more educated demographic, 60% of regular news consumers on LinkedIn have a college degree, and just over half (53%) of their users enjoy a household income over $100k per annum. For many media companies, these are appealing demographics.
Many media companies will already be using some of the most obvious functions on LinkedIn. This includes posting job ads, sharing company news and creating business landing pages.
Those functions will continue to be useful. However, they only scratch the surface of some of the wider potential the site potentially affords publishers and creators.
Tactics for publishers to try on LinkedIn:
1. Publish newsletters
Image via The Economist on LinkedIn. Screenshot 3/18/24.
“In the past year, LinkedIn has seen a 150% increase in the number of newsletters being published by publishers and journalists on the platform,” Axios reports.
These newsletters might be native to LinkedIn, offer a remix of content produced elsewhere, or simply be republished on the platform. Audiences can read them on the site, or have them emailed to them. Either way, they can potentially reach large, professional, audiences. Users have more than 450 million newsletter subscriptions on the platform. That’s up 3x year-on-year.
The Wall Street Journal’s Careers & Leadership newsletter, for example, has nearly 3 million subscribers and over 100 editions on LinkedIn. With the WSJ’s company page enjoying 9.7 million followers, that’s a high percentage of users who are digging deeper.
Another LinkedIn behemoth, The Economist, reaches over 3.1 million weekly subscribers with its “week ahead” newsletter, while Harvard Business Review’s Management Tip of the Week reaches over 5 million subscribers with a short article that takes just 1-2 minutes to read.
The pandemic demonstrated the potential for publishers to livestream events. Although we have seen a renewed interest in the ability of in-person events (particularly to diversify revenues), many media companies have retained an online component. Some media providers, like Harvard Business Review, continue to run live events that remain 100% virtual.
The Forbes Sustainability Leaders Summit & sponsor list, via Forbes
Online-only, or hybrid events, are more inclusive, helping to overcome geographic boundaries. But they also present additional income streams.
Forbes, for example, attracted several blue-chip sponsors for their Sustainability Leaders Summit last Fall. If you were unable to attend in person, you could view a live stream on various platforms, including LinkedIn, sponsored by Toyota.
Events, newsletters and posts by a company – or its staff – offer multiple means to engage with users on LinkedIn. Aside from blasting them with news and information, they’re also a space to dig beyond the analytics to garner insights from your audience.
As Meredith Turits, the former editor of BBC Worklife – a vertical that includes the Worklife 101 newsletter – explained to Nieman Lab last year “content that does well is, of course, shared and clicked on, but some of our most important insights come from the comments on the newsletter,” she said. “We’re always looking at conversation in the comments or shares.”
These audience insights can shape future editorial efforts. Moreover, by sharing content that stimulates discussion and offers insights from LinkedIn members, publishers can act as a convener for conversation. That’s an approach in line with the goal of many publishers to move beyond scale by developing direct relationships with audiences.
“Don’t treat it as a traffic play, full stop,” Turtis advises. “One of the things that’s most unique about LinkedIn is that people want to talk, and will talk — it’s UX makes that easy and encourages it.”
4. Drive referrals, subscribers and registrations
Posts on company pages, the feeds of the people who work at them, as well as newsletters published on LinkedIn, can all play a role in encouraging audiences to dig deeper.
USA Today’s weekly consumer news newsletter, The Money, breaks down stories from the past week, and includes links to other USA Today stories. It also highlights that you can sign up for a daily newsletter offering more of the same, more often.
Other outlets, like CNN’s PM Plug In, lean into when audiences might be using LinkedIn. In this instance, providing “a weekday newsletter to catch you up on important news you may have missed during your busy day.”
Meanwhile, Business Insider uses the platform to offer a “shorter version of our flagship newsletter,” which they then encourage readers to sign up for.
The Economist ends their newsletter with a registration link offering three free articles a month, as well as linking to their main subscription page.
Collectively, these approaches demonstrate some of the different ways that publishers are using LinkedIn to support their wider engagement and revenue strategies.
