The hype cycle is over for Podcasting. Now that reality has set in, it is exciting to see examples of publishers pushing the podcasting envelope – experimenting to drive innovation in the maturing market. Whether it’s using AI to expand to new audiences, or smart show bundling, there’s a lot of inspiration for those with their own podcasts or looking to launch.
Here are some impressive experiments and innovations in the podcast space:
AI translations
UK news publisher The Telegraph has been producing a podcast called Ukraine: The Latest daily since the start of the war. It has been downloaded over 100 million times since 2022, with episodes exploring military strategy, history, weaponry, economics, and more.
In February, to coincide with the third anniversary of the war in Ukraine, The Telegraph launched translated versions of the podcast in Ukrainian and Russian. This was made possible using an AI-powered voice cloning and translation model. This creates a “digital likeness” of the presenters, closely mimicking the rhythm and nuance of their voices.
“To be clear, this is AI helping to present our journalism, not produce it,” said Associate Editor and presenter Dominic Nicholls in an introductory video demonstrating the technology. The translations help reach those with restricted access to news on the war, as well as expats around the world.
The AI model was adapted by The Telegraph team in-house, before being refined by a native Ukrainian speaker fluent in Russian and English. The Telegraph emphasises that all episodes will be checked to ensure translation accuracy, as well as fine-tune speed and pacing.
Although there have been experiments with AI hosts and translation, this is the first example of a media company deploying it on this scale. For a daily podcast, especially one where the information need is so critical, this is a worthwhile investment that will help it reach the people it needs to.
High quality AI translations like this will be beyond the budgets of many publishers. But as the translational tools improve and become more accessible, using AI translation to reach new audiences is worth considering. Editorial oversight, however, is vital to maintain trust and quality.
One that stood out was the DMG Media’s launch of The Crime Desk. The publisher had seen success with true crime podcasts like The Trial of Lucy Letby. Now, it has brought all podcasts under ‘The Trial’ brand into one subscription bundle.
The Crime Desk offers subscribers ad-free bonus episodes on global trial cases. It also includes access to the archive of more than 200 episodes covering everything from the Holly Willoughby kidnap plot to the Diddy trial. Subscribers will also get new series released in their entirety. However, free listeners will only be able to access one episode a week. The launch offer is £1.99 a month, or £19.99 annually.
“There will always be a free trial to air – we’ve got to have a shop window. It’s arguably a public service as well,” the Daily Mail’s head of podcasts Jamie East told Press Gazette. A soft launch phase “had seen subscriptions well into the thousands, and at a similar conversion rate to the podcast industry standard of 5%.”
Building a paid bundle around groups of podcast topics is viable for publishers that produce a wide range of podcasts or with strengths in specific subject areas. However, East noted that although they’ve had success elsewhere, that doesn’t necessarily mean a paywall is viable. “You can only really launch a subscription model around a hit. There’s no point otherwise,” he told Press Gazette. “It needs to be pretty bedded in before you can do it, or achieve such huge scale that it’s a no-brainer. We’ve not quite reached that with any of the other verticals.”
Reusing popular print content
One unusual podcast launched last year is Your History, from The Times. The newspaper has published daily obituaries for over a century, many of famous people. The team realized that there was an opportunity to highlight some of the Times’ best writing, which happens here, as well as capitalize on audience curiosity in historical figures.
The twice-weekly podcast brings out”‘remarkable tales of lives well lived,” from musicians to politicians, scientists, and sporting legends across episodes averaging 10-15 minutes. Anna Temkin, deputy obituaries editor, presents the podcast.
This is an excellent example of taking existing content and transforming it into another medium. The obituaries pages of newspapers contain a wealth of fascinating life stories, especially when someone well-known dies. By simply reading out the obituary – a low tech and low cost solution – The Times makes this content accessible and relevant to a new audience who aren’t necessarily newspaper subscribers.
