As Google referral traffic has declined, social has become a more important source of audience engagement for media companies. Facebook remains a meaningful traffic driver, but the larger opportunity for both traffic and monetization now sits across video-based social platforms like Instagram, TikTok, and YouTube. Most media executives already understand that shift. The challenge is executing against it.
That is because video-based social is operationally harder than it looks. The platforms are not interchangeable. Each has its own formats, audience behaviors, and optimization dynamics. At the same time, the content and workflows inside most media organizations are fragmented. Video lives in different places, different teams manage different surfaces, and systems built for web publishing do not easily scale to a cross-platform video strategy.
So the question is not whether or not social video matters. It is what publishers need to operate effectively across video-based social platforms.
Publishers need unified video infrastructure
Social video is no longer just a top-of-funnel traffic driver; it is becoming a real monetization channel for publishers. Facebook and YouTube are the clearest examples today, with direct revenue programs that reward engagement, views, and optimized video distribution. Media brands should care because they already possess valuable video assets, but most lack the infrastructure, workflows, and platform-specific strategy needed to turn that content into meaningful revenue.
The answer is not another point solution or manual workaround. It is a modern operating infrastructure: a unified library for video assets, the ability to transform content for each platform, distribution that matches the pace of the feed, and the data to understand what is working across versions and surfaces.
Unified Library
Most media companies cannot manage video holistically because their assets are scattered across the organization. Horizontal video may sit with editorial, vertical clips with social, finished segments in one system, and B-roll in another. When content lives in different places, every downstream step gets harder. A unified library is the starting point: one place to find, manage, and work from the full library of video assets. You cannot transform, distribute, or measure what you cannot find.
Content transformation
A single source asset has to become multiple versions for multiple platforms. What works on TikTok may not work on YouTube or Instagram, and each platform has its own format, pacing, and optimization logic. That makes transformation a core operational requirement, not an occasional editing task. Media companies need the ability to adapt content for each environment in a repeatable way, so scaling output does not mean rebuilding the workflow every time.
Intelligent distribution
Distribution is not just about pushing content out. It is about matching each version of an asset to the platform it is built for. Because each platform behaves differently and attracts different audiences, distribution has to account for its cadence and mechanics. Publishers need the ability to move quickly while still optimizing for how each surface works. Otherwise, distribution becomes another manual bottleneck, and the window for performance closes before the content has a chance to work.
Unified data and lineage
Publishers also need a data layer that shows what is working across versions and surfaces. That includes lineage: the ability to trace a clip back to its source, understand how it was transformed, see where it ran, and evaluate what it produced. Without that visibility, performance is reduced to isolated metrics and disconnected reports. With it, publishers can learn from what is working, make better decisions, and improve results over time.
Why organizational design matters
Technology alone will not solve the operational problem. Editorial, audience development, social, and monetization may each work well within their own lanes and still produce a fragmented outcome. The challenge cuts across the org chart, and so do the goals: more reach, more efficient production, and more value from every asset.
That makes this an ownership issue, not just a tooling one. If no one owns the full motion, content stays scattered, workflows break between teams, and execution slows down just when speed matters most. Some media companies may find they need to centralize not only the technology, but the team responsible for making video-based social work.
Why point solutions fall short
The instinct is often to solve the problem one gap at a time: a clipping tool here, a scheduler there, an analytics layer somewhere else. But every disconnected tool adds operational cost. Someone still has to move assets between systems, reconcile workflows across teams, and hold the process together manually.
That is the real limitation of point solutions. They may solve a narrow task, but they do not solve the broader operational problem of managing video holistically across teams, formats, and platforms. As the number of assets, users, and surfaces grows, that fragmentation becomes more expensive, not less.
For teams already under pressure to do more with less, that cost is not theoretical. It shows up in missed opportunities, duplicated effort, and workflows that do not scale. When no one can afford more inefficiency, adding disconnected tooling only deepens it.
Shifting thinking
Most media executives already know social video matters. The shift that remains is to stop treating it as a collection of one-off tasks and start running it as a unified operating system, with one library feeding repeatable transformation, intelligent distribution, and unified data under clear organizational ownership. Build that infrastructure and the economics change: value that once leaked through fragmented systems starts to compound.
Social video is an operational problem, and the organizations that solve it that way will capture the opportunity.