5. Humanize your brand and staff
In some instances, LinkedIn may be your first engagement with a company. A good initial impression can matter, therefore, in terms of attracting potential consumers, subscribers and prospective employees.
Because of this, some media companies are making their LinkedIn presence more personal and approachable.
The Editor’s Digest, a newsletter from the Financial Times, sees an editor pick their top stories from the FT that week. Each hyperlinked newsletter is simply signed off by the author using their first name (e.g. Patrick, or Roula). It offers a casualness one might not expect from such an august brand, even if I personally would love to know their surname and job title!
Elsewhere, Nicholas Thompson the CEO of The Atlantic publishes a monthly newsletter that highlights his picks of The Best Things To Read. Most of this content is from places outside of The Atlantic, increasing its usefulness and making it feel much less like a PR exercise. Thompson also posts casual hot-take videos on different topics, which also makes him – and by osmosis his publication – more accessible and relatable.
Moving forward
According to Daniel Roth, LinkedIn’s Editor in Chief, the platform works with 400 preferred news partners to help maximize their work on the site. These efforts, as Axios reports, include sharing trending topics with partners so that they can tap current audience interests, as well as featuring content on LinkedIn News.
However, for content creators not in this club, there are still multiple things you can do to leverage LinkedIn more effectively. Journalists can get free training on how to use the platform, as well as a free premium membership. They can also use the platform to promote their work, and the work of others, as well as engage directly with audiences.
Your digital and social teams can – and should – do that too. Newsletters, events and posts can create high-quality, relevant content that resonates with LinkedIn’s professional user base. In doing this, outlets may reach new audiences as well as serve existing ones. That can drive traffic and engagement, increase subscriptions and take-up of other products.
Image via Reuters Institute for the Study of Journalism
As a result, according to the Reuters Institute for the Study of Journalism, more media companies are investing in LinkedIn. A survey of 314 media leaders in 56 countries, revealed that four in ten (41%) of executives said they would be putting more effort into the platform in 2024. This is only just behind the proposed prioritization in YouTube and Google Search.
As Sara Fischer the senior media reporter at Axios recently put it, “LinkedIn alone won’t be able to make up for the dramatic reduction in traffic referrals from social media sites to news publishers, but it does offer outlets and journalists a platform to meaningfully grow their audiences amid a broader tech crackdown on news content.”
Put another way, as the tech journalist Ryan Broderickoutlined earlier this week, “the traffic firehose days of the 2010s aren’t coming back. And LinkedIn is not the secret to infinite pageviews.” But, he adds, “finding a home for news publishers in 2024 isn’t about finding a perfect fit, but rather finding one that’s close enough.”
For some content creators and media companies, that might just mean leaning more into LinkedIn in the year ahead.
Public platforms, including social media, offer a forum for open for communication, citizen journalism, and audience engagement. However, these platforms also pose many challenges including misinformation, privacy concerns, and algorithmic biases. For better or worse, the largely ungoverned content available shapes public discourse and impacts societal perceptions. These days, the field of social media platforms continues to expand with TikTok experiencing a high level of growth. However, stalwarts YouTube and Facebook lead the pack in overall usage.
Pew Institute’s new research, Americans’ Social Media Use, delves into U.S. adults’ social media usage patterns, offering insight into how individuals engage with various social media platforms. With a robust sample size of 5,733 respondents, this study shows that social media continues to play a central role in shaping communication dynamics and societal interactions.
Ranking social media platforms
Among all of the social platforms today, YouTube emerges as the undisputed leader, with an overwhelming 83% of U.S. adults saying that they use the platform. Following closely behind is Facebook, 68% of adult usage, and Instagram, 47% of adult usage.
While YouTube and Facebook maintain their dominance, other platforms command significant user bases. Approximately 27% to 35% of U.S. adults use platforms like Pinterest, TikTok, LinkedIn, WhatsApp, and Snapchat. X (formerly known as Twitter) and Reddit attract approximately one-fifth of American adults.
A notable finding from the survey is TikTok’s growth, which saw a surge in its user base. Currently, one-third (33%) of U.S. adults use this video-based platform, a significant increase from 21% in 2021. In contrast, other platforms experienced more modest or stagnant growth over the same period.
