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.
The 2025 DCN Next Summit kicked off in Miami April 22 with an energizing atmosphere as senior media executives from DCN’s member companies came together to discuss the biggest issues and opportunities impacting the future of media.
In his welcome, DCN CEO Jason Kint highlighted the challenging environment the media finds itself in. “Let’s be honest, the last 12 months have been volatile,” Kint said, “And the volatility isn’t just economic, it’s institutional. The forces testing our economy are also now testing our democratic norms, including a free and plural press itself. [We face] a direct challenge to the independence of the press and the principle that journalists, not governments, get to determine the language of truth.”
This, Kint said, is the new normal: accelerated pressure, relentless power grabs and heightened scrutiny all at once. “It’s messy, it’s uncomfortable, and it’s redefining the rules that we all play by.”
In the midst of this, Kint highlighted premium content still matters but what defines it is changing. “Growth is harder, but it is possible, especially as you strengthen your direct relationships with your audience and customers. Trust… is everything. It’s foundational and it must be defended. And, in times of vulnerability is when you build on it.”
While the topics of discussion both on stage and off were wide-ranging, three significant themes emerged: the importance and evolution of trust, the value of direct audience relationships, and new influencer dynamics impacting media brands.
Trust in a fragmented world
In an era where audience attention is fragmented across numerous platforms, trust is the core value exchange between a media brand and its audience. Katherine Maher, president and CEO of NPR, emphasized the importance of maintaining editorial independence and impartiality as essential components of trust.
Katherine Maher, president and CEO of NPR
She said, “Our editorial independence is paramount. People listen to NPR and they care about public media because they trust it and they know that it is independent. To my mind, if we cannot maintain that editorial integrity, we cannot serve our audiences the way we need to be served.”
This foundational trust faces new challenges. New research from DCN and Magid on Gen Z’s video consumption reveals a significant difference in trust levels between individual creators and brands, with individual creators generally being perceived as more trustworthy. The study, called “Decoding Video Content Engagement,” talked to 1,000 young people aged 13-40, to understand how they saw media brands. The results (available to DCN members) suggests that Gen Z’s understanding of what is trustworthy is evolving based on where they spend their time and energy.
“When you talk to Gen Z, it’s the individual that’s most valued. It’s the influencers, it’s the streamers,” Andrew Hare, SVP, head of quantitative research at Frank N. Magid Associates explained to attendees. Media companies face a significant challenge in building trust with Gen Z and Gen Y, and being seen as trustworthy, authentic and interesting, compared to individual creators, who are overwhelmingly trusted more by these generations.
Hare mentioned an opportunity for digital media companies to “collaborate and co-create with creators themselves to maybe even add some trust back to the brands.” He noted that digital media companies must focus on humanizing their brands, fostering direct relationships with audiences, and finding ways to be real and relatable while upholding their journalistic standards.
The evolving role of creators
Discussions at the summit frequently touched upon the evolving role of journalists in today’s media landscape and the rise of individual creators/influencers as a force in news. According to a November 2024 study by the Pew Research Center, 21% of U.S. adults now regularly get news from influencers. This figure rises to 37% among those under 30—an age group that is increasingly difficult for traditional outlets to reach.
Tiffany Sam Chow, SVP, strategy and business development at NBCU News
Tiffany Sam Chow, SVP, strategy and business development at NBCU News Group, pointed out that news anchors are becoming personalities on platforms like TikTok, which allows them to build individual connections with audiences. This shift changes the role of anchors from authoritative figures to relatable personalities, she explained.
Chow cites the example of Savannah Sellers on TikTok. “She does these behind the scenes where people can understand her as a person,” Chow explained. “People start following her on social as a person and then start following her on social as a news anchor.” As people engage with the on-air talent on a personal level, they begin following them as journalists, and in turn, engage with the NBC News and Today Show handles, Chow said.
Sam Felix, SVP, Strategic Partnerships & Business Development, at CNN echoed this shift. She noted CNN has also been thinking about how to drive that relationship between their on-air talent and audiences. “Part of our superpower is our ability to produce video at scale and this amazing talent. We have the right ingredients to engage with this audience. But we have to figure out (how) to pull back the curtain, get them sort of like closer, one-on-one, with this audience in a way that they seek us.”
In addition to their shows, CNN personalities produce multiple vertical videos per day, published on social channels and on CNN’s platform, Felix said. “Over the next several months, as you see the kind of next phase of CNN come out into the world, you’ll see that same type of production format be at the center of the content and our products, because it is resonating.”
MLB’s VP, Social Media and Innovation Cameron Gidari noted that some baseball creators are as popular, if not more so, than baseball players “kids are recognizing them!” Thus, their strategy involves empowering these creators. “We have a really robust crop of up and coming baseball creators,” Cameron. “They’re non-traditional media for a new age.”
MLB’s creator strategy involves helping empower creators, to help them grow, giving them access to events and sharing their content. “We went to help them grow because we know that they’re Baseball Tonight for the next generation, right?”
Building deeper connections with direct relationships
Publishers have long held direct relationships with audiences, built on trust and high-quality content. These relationships allow media companies to understand and anticipate audience needs. Strategic insights also inform monetization strategies like subscriptions, events and advertising.
In 2025, strengthening direct relationships with audiences has never been more critical. As media companies expand beyond traditional advertising into licensing and other D2C strategies, deepening audience connections is essential for sustainable growth.
Daniel Alegre, CEO, TelevisaUnivision
CEO Daniel Alegre credits his company’s success to TelevisaUnivision’s vast Spanish-language content catalog, built over 80 years, which helps nurture a direct, multi-platform relationship with audiences. TelevisaUnivision integrated its operations and created a single content strategy that serves linear TV in both the U.S. and Mexico and ViX, its streaming platform.
Alegre noted that the company continues to innovate in video content to engage new audiences. They are developing one-minute “micro telenovelas” specifically designed for mobile consumption. “These are essentially made for the phone, and can create new commercialization opportunities for subscription and advertising … We can also work on microtransactions,” he said.
At the Athletic, Publisher David Perpich explained that the company is exploring partnerships to leverage its content and audience, including a partnership with MGM which integrated betting coverage, and Stubhub which allowed users to purchase tickets within The Athletic’s content.