The annual Digital News Report is a must read for media leaders. Its findings routinely offer valuable insights that publishers can use to shape and inform their revenue strategies, content formats and investment in technology.
This year’s report, the 15th in the series, offers similar value, with findings based on a survey of almost 100,000 online news consumers across 48 markets around the world.
Here is what media leaders need to know.
1. Platform predominance hits a tipping point
For the first time, social media and video networks are now the most widely used sources for news consumption globally. Fifty-four percent of respondents used them for news, compared to 51% for owned news sites and apps and 52% for Broadcast TV News. Add AI chatbots and the combined third-party total reaches 56%.
That gap may sound modest, but longitudinal data demonstrates a clear trajectory. TV news (-13%), news websites and apps (-12%), have seen double digit declines in weekly usage since 2020. Meanwhile, the proportion of people who say social media and video networks are their main source of news has risen from 22% to 30% in five years.
And it’s not just young audiences prompting this change. It’s only among audiences 55-and-over where direct access to news sites has remained unchanged since 2021.
As Jim Egan, a Senior Research Associate at the Reuters Institute, and lead author for the study told me, this makes it all the more imperative that companies have a clear idea about the purpose of their off-platform strategies. Are you using these spaces to drive engagement and revenue, or are they primarily serving as a vehicle for brand maintenance and visibility?
These goals are not mutually exclusive, and they will vary by organization. Nevertheless, to punch through, the numbers suggest that many media outlets will need to sharpen their footprint on other properties. As Egan put it, “Social media strategies need to be more sophisticated now than simply, ‘you’ve got to fish where the fish are.’”
2. Your video efforts may be misplaced
Integral to these off-platform strategies is understanding where, and when, audiences are consuming video content. Afterall, this is an area of major strategic focus and investment for many media companies, and it’s a market that is continuing to grow.
Over three quarters (77%) of Reuters’ global sample consume online news video every week. Online news video viewing is ahead of broadcast TV in 45 of the 48 markets surveyed. The exceptions are Germany, Denmark, and the Netherlands.
You could argue that this is good news for companies investing in video. However, audiences are typically not watching more news video on publishers’ own sites and apps. Consumption on owned properties is “going backwards,” the report authors note; down 5% over the past year. Instead, growth can be seen on YouTube, Instagram, TikTok, and Facebook. YouTube is used for news by 34% of respondents globally; Instagram by 26%; TikTok by 20% (the fastest growing from a smaller base); and Facebook still leads the way at 43%.
In our conversation, Egan flagged this finding as the most surprising in the study. Despite an explosion in online video consumption, fewer people are getting this content directly from news publishers.
Egan noted that “33% of people said they were getting online news from a publisher website or app five years ago, and that’s gone down by 10 percentage points to 23%.” “I wasn’t expecting the numbers to go down over five years, given the increasing popularity of video as a format,” he added.
I asked Egan to speculate on why this was the case. One reason, he posited, is that audiences think of YouTube, Instagram, and TikTok as “where they go for video.” For many consumers, a news publisher’s app or website is a less instinctive place to go to for that experience.
“Does the video experience work well enough? Is it sufficiently friction free on publisher websites, compared to the incredibly sophisticated and frictionless video experience on these platforms?” Egan asked. “Are we making it hard for people? Does a pre-roll put people off on publisher websites in a way that perhaps is a bit more tolerated on YouTube?”
These are questions that audience, product and commercial teams, should be exploring more deeply.
3. You need video strategies. Plural.
It’s also worth noting that not all video platforms are the same. Audiences use them differently. And publishers should too.
YouTube is not TikTok. Almost a quarter (23%) of YouTube news video viewers watch videos longer than 20 minutes. More than a third watch between 6 and 20 minutes. The appetite for long-form, substantive video content appears to be very real, and it lives primarily on YouTube. The ability to watch this content via a smart TV – as opposed to your phone – is also a factor in these habits. A quarter (27%) of the global sample already watch on-demand news via apps like YouTube on their smart TVs.
Meanwhile, news consumption via TikTok and Instagram appears to be more accidental and less intentional. Over half of news users on these platforms say they mostly see news when they are there for other reasons.
This distinction between intent-driven and passive consumption should shape your audience strategies, and both content format and editorial expectations for each platform.