Demographic differences among social platforms
Age demographics play a crucial role in shaping social media usage patterns. Adults under 30 exhibit higher usage rates across Instagram, Snapchat, and TikTok. However, YouTube and Facebook remain ubiquitous across all age groups, with most adults using these platforms. While there’s a substantial age gap in YouTube usage, interestingly, Facebook’s usage is more evenly distributed across age cohorts.
Pew’s analysis shows demographic differences in platform usage. For instance, Instagram attracts higher usage rates among Hispanic and Asian adults than Black and white adults. Similarly, TikTok usage is particularly prevalent among Hispanic adults and women. Similarly, race and ethnicity play a role in WhatsApp usage, with Hispanic and Asian adults more likely to use the platform compared to their Black and white counterparts.
Educational attainment also influences platform usage, with individuals with higher levels of education more likely to use platforms like LinkedIn. Meanwhile, household income is a significant factor for platforms like X, formerly known as Twitter, where higher-income users exhibit greater engagement.
Gender disparities are evident in platforms like Pinterest, where women constitute a significantly larger proportion of users than men,
It’s important to note that the Pew Research Center transitioned from collecting responses via telephone to web and mail surveys. This shift can impact study outcomes, so monitoring these trends moving forward is important.
Social media rules
Overall, the Pew Institute’s research underscores the undeniable influence of social media in shaping modern communication and societal interactions in the United States. Despite ongoing controversies and concerns, social media platforms play a central role in shaping communication, connectivity, and societal dynamics.
Importantly, demographic differences further highlight the nuanced social media usage patterns, with age, race, ethnicity, education, income, and gender playing significant roles in platform preferences. These insights provide a deeper understanding of how individuals from diverse backgrounds engage with various social media platforms.
While acknowledging the ongoing challenges such as misinformation, privacy concerns, and algorithmic biases, it’s clear that social media platforms continue to serve as vital conduits for communication, connectivity, and community engagement. The transition in survey methodology underscores the importance of continually monitoring and adapting to evolving trends in social media usage.
It’s been a long time coming. But 2023 has signaled that it’s finally time for publishers to reconsider the volatile, often one-sided, relationship that many of them have with some of the biggest tech platforms.
These moves are the latest in a long line of changes that have pulled the rug out from underneath the feet of content creators. And while the tech tide may again turn in the favor of media companies, history tends to repeat itself. Publishers, therefore, should be wary about how warmly they embrace any future overtures from our tech overlords, as well as rushing headlong into the next new thing. Too often some publishers have dived into new initiatives like Mastodon or WhatsApp Channels, without a clear strategy or goals (content, engagement, monetization) in mind.
As a result, the current situation is an opportunity to pause, take stock, and reset these dynamics.
What this means for you: 7 key principles for 2024 (and beyond)
With that in mind, here are sevenrecommendations for publishers as they reassess what their relationships with platform providers should look like.
1. Platform diversification is essential
Over-dependence on individual platforms for revenue – or referral traffic – is risky. Sudden switches in platform priorities can quickly leave creative partners in the lurch. Outlets like LittleThings, Mic and BuzzFeed (to name but three) have all paid the price for putting too many eggs in a single platform basket. Avoiding this fate means that diversification is crucial.
So, where should publishers place their bets? The answer will vary. However, all publishers should consider reducing their reliance on the trusted trifecta of Facebook, Twitter/X and even Google Search.
As Adrienne LaFrance, the executive editor of The Atlantic, recently told The New York Times, “the disruption to an already difficult business model is real.”
In response to the current wave of disruption, media companies should reconsider platforms that they’ve previously perhaps overlooked or underinvested in.
TikTok’s popularity – especially with younger audiences – makes it a platform few media companies can afford to ignore. Since launching in the U.S. in August 2018, TikTok has grown to 80 million monthly active users. Globally 1.1 billion use the platform each month.