Podcasting has room for innovation
Reader revenue is an important strand for each of these publications. The Telegraph and The Times both have hard paywalls, and use podcasts as a top-of-funnel strategy to introduce listeners to their journalism. In these cases, applying strategies that help widen listenership through translation or opening up paywalled content is key.
Although the Daily Mail has some paywalled content, the majority is accessible to read for free. This allows the podcasts to build up a large audience.In this case, The Daily Mail has created a paid bundle around popular shows to monetize a smaller but more dedicated fan base.
The extent to which other publishers can use these tactics will depend on where podcasts sit strategically. If they’re a “shop window” to showcase journalism, it is worth exploring options to leverage podcasts to expand audiences. However, podcasts also have great power as a retention tool superserving a publisher’s most loyal readers. With continued experimentation and innovation, podcasts offer the potential to grow audiences and support, or even build, direct revenue. That’s not hype; that’s just smart strategy.
In any enduring relationship—whether it’s a marriage, a business partnership, or a loyal audience—some truths always apply. Trust matters. Communication is key. And one-size-fits-all approaches rarely work.
Today’s digital landscape is full of shifting audience expectations, platform dependencies, privacy regulations, and revenue challenges. In the midst of it all, one thing is increasingly clear: the future belongs to publishers who treat visitor relationships as living, evolving engagements…not just transactions.
It’s time to put relationships at the center of publishing strategy.
The relationship is the product
Visitors are not anonymous “traffic.” Your audiences are composed of individual people—each with different motivations, levels of loyalty, and preferred ways to engage. Treating them all the same? That’s the digital equivalent of proposing on the first date or ignoring someone you’ve known for years. It doesn’t work in personal life, and it doesn’t work with audiences.
Instead, think of each visitor relationship as a continuum. One person may be discovering your content for the first time; another may visit daily but hasn’t subscribed. Some may be loyal readers who want more ways to support you. Others may be disengaged and at risk of vanishing without a trace.
What’s needed is a thoughtful approach that reflects where each audience member is in their journey. Then, you need a plan to help grow that relationship over time.
Relationship lessons from everyday life
Here are a few lessons from personal relationships that publishers would do well to apply:
1. Listen first
In healthy relationships, both sides listen. Media companies often prioritize outbound messages—popups, banners, promos. But listening to behavioral signals is just as important.
Did a visitor just land on your site for the first time? Did they browse for three minutes without clicking? Did they just turn off an adblocker? These are signals—not of conversion intent, but of where the conversation should begin.
2. Start small, build trust
Relationships grow over time. The first ask shouldn’t be a subscription or donation. Instead, start with lightweight value exchanges: newsletter signups, social follows, or app downloads. These are the handshakes before the deeper commitments.
Progressive engagement models—where the ask aligns with the visitor level of loyalty and readiness—see higher conversion rates and lower churn.
3. Consent is foundational
In both personal and digital relationships, consent builds trust. That means transparent data practices, well-timed privacy prompts, and respecting visitor preferences. Publishers who embrace consent-centric strategies don’t just comply with regulations—they strengthen their credibility.
4. Don’t take loyalty for granted
Just like personal relationships can fade from neglect, even the most loyal visitor can drift away if their experience stagnates. Stale content, repeated prompts, or poor mobile UX can erode the goodwill built over time.
Check in. Refresh the value you offer. Make loyal readers feel recognized and rewarded.
The risk of losing touch
When visitor relationships aren’t nurtured, the costs show up as:
Declining newsletter engagement
High bounce rates
Flat or falling subscription growth Low registration rates
Increasing reliance on third-party platforms to reach your own audience
These aren’t just performance issues. They’re signs of a deeper relationship breakdown.
The case for an audience relationship strategy
Most publishers have dedicated teams for content strategy, ad ops, and subscriber acquisition. But few have a centralized visitor relationship strategy—one that spans from first touch to paid conversion, and integrates consent, engagement, and retention into a cohesive journey.
Some in the industry have begun exploring Visitor Relationship Management (VRM) as a strategic framework—an emerging category aimed at helping publishers track, measure, and grow these relationships intentionally.