4. Creators are not eating your lunch. Yet.
Along with AI, the impact of the Creator Economy is one of the biggest shifts we are witnessing across the media landscape. Globally, 27% of respondents get some news from news-focused individual creators or influencers. Nearly half (46%) get news from creators of any type. Only 3% say all their news needs are met by news-focused creators.
In many cases, Egan told Digital Content Next, that means that creator content is supplementing – rather than replacing – news consumption from more traditional brands. “The use of news creators is something that’s complementary and additive,” he observes. “It doesn’t seem to be coming at the expense of usage of traditional publishers.”
Survey participants rate creators as more entertaining, easier to understand, and more relatable than traditional outlets, although they rate them lower on trust and impartiality. What this means is that people turn to creators for accessibility and engagement, and to established brands for authority.
“The way that creators have found a means of stimulating demand and getting people to be interested in news-related content is interesting, and probably encouraging,” Egan says.
That’s both good and bad news for media companies, highlighting how news organizations are still seen as offering credibility, while creators lead the way in terms of connection. For publishers, the challenge is finding ways to deliver both.
News creators, “might not be eating our lunch,” Egan says, but “is our dinner safe? I don’t know.”
5. Trust levels remain low and are getting lower
As in previous years, the report reiterates the lack of trust many consumers have in news. Globally, this has dropped to 37%, the lowest level since 2015 when this metric began to be tracked. Trust fell in 29 of 48 markets, with drops of five points or more in 19 of them.
For U.S. companies, the domestic numbers are starker. Only 25% of Americans now say they trust most news most of the time. That’s a five-point fall in a single year, with the U.S. seventh lowest of all markets surveyed. Among right-leaning Americans, that figure falls to 15%, nearly the lowest reported figure for any political demographic in any country in the study.
The most trusted news brands in The States are local television outlets and regional or local newspapers, not the major national brands. Fox News and CBS News both lost 10 points of audience trust year-on-year, demonstrating declines on both sides of the political spectrum.
These trends may have strategic implications for partnerships and how companies seek to position themselves editorially in an increasingly fragmented and polarized media environment.
The good news is thataudiences still want journalism, and many of them want this to be impartial. Around half of survey respondent say they prefer news that does not take sides, outnumbering those who prefer opinionated news by more than two to one, and that figure has barely moved in six years. And, interestingly, Egan told me, “the proportion of people who say they prefer news that shares their point of view, that’s gone down over the last six, six years. That runs counter a little bit to the idea of where we all live in our echo chambers.”
6. Other key points
Markets to watch and learn from: Most DCN readers are North America-based. But the report’s coverage of 48 markets surfaces case studies, data and experiments that are worth tracking.
Egan flagged India to as an underappreciated market where “the degrees of innovation and invention are quite fascinating.” Commercial creativity is happening against a backdrop of low levels of press freedom, serving as a reminder that constraints need not stifle creativity.
Alongside this, South Korea is a market to watch closely for AI adoption. AI chatbot use for news rose to 14%, double the number in 2025, and click-through rates from AI answers to original sources are the highest globally at 56%. In contrast, Egan pointed out that usage of AI in this way in the UK sits at just 4%, and in the USA, it remained flat at 6% this year. That’s “despite the rapid diffusion and dissemination of AI into people’s lives,” he notes.
Paying for news has flatlined, but there are ways forward: The proportion of people paying for online news has held steady at 17% across the 20 countries tracked over time.
That plateau is not surprising given the wider structural trends outlined in the report. At the same time, the study also offers insights into why people pay. Unique content is fundamental. “The number one reason why people pay is because they want to get access to unique content they can’t get elsewhere,” Egan said, noting that this “is the bedrock of a reader revenue strategy.”
But, alongside this, “there’s a lot of values-based or social motivations that people recognize and that resonate with individuals,” Egan observed. The report states that 46% give values-based reasons for supporting an outlet financially.
“There’s a variety of different motivations that you can tap into,” Egan advises. Publishers who communicate their mission and values, as well as their distinctiveness, will be best served to attract – and retain – paid relationships with audiences in a world awash with content.
Younger audiences continue to lean digital: More than half (56%) of 18–24 year-olds have never regularly read a newspaper. It’s possible they never will.