Subsequently, in the past year, The New York Times and the BBC launched news accounts on TikTok, having previously resisted pressure to do so. Part of the rationale for this, per the Pew Research Center, is that “the share of U.S. adults who say they regularly get news from TikTok has more than quadrupled, from 3% in 2020 to 14% in 2023.” That increases to nearly a third (32%) of those aged 18-29 years old, a figure that excludes non-news use.
TikTok and YouTube are also part of wider shifts in search habits, as users head directly to different platforms to look for answers to specific questions.
Collectively, this means that publishers will need to deploy different strategies and content propositions to tap into these audiences. There is no one-size-fits-all solution.
4. You can’t, and shouldn’t be, everywhere
Just because you can be on a platform doesn’t mean that you should be. Resources are finite, so determining the best fit requires careful analysis of demographics and usage habits.
The BBC argued TikTok wasn’t initially the right platform for them. They were also worried about spreading themselves too thin. At a time of continued layoffs – with more than 20,000 media jobs lost this year alone – that concern will resonate with many companies.
As Platformer’s Casey Newton recently told CNN. “Every day, more brands are waking up to the reality that Twitter is dead and X is a cesspool… The global town square is now dispersed across many different platforms, and increasingly the most relevant conversations are taking place elsewhere.”
5. Go niche, or go home
Many of these conversations take place in smaller online communities and some publishers may see the value in exploring these more niche networks.
Platforms like Twitch or Reddit are not for everyone, but their users are loyal and spend a lot of time on site. Recognizing this, last year The Washington Post appointed angel mendoza as their redditor in chief.
It’s worth noting that more Americans claim to obtain their news from Twitch than Snapchat, and Twitch’s reach for news is on a par with LinkedIn. And with over a quarter of Americans saying they regularly get their news on Nextdoor, this presents interesting questions for local news outlets and specialist information providers about how they can – and should – be engaging with the platforms.
These types of networks may go under the radar of many publishers, yet their reach – and the engagement of the communities on them – may mean they’re worth another look.
As money and traffic from tech platforms dry up, metrics beyond clicks and views become more salient.
Historically, some publishers have financially benefited from page views on different social networks. Facebook reported in 2017 that it was paying out more than $1 million per day to publishers as a result of Instant Articles. However, that stream dried up as the company shifted focus to the creator economy.
Off-site referrals have also been important. A Deloitte study from 2019 found that across several major European markets, platforms drove 61% of visits to publishers’ websites and an estimated 6.2% of publishers’ total revenues.
But with money and traffic drying up, brand awareness and engagement may be better indicators.
Although TikTok has partnered with marquee publishers like Condé Nast, DotDash Meredith and NBCU, many companies find it a difficult platform to monetize. It is also a platform that many users don’t swipe away from, meaning that traditional clickthrough models just aren’t applicable.
7. Focus on building direct relationships with audiences
With third-party referrals and revenues declining, audience relationship-building is paramount.
That can take many forms. Many publishers are focused on their own products – like newsletters and podcasts – as well as capturing first-party data. They’re also looking to reduce churn, upsell existing subscribers and attract others through bundling.
It also means leveraging specific external platforms to foster community and loyalty.
GQ’s launch on Discord is part of this trend. The move enables them to engage with micro communities, often existing subscribers, around topics like fashion and everything Web3. “The way that we are thinking about it is we are throwing a party, GQ is the host, Discord is the venue and you are invited,” explainedJoel Pavelski, GQ’s executive director of global audience development and social media.
We can expect more media companies to embrace these engagement strategies, leveraging specific (not necessarily mainstream) platforms to create greater loyalty.
Moving forward
Media companies find themselves at a crossroads in 2024. Traffic referrals from tech giants like Google, Facebook, and Twitter/X have dwindled, underscoring the need for publishers to pivot their platform strategies. To do this, they must diversify and reimagine relationships with their audiences and tech partners.
Publishers can no longer rely on traffic and revenues from many of the platforms they have partnered heavily with in the past. A fresh approach means moving into new spaces, adapting their content and SEO strategies around evolving consumer behaviors, and thinking carefully about where to allocate their resources.
Larger and niche platforms offer distinct opportunities, but success in this new era will likely look different from the past. Subscriptions, memberships, native advertising, and exclusive content access, might play a greater role in these settings. And in some cases, building brand awareness and loyalty may be the primary goal.