Whether through dedicated platforms or custom-built workflows, the goal is the same: shift from transactional tactics to long-term relationship building.
What makes relationships thrive
So, what does a healthy publisher–visitor relationship look like?
Mutual value: Readers get great content and respectful experiences; publishers earn loyalty and support.
Respect: Visitors are seen as individuals, not metrics.
Growth mindset: The relationship is always evolving—there are new ways to engage, contribute, or connect.
Shared purpose: Visitors feel part of something bigger, whether it’s supporting journalism, joining a community, or getting smarter about a topic they care about.
In a world of fleeting clicks and algorithm-driven content, relationships may be the most enduring competitive advantage publishers can build.
The publishing industry is no longer just about content. It’s about connection.
By learning from the fundamentals of human relationships—listening, trust, consent, and progressive commitment—publishers can build visitor experiences that not only drive revenue but inspire long-term loyalty.
After all, when visitors feel known, valued, and respected, they don’t just return.
Founded by Alexander Hamilton in 1801, The New York Post prides itself on being America’s oldest newspaper. These days, it boasts 871k daily print readers. However, in its more than two centuries of existence, the outlet has grown to be far more than a scrappy New York tabloid. It has developed into a true multi-format media brand by respecting audience needs across the networks where it operates and by making full use of its IP. It has also deployed other techniques worth exploring.
Warren Cohen, Vice-President and Head of Video and Audio at New York Post Digital Network, jokes that despite the age of the publication, his team is the “youngest video department” in the country. This underscores how relatively-new the brand’s cross-platform approach is. (Cohen has had his role for just under a decade.) Yet, The Post’s multi-platform strategy is a mature one that seeks to maximize the various tools at the team’s disposal.
A video strategy means YouTube (and more)
Central to any brand’s video approach is, of course, YouTube, where The Post has 1.86 million subscribers. Its content focuses on news, entertainment and sports and the channel features both timely clips and original series. There is plenty of video at NYPost.com too. However, Cohen explains that “we want to offer our audience things that they can’t get anywhere else on site.” He adds that the brand also wants “engagement throughout our owned and operated platforms, our open web product, our mobile app.”
This neatly sums up how Cohen and his team are doing things. Respecting the platforms they use is central to the strategy. Not everything is intended to be part of a funnel leading people to the outlet’s website or the print product. While doing so would be possible in an ideal world, Cohen is realistic. “I just don’t think that’s user behavior,” he says.
Cohen also notes that the audience on places like YouTube “tends to, in general, be younger. They also “spend most of their lives in the social networks and not necessarily websites.” This all means “we are trying to tweak the way we approach the off-platform audience” The takeaway is that trials and testing is crucial.
Beyond YouTube, The New York Post has built up a significant presence on the video-based social platforms. It has 2.2 million followers on TikTok and 1.6 million on Instagram. The Post also has a separate NY Post Sports Instagram account with over 41,000 followers. Cohen believes that “social really excels with short duration views… It’s the joke, the quick hit, the reaction.” Meanwhile, he observes that YouTube videos are increasing in length.
Cross-platform monetization strategy
As the video work is not primarily a funnel to subscriptions, it has to be monetized separately. This is done through a mix of programmatic advertising and sponsorships. For instance, a tri-state Cadillac dealership sponsors “24 Hours”, as series the publication makes with reality stars. Cohen is looking to develop more such deals in the future.
The determination to fully cash-in on IP goes beyond sponsorship. Cohen reveals that “we’ve had a good upsell to kind of the television and broadcast markets, and that’s always been really organic.”
He has a word of warning for others in the industry: “I think a lot of rivals might have been overly invested in studio and development operations.” While The Postwants to use the best technology and infrastructure it can, and its infamous Page Six column launched a video studio in January 2024 “we really try to let the content speak for itself, and then see where can use it to adapt.”