And in a move that is certain to be a fan favorite, MLB formed a “partnership with eBay where we have a collectibles vertical and you can buy on eBay,” he said. The focus of these initiatives is on “how do we create content that consumers would love but then let’s figure out the right business model on the other side to take advantage of it.”
Relationships are also changing between media companies, brands and advertisers, with a greater emphasis on direct relationships and mission alignment.
Shannon Watkins, CMO, Fiserv
Shannon Watkins, chief marketing officer at Fiserv, explained that Fiserv increasingly bypasses media agencies, instead partnering directly with media companies, viewing them as extensions of their own marketing team. This direct model allows Fiserv to keep strategy development in-house while collaborating with media partners to execute.
“It’s less about the dollars and cents and more about that symbiosis that you can have with your partner media or otherwise, where it is a true mission alignment because then the conversation moves beyond placements and dollars, but how can we grow together? And that’s what we’re looking for,” she said.
Persevering and pushing forward
As digital media companies grapple with the challenge of maintaining trust amid increased scrutiny and competition from more personalized, often more relatable creators, the importance of direct, authentic relationships with audiences has never been clearer. Media are learning to adapt to this shifting landscape, where collaboration with creators can help rebuild trust while still maintaining journalistic integrity.
Media companies must evolve to stay relevant. However, they must also safeguard the foundational values that have long underpinned their role in society, including press freedom. This Summit highlighted how they are persisting through challenges. As Kint pointed out, “We must keep pushing for fair value, for IP protection, for a level playing field, in equal competition. And above all we must defend the role of a free and plural press at a moment when institutions are being tested from every angle, even at the highest office in the land.”
Sports and sports media outside of the major leagues often are labeled as “niche.” But that term is quickly becoming obsolete. Easy and inexpensive AI tools are changing the game. They create new sports media and marketing opportunities for free streaming and social-first athlete-creators, regardless of traditional audience bases and reach.
How is AI accelerating this transformation? It’s helping underrepresented sports and athlete-creators identify and capture new fans, super fans, and monetization opportunities. With smarter data analysis and faster content distribution, sports once considered “niche” have a chance to grow their media audiences and revenues in many ways.
How AI Is expanding the reach of sports
AI is widely used in sports media but it’s not just for the majors. AI presents opportunities for targeted streamers and independent creators. Here’s how leaders are using it to grow:
1. Identify and engage new fanbases
AI is helping sports organizations analyze viewership patterns, social media engagement, and fan demographics to uncover potential new audiences. By leveraging machine learning, teams and leagues can:
Identify super fans: Find those most engaged and willing to spend on tickets, merchandise, and streaming subscriptions.
Uncover new fan segments: AI can pinpoint audiences with similar behaviors and interests, even if they haven’t engaged with the sport yet.
Optimize monetization strategies: AI-driven insights help organizations determine the best ways to engage and convert fans through advertising, merchandise, and licensing opportunities.
2. Speed up content distribution
The way fans – particularly Gen Z fans – consume sports content has changed. Short-form videos, highlights, and real-time updates dominate engagement, and AI is making it easier to deliver this content faster than ever. AI-powered tools now handle:
Video ingestion and indexing: AI quickly processes and categorizes game footage for highlights.
Automated captioning and headlines: AI helps create more engaging, searchable content.
Smart clip generation: AI identifies the best in-game moments and instantly produces highlight reels.
This reduces production time and costs, allowing sports organizations to share media with fans faster and at scale.
3. Break language barriers and expanding globally
AI-powered translation tools are making sports media more accessible and global. Now, leagues and teams can automatically translate commentary, subtitles, and captions into multiple languages, opening doors to international markets and audiences.
More inclusive media: AI-driven translations provide accessibility for fans who speak different languages or have hearing impairments.
Stronger international engagement: With real-time translations, sports can reach new audiences without the need for costly localization efforts.
Athlete-creators: the new hybrid skill set
From NIL-driven revenue opportunities to the dominance of the Paul brothers, athlete-creators are increasingly leveraging AI. Are we looking at a future of sports in which the highest-performing athletes are not the best-known athlete-creators and vice versa? Yes, it may be challenging for some athletes without the resources or a team of assistants to fully realize their earning potential. However, AI may help level the playing field for athlete-creators. Here are some ways athlete-creators are using AI:
Content creation and editing: AI tools can simplify design and enable quick creation of engaging content without professional design expertise.
Social media engagement: AI analysis of social media trends and audience preferences can be used for targeted creation strategies.
Streamlining distribution: Automation of delivery can make it easier for athletes to focus on training and performance while staying engaged with fans and optimizing revenue opportunities.
Ascendant sports: the next stage of AI-driven growth potential
For an underrepresented sport looking for media expansion potential, new AI tools can help with assessing and answering some key questions:
Does it have a strong but underserved fanbase? If finding free, high-quality broadcasts is a challenge, it’s now much easier to explore serving a fanbase via free streaming options, from FAST to YouTube to other live social short-form distribution outlets.
Does it need better production and distribution? AI-enhanced production – from graphics to real-time statistical analysis – can help sports that have previously not been considered TV-friendly, making them more exciting to watch and easier to follow on digital platforms.
Are there marketers looking to align with its fanbase? Using AI-enabled analysis of data, it’s easier to identify cost-effective and targeted opportunities to connect with sports fans.
With the right application of AI and streaming strategies, ascendant sports can dramatically expand their audience and become stronger players in the sports content ecosystem.
The future: AI will define the next era of sports growth
The sports industry is at an inflection point. The traditional “big vs. small” sports hierarchy is being disrupted by technology, streaming, and AI-driven content strategies. Many sports, regardless of their historical followings, now have the opportunity to thrive and expand their reach.
Influencers, independent journalists, and smaller news outlets sharing news and commentary on social platforms increasingly compete for audience attention with traditional and digital news brands. These “alternative voices” can also provide a place for a diverse array of opinions and perspectives—though the most popular accounts don’t appear to be particularly diverse or alternative, unless the term alternative is simply defined as delivered by social platforms outside of established news brands.