Whatever the approach, the strategic challenge is the same: to reduce dependence on a small core group of third-party platforms and to approach new platform relationships with the benefit of hard-won wisdom. Referrals and third-party-derived revenues may not be as viable as they once were. As a result, publishers must diversify their reach and build direct connections with their audiences in a plethora of different spaces and places. In doing so, publishers need to blend scale and niche to establish a more resilient and adaptable presence across the digital ecosystem.
For many people, social media is an indispensable tool for communication, information consumption, and entertainment. However, its pervasiveness raises concerns about its potential negative impact, particularly the spread of disinformation and hate speech. The use of social media as a daily source of information has rapidly grown over the past 15 years, to the point of now surpassing print media, radio, and even television according to a new report.
Research from Ipsos and UNESCO, Global Survey on the Impact of Online Disinformation and Hate Speech, sheds light on the complex interplay between social media and information consumption. On average, 56% of internet users across 16 countries frequently rely on social media to stay updated on current events. This finding highlights social media’s growing influence in shaping public opinion and political discourse.
The study reveals that social media is the primary source of information for internet users across countries with high and medium/low levels of the Human Development Index. The Human Development Index (HDI) is a statistical tool used to measure a country’s overall achievement in its social and economic dimensions. The HDI was created to re-emphasize that people and their capabilities should be the ultimate criteria for assessing the development of a country, not economic growth.
The study breaks out HDI as follows:
Countries with a very high HDI (>0.800): Austria, Belgium, Croatia, Romania, and the United States.
Countries with a high HDI (0.700 to 0.799): Algeria, Dominican Republic, Indonesia, Mexico, South Africa, and Ukraine.
Countries with a medium or low HDI (<0.700): Bangladesh, El Salvador, Ghana, India, and Senegal.
Unfortunately, the study confirms the widespread perception of social media as a platform for disseminating disinformation. Over two-thirds of respondents in the survey believe that social media is the primary source of disinformation. That means it also surpasses traditional media outlets like television, radio, and print media. This concern is particularly prevalent among younger generations, with 74% of respondents under the age of 35 reporting encountering hate speech online. So, while people rely more heavily on social media for their information—over traditional media sources—they also believe social media is more likely to be a source of disinformation.
Addressing disinformation
The study further indicates that social media platforms must adequately address the issue of disinformation. Only 50% of respondents expressed trust in news from social media, compared to 66% for television news, 63% for radio news, and 61% for print media news. These findings suggest that social media fails to meet users’ expectations regarding providing accurate and reliable information.
In response to these concerns, citizens are advocating for stricter regulation of social media platforms. Over 90% of respondents believe social media platforms should mandate trust and safety measures to combat disinformation. Further, 89% concur that governments and regulatory bodies should enforce these measures.
The research also underscores the importance of citizen engagement in combating online disinformation. Less than half of all respondents (48%) say they reported online content related to disinformation during an election campaign to social media platforms. Those reporting disinformation are more likely to be younger and have a more substantial interest in politics. This suggests a need to encourage more informed and active participation from older citizens in addressing the issue of disinformation.
Call to action
Ipsos and UNESCO’s findings underscore the need for a comprehensive approach to tackling the challenges posed by social media. The approach includes:
regulation of social media platforms;
media literacy education for citizens; and
fact-checking and verifying information.
Social media is ubiquitous and brings unique challenges that require proactive measures. Social platforms need to do limit the spread of disinformation. Platforms can limit the number of times a post is shared and require users to verify the accuracy of a post before sharing it. They can also display warnings about the potential spread of disinformation. It’s time that platforms create a more responsible online space where people can access accurate news without exposure to misinformation and hate speech.
This week, 41 state attorneys general along with the District of Columbia filed lawsuits against Meta for creating highly addictive features that harmed the mental and physical health of children. The lawsuit is the latest in a series of revelations, inquiries and legal challenges focused on the allegedly misleading and negligent behavior of Meta with regard to the impact on children and teenagers from their services.