A majority (52%) of respondents aged 18–24 say that social media, video networks, and AI chatbots are their main way of getting news. That’s 32% ahead of the next most popular source and a reminder that this audience is resolutely digital-first.
The road ahead
The 2026 Digital News Report demonstrates the distribution challenge for publishers, and the difficulty of building direct relationships.
As the report clearly demonstrates, the imperative for news publishers is to rise to the challenge of the structural drift toward platforms, video, and AI intermediaries. These trends only look set to continue.
How fast you can move to meet your audience where they actually are, while giving them reasons to come back to your properties directly, remain the defining strategic questions facing the news media industry today.
Gen Z and Gen Y aren’t just watching video content—they’re rewriting the rules of engagement. That’s the big wake-up call from DCN’s latest exclusive study for our members, Decoding Video Content Engagement: Gen Z & Gen Y in Focus.
Focused on how younger audiences interact with video across YouTube, TikTok, Instagram, Snapchat, Facebook, and X, the research reveals a seismic shift in behavior. “They don’t just watch — they engage,” the report states. This highlights how younger generations like, comment, and co-create instead of being content to passively consume. For media brands, the report offers essential intelligence that profoundly impacts the future of video strategy and audience growth.
Key research findings
DCN’s study delivers a detailed breakdown of how Gen Z and Gen Y engage across platforms, what content and creators they connect with, and how media brands can build relevance in a fragmented, fast-paced digital landscape. Among the key findings:
Younger audiences scroll fast, but they stay for authenticity. The three-second rule rules everything: Bold visuals, compelling storytelling, and authenticity are essential from frame one.
Creators are brands. Independent creators aren’t just influencers—they’re media ecosystems.
YouTube, TikTok, and Instagram lead the pack. While Facebook maintains its hold on older millennials, TikTok has Gen Z’s full attention. YouTube is the universal middle ground, but each platform demands a unique approach and longer-form content.
New rules of engagement
This research unpacks the new rules of engagement in the video landscape, analyzing everything from platform behavior to creator trust and brand perception.
Viewing behavior redefined
Gen Z and Gen Y don’t passively “watch.” They like, comment, remix, and participate. Brands that encourage interaction win their attention.
Creators are the new kingmakers
Independent creators aren’t just more trusted than traditional media, they’re setting the bar for what’s entertaining, authentic, and engaging.
Platform wars
TikTok dominates Gen Z, while Gen Y still lingers on Facebook. YouTube offers depth; Instagram delivers instant hits. Understanding this split is critical.
Vertical video power
Whether it’s News, Sports, Lifestyle, or Entertainment, content verticals play out differently across platforms and generations.
Strategic framework for media brands
“The research shows the mission hasn’t changed: build trust through quality media. But the playbook? It’s being blown up and rewritten by Gen Z,” observes DCN CEO Jason Kint. He points out that “This generation doesn’t just expect content to be authentic and human, they demand it as a price of entry or will scroll right by you. If your video strategy still feels like it was made for TV, you’re already losing. Brands will need to catch up or get left behind.”
To that end, DCN’s research report goes beyond the “what” and delivers the “how.” It identifies clear, actionable strategies for media companies to thrive:
Lead with interactivity
Brands must create video content with participation in mind—think remixable content, Q&As, duets, and challenges.
Prioritize authenticity
In a world where the raw and real outperform the overly produced, brands must sound human and feel genuine to build trust.
Embrace co-creation
Younger audiences want to participate in the content, not just watch it. Partner with creators who have cultural currency and credibility.
Use the right platform for the right story
A one-size-fits-all video strategy is no longer viable. TikTok, Instagram, YouTube, and Facebook all deliver value differently—and DCN’s data shows how to play to each strength.
For this generation, video isn’t just something to watch, it’s something to do. Engagement, co-creation, and alignment with values like authenticity and cultural fluency are increasingly central to how content is received and shared.
The full research report is available to DCN members only. Register to or login to download (on desktop see top right corner of page, on mobile the top center). Download buttons will appear at the top and bottom of the page.
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.
Part 2! Better Explainer on Kamalas plan to expand #medicare to include #homehealth options vs Trump plan to privatize medicare and create a tax shelter? Out of it? Idk.. #kamalaharrispolicies
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.