Platforms like TikTok and Instagram offer access to creator tools and global distribution, which helps these accounts reach large audiences. However, measuring the extent of news consumption on social and video networks is complex due to the diverse range of accounts and topics discussed. However, Reuters’ Institute’s new report, Digital News Report 2024, provides a snapshot of the most influential accounts and the balance of attention between alternative news sources and mainstream. The report examines the nature of these alternative voices and their followers and evaluates the reliability of the information and the implications for the marketplace.
Recall of alternative news accounts (58%) surpasses mainstream news brands in the U.S. (42%). This indicates a significant shift toward news creators and influencers. This trend also underscores alternative voices’ growing influence, as well as the continuous evolution of news content and delivery.
Linked to this trend, video storytelling is an increasingly crucial online news source, especially among younger audiences. Short news videos – popular on TikTok and Instagram – are accessed by 66% of respondents each week, while longer formats attract around 51%. Most online news video consumption takes place on social platforms. Audiences favor these platforms for news (72%) over publisher websites, which only attract 22%. This increases the challenges around monetization and connection for traditional news publishers.
Audience and content analysis
Reuter’s report asked respondents to name accounts they follow most closely across six popular platforms—Facebook, X, YouTube, Instagram, Snapchat, and TikTok. Respondents identify Tucker Carlson and Joe Rogan as the accounts they follow most closely. Interestingly, the most mentioned (top 10) individual names offer political commentary or chat rather than original newsgathering. Most of the popular content is also partisan, with little or no attempt to present a balanced view. And the entire top 10 list is comprised of white men. Many of these names are hardly “alternative,” as they come with decades of experience in legacy media ― traditional cable or talk radio networks.
Some alternative news brands are comprised of multiple creators, such as the Daily Wire and Blaze TV (conservative), Young Turks, and Medias Touch (progressive). Regardless of their politics, the look is consistent and video-centric. It’s somewhere between a podcast and a TV broadcast – with mostly male hosts talking to mostly male guests.
The nature of some of this content may not appeal to advertisers. As a result, some personalities find other ways to generate revenue, such as appealing directly for donations or selling merchandise. A few, such as Tucker Carlson, are trying out premium subscriptions, providing additional content or networking opportunities for a fee.
Reliability and impact on society
The reliability of information shared by alternative voices is a critical concern. While some independent journalists and creators provide valuable insights and diverse perspectives, others report misinformation and partisan content. The decentralized nature of these platforms makes it challenging to regulate content quality, leading to potential societal impacts, such as increased polarization and the spread of false information.
The rise of alternative news sources and the popularity of individual’s “news” accounts shows a growing audience preference for creators and influencers—even in their consumption of what they define as news. These alternatives claim to offer free expression, positioning themselves against mainstream media, which they accuse of suppressing the truth or serving elite interests.
The insights provided by Reuters’ findings makes evident the popularity of short form video for news among audiences. It also sheds some light on the types of storytelling and storytellers who audiences find most engaging. News media outlets should explore new creative formats and personalities and showcase creators’ individual style and personalities to embrace changing news preferences and engage today’s audiences.
News has long relied on the power of visuals to tell stories: first through illustrations and more recently through photography and video. The recent rise in access to generative AI tools for making and editing images offers photojournalists, video producers and other journalists exciting new possibilities. However, it also poses unique challenges at each stage of the planning, production, editing, and publication process.
As an example, AI-generated assets can suffer from algorithmic bias. Therefore, organizations that use AI carelessly run the risk of reputational damage.
AI-generated images can suffer from algorithmic biases. As examples, without specifying any demographic or environmental attributes, text-to-image AI generator Midjourney returned four images—all of light-skinned men and all in seemingly urban environments—for the prompt, “wide-angle shot of journalist with camera.
However, despite the risks, a recent Associated Press report found that one in five journalists uses generative AI to make or edit multimedia. But how are journalists using these tools, specifically, and what should other journalists and media managers look out for?
I recently undertook a study of how newsroom workers perceived and used generative visual AI in their organizations with Ryan J. Thomson and Phoebe Matich. That study, “Generative Visual AI in News Organizations: Challenges, Opportunities, Perceptions, and Policies,” uses interviews with newsroom personnel at 16 leading news organizations in seven countries, including the U.S. It reveals how newsroom leaders can protect their organizations from the dangers of careless generative visual AI use while also harnessing its possibilities.
Challenges for deploying AI visuals in newsrooms
Mis/disinformation
Those interviewed were most worried about the way in which generative AI tools or outputs can be used to mislead or deceive. This can happen even without ill intent. In the words of one of the editors interviewed:
When it comes to AI-generated photos, regardless of if we go the extra mile and tell everyone, “Hey, this is an AI-generated image” in the caption and things like that, there will still be a shockingly large amount of people who won’t see that part and will only see the image and will assume that it’s real and I would hate for that to be the risk that we put in every time we decide to use that technology.
The World Economic Forum has named the threat of AI-fuelled mis/disinformation as the world’s greatest short-term risk. They rank it above other pressing issues, such as armed conflict and climate change.
Labor concerns
The second biggest challenge, interviewees said, was the threat that generative AI posed to lens-based workers and other visual practitioners within news organizations. AI-generated visual content is much cheaper to produce than paying for bespoke content but the interviewees noted that quality is, of course, different.
An editor in Europe said he didn’t think AI tools would take peoples’ jobs. Instead, he felt it would be others who apply these tools well who would be hired instead, as the newsroom can thus be more efficient by using them.
Copyright
The third biggest challenge, according to the interviewees, was copyright concerns around AI-generated visual content. In the words of one of the editors interviewed:
“Programs like Midjourney and DALL-E are essentially stealing images and stealing ideas and stealing the creative labor of these illustrators and they’re not getting anything in return.”
Many text-to-image generators, including Stable Diffusion, Midjourney, and DALL-E, have been accused of training their models on vast swathes of copyrighted content online. The two biggest players in the market that said they are taking a different approach are Adobe (with its generative AI offering, Firefly) and Getty (with its offering, Generative AI by Getty Images).
Both of these claim they’re only training their generators with proprietary content or with content they have license to use, which makes using them less legally risky. (Although Adobe was later discovered to have trained its model partially on Midjourney images.)