It’s unusual—and significant—for so many states to unite in a bipartisan effort to hold a Big Tech company accountable for consumer harms. The coordination shows states are prioritizing the issue of children and online safety and combining legal resources to fight Meta, in a similar vein as prior actions against Big Pharma and Big Tobacco
Actively addictive by design
For years, public health organizations and consumer groups have warned about the dangers of social media use by teens and children. Key features of Instagram and Facebook have been specifically called out as harmful. Numerous studies have shown that this segment of the population is especially susceptible to harmful psychological effects from design features, such as the “like” button, which research has found to be one of the most toxic components of social media.
Meta-designed notifications are particularly effective at repeatedly drawing young consumers back into their platforms while the Meta-designed algorithm keeps them engaged in the service for as long as possible so that the company can serve microtargeted ads. Such features include “infinite scroll,” persistent notifications and alerts, and autoplay of Stories and Reels. Other studies have shown that filters and other photo-altering features increase the incidence of body image issues among teenage girls.
The states’ lawsuit alleges that Meta deployed all of these tactics and more to “discourage young users’ attempts to self-regulate and disengage with Meta’s platforms.” The states included an enlightening direct quote from Sean Parker, founding CEO of Facebook:
“The thought process that went into building these applications, Facebook being the first of them . . . was all about: “[h]ow do we consume as much of your time and conscious attention as possible?” That means that we need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever. And that’s going to get you to contribute more content and that’s going to get you . . . more likes and comments. It’s a social-validation feedback loop . . . exactly the kind of thing that a hacker like myself would come up with, because you’re exploiting a vulnerability in human psychology. The inventors, creators—me, Mark [Zuckerberg], Kevin Systrom on Instagram, all of these people—understood this consciously. And we did it anyway.”
The lawsuit goes a step further to allege that Meta misled the public about the dangers of using their services. In 2021, former Meta employee Frances Haugen came forward as a whistleblower to not only confirm that these harms were happening to children, but also reveal that Meta executives knew all along about the dangers from their own internal studies but chose to put profits over the safety of their products. In addition, the lawsuit alleges that Meta attempted to push the public narrative in the opposite direction by “routinely publish(ing) profoundly misleading reports purporting to show impressively low rates of negative and harmful experiences.”
Wider implications to watch
The proceedings inside the courtroom will be fascinating to watch. But I will also be closely watching two things outside of the courtroom:
Advertiser response
First off, it will be fascinating to see whether advertisers will change their buying habits in the wake of these allegations. Advertisers have known about the problems associated with social media for years. Despite some public hand-wringing from their trade association and boycott threats, marketers’ buying habits are largely the same today. At some point, one would expect marketers to shift their ad budgets away from financially supporting this toxic content platform to premium environments that better pair with the brand identity they want to cultivate.
Regulatory response
Secondly, I have to wonder if this may spur Congress to finally pass meaningful privacy or kids safety legislation. Every time there is a scandal and/or lawsuit involving one of the big tech platforms, there are renewed calls for legislation to regulate how they collect and use consumer data, to impose liability for the harms occurring on their services, and to create rules for how algorithms can be deployed among other things.
As a result of press coverage of these allegations, some of these bills might even get approved by the relevant committee(s). However, to date, none have been brought to the House or Senate floor for a vote. This Congress is particularly dysfunctional, but there is a decent chance that public officials heading into an election year might be shocked enough to coalesce around putting some guardrails on social media companies. Parents of children can be an influential voter base.
Stepping back a bit, all of these revelations about the dangers of social media and the abhorrent behavior of social media companies continue to fuel a global conversation about the role and impact of data, algorithms, surveillance advertising and unfiltered content. Lawsuits and legislation, which are getting smarter and more focused, will continue to draw headlines and potentially lead to liability for the worst actors. In the meantime, I am going to go give my kids an extra hug.
TikTok and media companies across the globe are teaming up to write the next chapter in the epic saga of the media and its complex relationship with social platforms. In early May, TikTok announced Pulse Premiere, a program designed to place advertisers alongside the premium content created by trusted media brands — and share the revenue 50/50 with those content creators.
The first question that might bubble to the surface for media companies is, “How is this different from all the other revenue-sharing schemes with social platforms?”
“Some publishers have had good relationships with some platforms,” says Nic Newman, Senior Research Associate at the Reuters Institute for the Study of Journalism. He points to Snapchat as an example of a platform that has led to reasonable revenue for some media companies. But revenue is not the main impetus for them to embrace TikTok. “Cultural genres are things that premium publishers are pushing into, especially to reach younger users,” says Newman. And TikTok has been a key partner in that strategy all along.
This strategy aims to combat news avoidance and engage new audiences, says Newman. Add to the mix a decline in brand revenue and media buyers who find it easier to buy through platforms, and it’s clear why premium publishers are eager to partner with a wildly popular platform like TikTok. From TikTok’s point of view, Newman adds, it also makes sense to reward media companies for creating content that helps fuel the platform’s ongoing success.
But as it turns out, there are a few key differences between TikTok and its social media competitors that have media companies feeling bullish.
Embracing TikTok as a content creation platform
TikTok is unique. Facebook and X/Twitter, at least for publishers, are places where publications and audiences share links to content, which drives traffic back to a website. This dynamic has been a source of tension over the year, which continues to play out. TikTok, however, is more of a content-creation tool than it is a distribution platform. Publishers who are successful on TikTok understand and embrace the peculiarities of TikTok and create content designed specifically for this audience.
Reuters Institute’s 2022 Digital News Report cited TikTok as the fastest-growing social network for news consumption. This is driven, in part, by publishers’ desire to reach new, younger audiences. Reuters found 40% of people 18 to 24 use TikTok, and 15% of them use it for news. It only makes sense that news brands with robust TikTok audiences would seek to cash in on that engagement through advertising.
One of those media brands is Vox Media, which joins Condé Nast, Buzzfeed, Dotdash Meredith, Hearst Magazines, MLS, NBCUniversal, UFC, and WWE as one of the initial Pulse Premiere partners. “Our editorial brands and video franchises reach millions of highly engaged followers on TikTok, and we are now excited to work with TikTok on a new ad product,” Ray Chao, SVP & GM of Audio and Digital Video at Vox Media, said in a statement to DCN. “We are hopeful that this partnership will help us strengthen our digital video revenue model through a new revenue stream.”
Similarly, Deb Brett, Condé Nast’s Chief Business Officer, Digital, says, “Our audience demands us to be on TikTok.” That’s not a problem for Conde Nast’s publications, which have been “digital first” for years, according to Brett.
Importantly, Condé Nast also avoids taking a one-size-fits-all approach to its social media channels. “We tailor what we create for every platform. We want to hear from our brands in different ways,” says Brett. Before TikTok introduced Pulse Premiere, that often meant creating branded content integrations and custom programs for advertisers who wanted to reach the brands’ audiences. Condé Nast even tried live streaming and shoppable content. Pulse Premiere is now making it easier for media organizations to monetize their presence on the platform.
Thinking about brand safety
Pulse Premiere comes on the heels of TikTok Pulse, launched in 2022, which places brand advertisers next to the top 4% of trending videos on TikTok across a number of categories. Throughout the history of social media advertising, brands have run into the problem of unpredictability. Historically, this problem was only addressed once it boiled over, sometimes in the form of a boycott. As ads follow users around one social platform or another, there has been no telling what content an ad will be placed beside. At this stage of the social game, it’s no surprise that TikTok is being proactive about providing a solution to that ongoing issue.
In its announcement, TikTok said, “Pulse Premiere gives brands the control to choose where their ads are placed, adjacent to content from our premium publishing partners in lifestyle and education, sports, and entertainment categories for specific tentpole events as well as evergreen, ongoing content.” In other words, TikTok is giving advertisers the ability not only to avoid being placed next to the latest viral conspiracy theory video — or even just dance trends irrelevant to a brand’s messaging — but to easily continue existing publisher relationships.