The downside of not indiscriminately scraping the web for training data is that this affects the outputs that are possible. Firefly, for example, wasn’t able to fully render the prompt: “Donald Trump on the Steps of the Supreme Court.” It returned four images of the building itself sans Trump along with the error message: “One of more words may not meet User Guidelines and were removed.”
Adobe Firefly wasn’t able to fully render the prompt “Donald Trump on the Steps of the Supreme Court.” It returned this image of the building itself, instead.
On its help center, Adobe notes, “Firefly only generates images of public figures available for commercial use on the Stock website, excluding editorial content. It shouldn’t generate public figures unavailable in the Stock data.”
Detection issues
The fourth biggest challenge was that journalists themselves didn’t always know when AI had been used to make or edit visual assets. Some of the traditional ways to fact-check images don’t always work for those made by or edited with AI.
Some participants mentioned the Content Authenticity Initiative and its Content Credentials, a kind of tamper-evident metadata used to show the history of an image. However, they also lamented significant barriers to implementation. These included having to buy new cameras equipped with the content credentials technology and also re-develop their digital asset management systems and websites to work with and display the credentials. Considering that at least half of all Americans get at least some news from social media platforms, content credentials will only be effective if they are adopted widely across the industry and by big tech giants, alike.
Despite these significant risks and challenges, newsroom workers also imagined ways that the technology could be used in productive and beneficial ways.
Opportunities for deploying AI tools and visuals in newsrooms
Creating illustrations
This is how text-to-image generator Midjourney responded to a prompt about visualizing generative AI. Journalists said they could see the potential for using generative AI to show difficult-to-visualize topics, such as AI itself.
The newsroom employees interviewed were most comfortable with using generative AI to create illustrations that were not photorealistic. AI can be helpful to illustrate hard-to-visualize stories, like those dealing with bitcoin or with AI itself.
Brainstorming and idea generation
Those interviewed also thought generative AI could be used for story research and inspiration. Instead of just looking at Pinterest boards or conducting a Google Image search, journalists imagined asking a chatbot for help with how to show challenging topics, like visualizing the depth of the Mariana Trench. Interviewees also thought generative AI could be used to create mood boards to quickly and concretely communicate an editor’s vision to a freelancer.
Visualizing the past or future
Journalists also thought the potential existed to help them show the past or future. In one editor’s words:
“We always talk about how like it’s really hard to photograph the past. There’s only so much that you can do in terms of pulling archival images and things like that.”
This editor thought AI could be used in close consultation with relevant sources to narrate and then visualize how something looked in the past. Image-to-video AI tools like Runway can allow you to bring a historical still image to life or to describe a historical scene and receive a video in return.
Image-to-video AI tool Runway allows a user to bring life to a still image from history.
More guidance (and research) needed
From our research, which also discusses principles and policies that newsrooms have in place to guide the responsible use of AI within news organizations, it is clear that the media industry finds itself at another major crossroads. As with each evolution of the craft, there are opportunities to explore and risks to be evaluated. But from what we saw, journalists need more guardrails to guide their use and allow for experimentation and innovation in ethically sound and responsible ways.
In Hollywood, where creativity meets commerce, diversity is a central theme, not just on the screen but also behind the scenes. Box-office numbers demonstrate the power and profits wielded by audiences of color and women: People of color dominated opening weekend sales for 14 of the top 20 films in 2023, while while female moviegoers dominated sales for three films in the top 10, according to the latest Hollywood Diversity Report.
UCLA’s annual Hollywood Diversity Report, now in its eleventh edition, offers insight and guidance for the industry in representation, inclusion, and profitability. This report examines diversity within Hollywood’s top films and TV shows, showcasing the realities between demographics and the bottom line. It delves into dimensions such as race, ethnicity, gender, age, sexual orientation, religion, and disability status. The study offers a better understanding of Hollywood’s diverse landscape using data from sources like The Studio System, Variety Insight, IMDb, comScore, and Box Office Mojo. The report provides valuable insights into the industry’s efforts to reflect society’s diversity by tracking data and their correlation with audience preferences.
Cast diversity
Despite the demonstrated success of diverse casts, the report highlights disparities in gender representation. Despite significant gains, women’s share of top theatrical film leads declined to 32.1% in 2023 from 38.6% in 2022. This decline underscores women’s ongoing challenges in securing prominent roles within the industry.
Moreover, the report delves into the representation of individuals with disabilities, an area that has historically received less attention. While the report shows some progress, adults with disabilities remain underrepresented as theatrical film leads in 2023. Only 7.1% of all top theatrical film roles include actors with a known disability.
Further, the report uncovers disparities within racial and ethnic groups and gender identities. While certain groups, such as Asian and MENA (Middle East and North Africa) individuals, approach proportionate representation, others, including Black, Latinx, and multiracial individuals, continue to face significant underrepresentation.
Budget allocation and financial performance
Budget allocation also emerges as a factor affecting diversity within the industry. The report underscores the correlation between diversity and box office success, revealing that films with casts featuring 31 to 40% BIPOC (Black, Indigenous, and People of Color) enjoy the highest median global box office receipts. Notable titles include Barbie, The Hunger Games: The Ballad of Songbirds & Snakes, and Shazam!
However, films with BIPOC leads are also likelier to have the smallest and largest budgets, highlighting the uneven distribution of resources and opportunities for diverse talent.
In addition, BIPOC audiences emerge as a critical demographic for the industry, with most opening weekend domestic ticket purchases by BIPOC moviegoers for seven of the top 10 and 14 of the top 20 films in 2023. Additionally, films featuring casts where more than 30% of the actors are BIPOC account for nine of the top 10 and 15 of the top 20 films at the global box office.
Global distribution and the importance of intersectionality
The report also sheds light on disparities in global distribution and representation, revealing that top theatrical films with Black and Asian leads are less likely to have distribution in China compared to other racial and ethnic leads. However, films featuring Latinx and multiracial leads are more likely to have distribution in China.
Moreover, the report highlights the importance of intersectionality. Films featuring casts from 41% to 50% BIPOC post the highest median domestic box office, and those with casts from 31% to 40% BIPOC dominate the international markets. These findings challenge the notion that “diversity does not travel,” emphasizing the global appeal of diverse storytelling. As the industry continues to navigate the dynamics of diversity and representation, this report serves as a vital resource for understanding Hollywood’s evolving landscape. Overall, the report offers insights into the state of diversity in Hollywood and the challenges in achieving true representation. Looking closely at this data shows that having various types of people in movies and TV contributes to their popularity, and profitability.
Viewership habits are changing in the video entertainment and news landscape, presenting challenges and opportunities for today’s media content companies. Hub Entertainment’s annual Video Redefined study delves into this growing alternative video content consumption ecosystem. The research explores the rise of YouTube influencers, TikTok, podcasts, and the impact of gaming on the streaming video industry. Hub’s study finds a significant change in consumer preference towards “non-premium” online content sources like YouTube and TikTok. Hub attributes this shift to increased smartphone usage and expanding content on these social platforms.
Aware of these shifts, some media companies, like Paramount, Disney, Max, and others, are experimenting with releasing exclusive content on social platforms. Paramount released Mean Girls on TikTok in 23 parts, and Disney created a content hub dedicated to their company’s 100th anniversary.
Broader appeal of non-premium content
TikTok emerges as a significant player in short, quick, and trend-centric content, appealing to all age groups and excelling in providing vast amounts of video content. The study reveals that while TikTok is now on par with Instagram in popularity among young viewers, YouTube remains the unrivaled leader.
Gen Z’s affinity for non-premium videos, such as short-form, user-generated, and influencer content, is evident, with nearly two hours daily of consumption. The study highlights a surprising increase in non-premium video consumption among older viewers (35+), with a two-hour-per-week rise compared to the previous year. Hub Entertainment notes that their interest in staying updated on news and current events is primarily attributed to the surge.
Smartphone video viewing
While social media is popular across all ages, viewership is not uniform. Over 80% of all viewers use YouTube weekly. However, Gen Z stands out for its higher usage of Instagram, TikTok, and Snapchat. The study emphasizes the importance of recognizing the unique benefits offered by each platform. TikTok, for instance, excels in delivering short, trendy videos, while YouTube’s extensive library remains the go-to source for informative content.
As noted earlier, the study underscores the dominance of smartphones as a viewing source, particularly among younger audiences (13-24). Younger viewers spend half as much time on traditional TV as their older counterparts. Their smartphones are the go-to platform for gaming, social media, and non-premium video content. Companies like Netflix are aligning their strategies with this trend, developing games based on popular shows like Squid Game and Wednesday, further blurring the lines between traditional TV and gaming. Gaming IP, too, is gaining traction, with promises of more TV show game adaptations like Fallout on Prime Video.
Media content companies face challenges as younger viewers move away from traditional television and cinema experiences. The dominance of smartphones, the rise of non-premium content, and the changing preferences of different age groups underscore the need for the industry to adapt and explore opportunities presented by these shifts. As media companies chart the future of the video ecosystem, they must embrace innovative strategies to stay relevant and engage with evolving audiences.
As 2023 draws to a close, it’s a good time to reflect on the pivotal consumer and market trends that have shaped the digital publishing world for our content and publisher partners. This year has been a testament to the industry’s resilience and innovation, especially in the realm of revenue optimization. From adapting to a world without third-party cookies to the rise of Connected TV (CTV), these trends have not just influenced our present – they pave the way for the future. For digital media executives, understanding these shifts is crucial to staying ahead in an ever-evolving landscape. To help navigate this dynamic environment, we’ve compiled a list of the seven key trends that shaped the media world in 2023:
1. Emphasis on brand safety
Brand safety has taken center stage, aligning with the need for quality journalism and trustworthy content. Maintaining high editorial standards will be essential in 2024 to ensure a safe and credible platform for both users and advertisers. In line with this issue, about 40% of marketers expect an increase in brand safety concerns, highlighting the crucial role of publishers in fostering a safe and transparent advertising environment.
The growth of subscription models has highlighted the importance of balancing revenue generation with user experience. In the coming year, the focus should be on providing valuable content while ensuring a seamless and engaging user experience. As an example, one publisher, with more than 9.3 million subscribers, successfully embraced subscriber audiences to power ad revenue in 2023 demonstrating the substantial reach and impact of subscription models on advertising revenue.
4. Preparing for a Cookie-less world
The demise of third-party cookies has reshaped the digital advertising landscape, compelling publishers to embrace first-party data and contextual advertising strategies. However, progress remains slow, with over half (53%) of digital marketing campaigns still relying on third-party data. As we approach 2024, it’s vital to have your cookie-less strategy ready, to ensure a smooth transition and continued advertising effectiveness. Without a cookie-less strategy, publishers risk significant disruption in their ad targeting and personalization capabilities, which could lead to a decrease in advertising effectiveness and revenue.
5. Navigating algorithm changes and maintaining publisher revenue
In 2023, publishers faced significant challenges due to algorithm changes by big tech platforms leading to reduced inventory and revenue, while declining CPM rates further strained publisher profitability. To combat this, publishers should focus on producing high-quality content that their audiences value to regain control of data and revenue streams. This is particularly crucial in light of the recent revelation that social platforms in the US owe news publishers between US$11 billion and US$14 billion per year, highlighting the need for fairer revenue-sharing models.
6. Innovative video and interactive content
2023 saw a surge in demand for innovative, engaging, and non-intrusive video and interactive content. In 2024, working with partners who can deliver such content effectively will be paramount to enhancing the user experience. Interactive content sees 52.6% higher engagement than static content, making it an essential tool for capturing and retaining audience attention. Additionally, interactive content can be used to collect valuable data about audience behavior, which can then be used to inform future content strategies without relying on cookies.
7. Monetizing CTV inventory
As CTV’s exponential growth, driven by a staggering 19.6% ad spend increase in 2023 alone, opens new monetization avenues, finding the right balance in monetization and selecting the appropriate supply partner becomes key. By choosing the right CTV supply partners, brands can effectively target their desired audience and deliver high-quality, relevant ads that connect with viewers, resulting in enhanced brand awareness and engagement.
Looking back and moving forward
As we look back on 2023, the lessons we’ve learned are invaluable. The digital publishing landscape is ever-changing, and staying abreast of these trends is crucial for any media executive. By embracing these developments, preparing for what’s next, and collaborating with the right partners, you can tackle the challenges of the digital landscape in 2024 and beyond.