Extending existing brand relationships
As a publishing community, we love [that TikTok Pulse Premiere is] turnkey, its low lift, and its scalable,” says Brett. Rather than devising ad hoc solutions to advertiser demands to be part of the TikTok conversation that Condé Nast’s brands create, the publisher can now take advantage of a native ad platform.
Condé Nast will kick off its Pulse Premiere participation by aligning a campaign with what it calls one of its “cultural calendar moments”: Vogue World. The event takes place on September 14 in London, and Brett says Vogue will align its TikTok content with the event. “It’s an exciting intersection of their ad product and our cultural calendar moments,” she adds.
While it’s still too early to tell whether the economics add up for publishers, Brett says, “It has indicators for a huge potential.” Newman, however, points to a problem publishers have come to know well: “Fundamentally, people’s attention is the problem. The first few publishers do well, then other pubs follow, and the rates go down.” Only time will tell if TikTok proves to be different from its competitors in the ways that matter most for publishers.
In today’s fast-paced digital world, media companies face intense competition across many different platforms. Echobox, a provider of social media management tools, offers new research, “Publishing Trends 2023,” highlighting media businesses’ priorities, challenges, and opportunities. The top three priorities for content companies include finding new audiences (53%), automation and AI (50%), and video content (47%). Staying ahead of the Facebook algorithm (53%), declining traffic (47%), growing digital subscriptions and diversifying revenue streams (both 34%) were commonly cited challenges.
Echobox surveyed a targeted sample of 32 leading media companies across the world. This global perspective includes respondents from 20 countries in Europe (67%), the Americas (20%), and Asia (13%).
Platform usage
Instagram emerges as a vital channel for publishers in 2023. In fact, the study shows that 66% of respondents believe Instagram will play a more significant role in their business this year. Publishers recognize the value of leveraging Instagram’s visual nature for content promotion and audience interaction.
TikTok is also gaining prominence, with 59% of publishers turning to this platform for video content distribution and audience engagement.
Media brands recognize the importance of capitalizing on the visual nature of TikTok and YouTube. By investing in video production and distribution, the report suggests that media companies can enhance their content offerings and attract a wider audience.
However, challenges persist on platforms like Facebook, primarily due to its lack of algorithmic transparency. Approximately one-third of media companies view Facebook as vital, and they want to maintain visibility and reach on this platform. Unfortunately, the opaque evolving nature of the platform requires publishers to constantly adapt their strategies, remain vigilant of algorithm changes, and seek alternative avenues to engage their target audience.
Embracing newsletters
Newsletters remain an area of growth for many media businesses. The report highlights that 56% of respondents plan to expand their newsletter offerings or start producing newsletters in the coming year. Publishers understand the value of direct communication and engaging subscribers in off-platform vehicles. By crafting compelling and personalized content in newsletters, media businesses can establish stronger connections with their audience and help drive traffic to their websites.
AI attraction
The report indicates that 63% of media companies acknowledge the growing importance of AI for their businesses. AI-powered tools and technologies offer immense potential to streamline operations, optimize content distribution, and enhance audience targeting.
Publishers can leverage AI to automate repetitive tasks, personalize content recommendations, and gain valuable insights into audience preferences. Media companies using AI can unlock new efficiencies, improve engagement, and achieve better business outcomes.
Ending third-party cookies
When thinking of the impending demise of third-party cookies in 2024, less than half of the respondents foresee a significant impact on their business. Specifically, 31% do not anticipate any effect and 13% state that they don’t rely on third-party cookies. Of the 50% of publishers anticipating significant impacts, half report they are prepared while the other half are not.
The Echobox report does highlight that, though the growth of newsletters has slowed, the first party data insights they provide does provide a means to offset the loss of third-party cookies.
Future focus
The results of Echobox’s 2023 publisher survey does show a certain amount of continuity from last year, as traffic remains a concern along with Facebook, while newsletters continue to demonstrate value. This year did see significant economic impacts as well as uncertainty around the role Twitter will play for media companies and advertisers. The report finds that publishers are investing resources in a wider array of social platforms in an effort to diversify their own audience demographics and to position themselves for increased adaptability to weather the evolving social landscape and consumer consumption trends.