Digital media has experienced a near-constant evolution in consumer behavior, preferences, and expectations over the past couple of decades. And things show no sign of slowing down. Many media companies are not just at a crossroads, they are at a point of no return. How they respond now will likely shape whether they survive or not.
Of course, some media companies have adapted skillfully to these changes. It’s now possible for consumers to watch TV on half a dozen devices whenever and wherever they want (possibly all at the same time if you’re my kid). We can read the news from anywhere, and the news now often comes packaged with games, recipes, communities, podcasts, and even in-person events.
Meanwhile, advertisers can track viewers across platforms, and measure engagement on a deeper level, with more robust data than anything offered in the Nielsen era. Even the programming has changed, as media companies adapt to changing audience preferences.
As media companies continue to evolve and experiment, the challenge is to do this without potentially alienating their customer base. It requires the right mix of innovating with a product mindset to create something new: viewer experience, insights into customer wants and needs, and consumer engagement.
It all starts with product
What do companies need to consider to move the needle? They need to constantly shift with – and shift – consumer expectations. There is a cost in every decision that media companies make, and every action or inaction has consequences.
All of these decisions ladder up to the product itself. Product development never, ever stops, because if it does, it leads to stagnation (and even irrelevance). For example, media companies like National Journal have made their investments to differentiate, not just improve. Category leaders like Netflix, Instagram, and TikTok offer products that look very different today than they did a few years ago because they continued to evolve. They updated to both shift and meet consumer expectations and as a result, have remained the best at what they do.
For media companies looking to follow a similar pattern, there are three key considerations:
Viewer experience
Insights into customer wants and needs
Consumer engagement
Viewer experience
Developing cutting edge products requires alignment with users, because every innovation has to improve the experience. Every product must be highly-intuitive and easy to interact with. As companies push the boundaries on what’s possible, they also need to ensure that new functions work seamlessly.
If you are a consumer, there’s nothing worse than loading a new application or website area only for it to raise questions in your mind. This extends beyond the technical components to other consumer touchpoints, including user support and billing.
At the core, media companies need to design products that their customers love, and not just simply use.
Insights into customer wants and needs
The goal of every media company is to build an experience that consumers love. To do that, companies need to constantly research and design for needs. The biggest insights in media consumption habits are the rise of free ad-supported TV (FAST) channels on streaming platforms and the dominance of short-form content.
Consumers accept advertising because they know that it funds the media they are viewing, reading, or hearing.
Media companies have looked for a way to layer advertising on top of their offerings in a way where advertisers see value, and consumers understand that the ads they see are funding the media they digest. FAST channels seem to strike this balance perfectly, much to the surprise of the ad industry.
Short-form content offers another, similar opportunity. TikTok’s massive adoption shows that consumers are ingesting information at a dizzying pace. Media companies should be seeking out ways to create and capitalize on this new form of content.
Consumer engagement
The natural benefit of designing for needs is that it improves user engagement. One of the biggest learnings about the FAST adoption described above is that consumers actually use ads as a way of engagement. This creates opportunities for media companies to use these ad slots to get consumers to engage with new forms of content.
Ads are now interactive, with surveys or the ability to click to watch something new. By using data signals and programmatically serving tailored ads to customers, media companies can help drive consumers to other products and content offerings, building greater engagement.
Engagement goes much deeper than watching ads, of course. Media companies want consumers to spend time with their content, whether that’s as simple as watching a video or reading another article, or as deep as attending an event or paying for a subscription with unique benefits.
Streaming TV is largely viewed as TV in the traditional sense, but consumers don’t always engage with it on their couch in the living room. Some watch on the subway, some just run a TV show in the background and listen to it like a podcast. Media companies need to adjust their user experiences to better meet the evolving needs of these different audiences.
Learn without asking
As media companies work through the three considerations above, they need to keep one thing in mind: consumers aren’t necessarily going to tell you what they want. In fact, they may not know what they want. So if you adopt a product mindset and continue to evolve and push forward, it’s critical to analyze all of the data signals you have on consumer behavior and build something that meets the trends.
Product development never ends, and that’s especially true in the media space. A decade ago, no company would have been able to predict our current situation. It’s unlikely that any single enterprise can accurately predict the next 10 years of change, either. Regardless, evolution is key, so that media brands can remain in business and help define the next iteration of the industry.
For nearly two decades, I’ve had the privilege of helping lead media’s evolution, first as an executive at two U.S.-based companies that were early to market with streaming video products, and now as a digital transformation consultant working with a variety of international media companies.
Many of the global execs I meet these days are worried that they are behind when it comes to streaming—playing catch up with the U.S. But is playing catch up such a bad thing? I say it’s not. In fact, by “playing catch up,” late movers have an opportunity to learn two key lessons from the U.S. streaming market and thus serve viewers more effectively.
1. Streaming is a long-term investment
After several decades in which the basic methods of creation and distribution were relatively stable, digital technology came along and changed the game. Unfortunately, in the early days of digital, many U.S. media companies took a short-term approach to this massive shift.
Instead of undertaking streaming development as an opportunity to fundamentally transform viewer relationships, most U.S. media companies viewed streaming as an experiment or side project. This led to short cuts in product development. That resulted in dozens of copycat streaming interfaces that today all more or less look just like Netflix, for better or worse. This short-term approach also led to a lack of standards development. That resulted in dozens of measurement methodologies and little to no transparency in companies’ stated metrics for success.
Those who are late to market can take advantage of the learnings from this short-term thinking by setting expectations internally and externally about how long their transition will take. Investing long-term in more thoughtful products will strengthen viewer loyalty. Investing long-term in shared metrics standards will strengthen relationships with partners and investors.
Streaming video is a long-term investment in innovation. It is an ongoing commitment to continuous change. Executed successfully, streaming video should mean more value for viewers—increased options and the convenience of on-demand. And that will result in more loyalty for media brands and more value for investors.
2. Do what you do best
The U.S. is a singular entertainment market. It’s large, geographically and demographically diverse, and relatively affluent. The most game-changing media company from the past two decades of U.S. innovation—Netflix—was actually a unique by-product that arose from the proximity of Hollywood and Silicon Valley and the relatively early widespread adoption of broadband in the U.S. market. If your country is not the U.S., don’t assume your non-US-based media company should follow the same strategies as the U.S.-based giants. Your company doesn’t need to be the next Netflix. Nobody wants or expects that.
The U.S. has too many streaming services that are practically indistinguishable from one another from the viewer perspective. Many are stuck managing churn on mediocre products as opposed to building loyalty via truly excellent offerings.
Unfortunately, this came about because the media companies that launched these streaming services incorrectly thought they had to compete head-to-head with Netflix in a winner-take-all Hunger Games. Recognizing that there is room for many strategies and many types of streaming services in the U.S. would have saved many media companies from over-investing in the wrong places.
The lesson here is to chart your own path. You should know your core viewers and the nuances of your market better than anyone—and you should take advantage of that. Not having to compete amid the complexities and pressures of the U.S. market is an advantage for media companies in other regions. Latecomers can avoid the churn management Hunger Games by doing what they do best, focusing on what differentiates their brand rather than copycatting the struggling strategies of other media companies.
Similarly, while there is room for international brands in most markets, there are nuances to local cultures that can allow for native media companies to truly own their markets. This is also the best way to super-serve your audience: build out from your core identity while embracing new streaming technologies and models.
The bottom line
Let’s get one thing straight: streaming is not a war. The “streaming wars” are a narrative concept, convenient for headlines but ultimately an overly simplistic way to frame the latest evolution of the media industry. In fact, there are and will be many successful players, and as streaming further evolves, it will continually present new opportunities for media companies everywhere to entertain, inform, and engage.
The models might differ from company to company, but all should be investing in an ability to execute continuous evolution. Smart media executives can double down on a long-term investment in their core brands and on super-serving their audiences for continued success in their own markets and beyond.
Discoverability, funding, IP ownership, and cultural sovereignty are topics at the forefront of how and to what degree streaming companies should be put under government regulations. As today’s over-the-top streaming platforms continue tonavigate emerging domestic rules and regulations, jurisdictions outside the U.S. have started to introduce new content and funding obligations for these services.
The ability to transcend borders has long been a defining characteristic of video streaming platforms: Anyone with an internet connection could view all the content. Initially, incumbent broadcasters and traditional distribution channels faced massive disruption as consumer preference shifted away from linear channels to the choice of what to watch and listen to from hundreds of options. With the wide adoption of digital distribution technology, streaming services became content creators themselves, while traditional content producers launched non-linear platforms to compete.
As is often the case with rapid technological advancements, legislation and regulation are now playing catch up. Local players in global markets have long made the case that the playing field must be leveled against the size of U.S.-based streaming companies, and officials have started to listen. Regulations are evolving to include localized content mandates and participation in domestic industry. Here’s how it’s playing out.
Europeans make early moves
In 2018, the European Union passed the Audiovisual Media Services (AVMS) Directive which included stipulations that the streaming platforms must offer a 30% quota of European content to European consumers. It also built a framework that allowed individual countries to mandate the streamers allocate revenues back into domestic production.
Right now, France is one of the countries with strongest local content rules. Streaming platforms must reinvest 20 to 25% of the domestic revenues back into French production. In France and elsewhere in Europe, since the regulations have been in place, Netflix has reached or exceeded the 30% local content requirements.
English language markets feel the squeeze
Because of the cultural juggernaut that is the U.S., other English-language regions have long felt compelled to shore up local production with support from their respective governments. This trend continues to be a flash point in debates about government overreach.
At the end of January, the Canadian senate passed Bill C-11 or the “Online Streaming Act,” an updated version of the country’s Broadcasting Act, which will allow the federal regulator to include international streaming services in its powers to levy fees and control how content is displayed. It’s expected to become law within a few weeks. Canadian governments have long sought to counter the influence of the cultural output south of its border, and the legislation attempts to extend those rules into the online space.
Similarly, Australia announced its own new “National Cultural Policy” around the same time. While it doesn’t outline the exact plans to regulate online streaming services, the Australian government laid out its goals to address the decline in local broadcasting revenues and bolster the creation of domestic productions.
While the report acknowledged the level of quality and popularity of the current slate of Australian content on the platforms, “these services have no requirements to make Australian content available on their platforms. The ready availability of mass content produced in other countries, particularly the United States, risks drowning out the voices of Australian storytellers,” read the Australian government’s cultural policy plan “Revive.”
While no longer part of the AVMS, the UK’s government continues to investigate the creation of rules so that the Office of Communication (Ofcom) will have jurisdiction over overseas streaming services. This recently came to a head when complaints about the Netflix docuseries featuring Prince Harry and Meghan Markle had no official avenues to be heard.
Canada’s new legislation stands out
The proposed legislation north of the border has faced headwinds from entities both large and small because of the unique nature of the proposed laws. “C-11 is a bit of an outlier. In that it extends to user generated content on platforms like YouTube or Tik Tok. The European example does not,” said the University of Ottawa’s Canada Research Chair in internet and E-commerce law, Michael Geist.
Major pushback has resulted in the inclusion of user generated content and subsequent amendments have been put forward to avoid some of the issues with attempting to put all online content under the Canadian regulatory umbrella.
In September, Disney and Spotify asked the federal government to be more flexible about what it considered “Canadian content.” The streaming services warned that certain material, while ostensibly produced in Canada with a Canadian cast, wouldn’t count under the current rules, which include Canadian ownership of intellectual properties.
However, it’s worth noting that trade agreements such as the North American Free Trade Agreement (NAFTA) and the Canada-United States-Mexico Agreement (CUSMA) include provisions that protect the ability of companies to trade in audiovisual services across the Canada-U.S. border. Already, the U.S. embassy has expressed reservations about the proposed laws violating non-discrimination terms of the free trade agreements signed by the two countries.
While the bill is slated to pass the legislature, much of the specifics will need to be determined by the arms length content regulator the Canadian Radio-Television and Telecommunication Commission (CRTC). So the final rules and the structure of the regulatory framework remains unclear and will be subject to a public consultation process.
Despite the efforts in international English-language markets to avoid being drowned out, English language markets still generally benefit from the sympatico of shared language with the largest content producing sector in the world.
“Those English markets have had significant success, attracting investment from large streaming services and large production companies,” said Geist. “To Canada’s case, it’s a thriving sector that’s based in part on tax, [and] part on proximity to the U.S. market. So I don’t know that that necessarily suggests that what you need is more protection.”
Established in 2017, the Vox Media Podcast Network has enabled the publisher to bring together the podcasting efforts of its brands under one umbrella. Its 150+ shows span technology, news, pop culture, emerging trends, business and sports, with centralized teams to streamline production, monetization, workflows, and more.
Vox Media recently promoted two of its top podcast executives, Ray Chao and Nishat Kurwa. Chao is now SVP and GM of Audio and Digital Video, and oversees Vox Media’s digital video business as well as talent deals and distribution partnerships. Kurwa is SVP and Executive Producer of Audio, leading programming, production operations, content strategy and new show development across the Vox Media Podcast Network.
Having led a number of successful expansions of Vox Media’s podcasts into other platforms, Chao and Kurwa have a great deal of expertise in what does and doesn’t work for publishers looking to take shows to the next level. They spoke to DCN about their priorities for Vox Media’s Podcast Network this year, and what to consider when building out a podcast brand into live events, video, licensing and more.
Here are three factors that have made Vox Media’s podcast extensions so successful, and what other publishers can learn from them.
An audience-first approach
Vox Media’s podcasts have a wide range of extensions designed to engage audiences beyond just listening. Some, like tech and business podcast Pivot, have partnered to produce videos of the show, as well as launching their own tech conference. Others, like narrative series Land of the Giants, have been adapted into TV series. “When we’re thinking about extensions, everything is on the table for all of our shows,” said Kurwa.
When it comes to deciding where and how to expand, audience signals are crucial. “We get a lot of feedback from our audiences, which is really meaningful and helpful,” Kurwa explained. If they get a lot of the audience saying they’d love to see hosts on video or suggesting other ways of interacting, the feedback is all taken into consideration. “It’s a strong indicator for hosts as well when they think about how they want to spend their time,” she noted.
The audience is also the first measure the team turns to when evaluating the success of an extension. “We always ask ourselves, does this expansion resonate with audiences?” Chao said. “Is this something that our listeners, our viewers and our audiences are excited about? Are they listening and watching and engaging with the content?”
Getting this kind of feedback can be challenging with podcast listeners. It’s important to encourage communication early on – and respond – via channels like email and social media. This in turn will help when assessing which extensions will work well for audiences and the response to them.
Pivot is one of the publisher’s early forays into video podcasts. Their partnership with Salesforce+, an on-demand streaming service for business professionals, gives the platform four exclusive clips each week from Pivot. The partnership has been running for just over a year, and has taught the team a great deal about video production.
“You might think it’s as simple as sticking a camera in the recording room, taking that video and posting it, but it really does take a lot to get polished video, even for a conversation show like Pivot,” Chao explained. “We’ve learned a ton just in terms of video production and workflow.”
Videoing the shows has also given the team the opportunity to experiment with posting short clips on social. “It’s been so exciting for us to see how much listener engagement we have when we post short highlight clips of Scott [Galloway] or Kara [Swisher] reacting to something a guest has said on a show,” said Chao. “It’s been really beneficial for us not just for the audience feedback, but because it helps us build and foster the community in a space like a social media platform. Those videos also spread the word about Pivot for people who might not have listened yet.”
Although it’s difficult to attribute growth specifically to clips on social, Chao said that Pivot has seen a lot of healthy audience growth recently, which they believe engagement on the video clips on social media has contributed to.
The Verge has also been experimenting with video clips across its two podcasts, Decoder and The Vergecast. The team behind the shows have been taking short video clips from the podcasts and posting them to TikTok and YouTube with the primary aim of finding new listeners.
“We are very much in a test-and-learn phase with video,” he acknowledged, when asked if any other shows would be trying it out. “We’re approaching it on a show by show basis.”
The power of the Podcast Network
The Vox Media Podcast Network, where all of the podcasts are produced and supported under one umbrella rather than as individual brands, also lends strength to multiplatform extensions. “By having the network, we can pursue bigger, more exciting and more holistic growth opportunities than if it was one brand or one show on their own,” explained Chao. “We’re very connected to other parts of the business and editorial stakeholders that are working on projects and initiatives outside of the audio space.”
One example Chao illustrated this with is podcast subscriptions. Podcast Network division CAFE, which has a weekly interview podcast with former Manhattan U.S. attorney Preet Bharara as its flagship show, has a subscription product rooted in podcasting.
“We learned a ton just by operating that podcast subscription product, growing it, and working with that team,” he said. “We’re now not only applying those learnings on the podcast subscription front to other podcasts that we’d like to launch subscriptions for in the future, but we’re leveraging a lot of the internal infrastructure that we’ve built for subscriptions outside of the podcast base.”
Whether it’s New York Magazine’s established subscriptions business, Vox’s contributions model, or paid newsletter experiments at The Verge, consumer revenue opportunities can work across both audio and non-audio. “On the business side, the product side, the engineering side and the marketing side, we’re able to really share learnings and best practices across the network to find new opportunities for growth,” Chao added.
Focus on the podcast first
Despite the success of the publisher’s various podcast extensions, Kurwa and Chao were adamant that when developing new shows, the quality of the podcast always comes first.
“We don’t approach our podcast conceptualization or production thinking about television adaptation,” Kurwa emphasized, when discussing the recent TV adaptation of their podcast Land of the Giants. “We’re focused on the podcast first. And that alleviates pressure.”
It’s an important lesson, especially as stories grow of podcasters selling out arenas, landing huge licensing deals, and more. If a podcast doesn’t work as a podcast first and foremost, any planned extensions are futile.
Finally, both executives urged caution with successful multiplatform extensions. What works really well for one show may not for another.
“We’re not going down a laundry list of ‘here are all of the different things that a podcast could expand into’, but we’re trying to be thoughtful about what makes sense for the audience, what makes sense for the show, what makes sense for the host and the show teams, and what they have bandwidth for,” Chao noted. “We’re really looking for those types of opportunities that check all of those boxes for us.”
For savvy publishers, the opportunities to extend podcast brands beyond audio are limitless. But true success comes in expanding wisely.