He also says that others “have added a lot of staff and infrastructure, hoping for big payoff.” In part he notes that this is impart because of consolidation the TV markets, and because “selling the networks is not as lucrative as it once was.”
Success stories from The Post’s approach include “Bronx Zoo ‘90”, a show about the 1990 New York Yankees which was turned from a newspaper series into a TV series by Peacock. There is also “Smothered”, a digital video series that was upsold to TLC and ran for several years. Of the strategy, Cohen says, “we’re really trying to leverage and ‘video-ify’ the best of the newsroom.”
Despite being a New York institution, The Post has been sure to have connections in Los Angeles. Troy Searer, president of New York Post Entertainment, serves as the company’s ambassador to Tinseltown and Cohen works closely with him “to make sure that no IP is left behind”.
An adaptable audio strategy
On the audio side, The Post’s podcast strategy is to offer deeper context for its audience. “They’re the number one product for engagement,” says Cohen. Sports is a particularly important player in the company’s podcasting roster. It has separate shows for almost every New York-based team. Turns out, Giants fans don’t want to listen to podcasts that are discussing the Jets, or, as Cohen puts it: “It would be hard to have a football podcast overseas and have it feature Manchester United and Manchester City, right?”. Quite so!
“Podcasting is a giant area for us to … use our expertise in a different way,” he adds.
There is more to come on the podcasting front. The New York Post has struck a deal with Red Seat Ventures, an independent podcast production firm that was bought by Fox, to develop a flagship podcast. Cohen describes the creation of such a show as “long overdue.”
He and his team try and maximize the value they get from every piece of podcast content. “We get a lot of breakout clips,” from a 30 to 45-minute podcast, reveals Cohen. “We get a lot of moments.” He says that The New York Post wants to “micro chunk the content in a way that the audience can consume it however they want.”
Don’t fear cannibalization
The big worry many publishers have when they start making content on platforms outside of their own website is cannibalization. While they might be helping YouTube get an audience, they may not necessarily be doing so for their own outlet. This is not a concern for Cohen. “We don’t see any cannibalization of audience” he says. “We see audience that we might not have otherwise reached.”
During the recent New York Knicks NBA playoff game against the Detroit Pistons, The Post held a watch party from which it shared clips. “We’re creating content that we do distribute through all our platforms,” says Cohen.
Ultimately, Cohen says that the work he and his team is doing is “a meaningful contributor [to] revenues for the company at this point.” It shows that investing in a dedicated multi-format approach that adapts each piece of content specifically for the it is on can pay off.
As CEO of Digital Content Next (DCN), I testified on April 1, 2025, to the Senate Judiciary Subcommittee on Antitrust on behalf of our members—leaders in trusted journalism and premium entertainment. My testimony addressed the persistent anticompetitive behavior of dominant tech platforms, particularly in the digital advertising market. While our members come from diverse media backgrounds, they all rely on fair access to the open internet to create, distribute, and monetize original content. Yet today’s digital ad marketplace lacks basic rules, allowing tech giants to operate without accountability—fueling opaque practices, data arbitrage, and conflicts of interest that harm publishers and consumers alike.
That’s why DCN strongly supports the bipartisan AMERICA Act, introduced by Senator Lee. The bill sets clear, common-sense rules to restore transparency, promote competition, and curb platform abuses. This will ensure a fairer digital marketplace for content creators and the public.
Google and Meta built their advertising empires by embedding surveillance across the open web, exploiting content and user data without consent or fair compensation.
Market Distortion and Publisher Harm
The current ad tech system strips value from professionally created content, impairs subscription growth, and erodes trust by favoring opaque, engagement-driven algorithms.
AI Repeating the Pattern
Generative AI models are being trained on copyrighted works without permission, threatening to displace original content and replicate past harms.
Call for Policy Action
DCN supports the AMERICA Act’s measures to rein in conflicts of interest in ad tech, alongside broader calls for privacy legislation and copyright protections in the AI era.
Preserving Democratic Institutions
Without reform, unchecked platform power will continue to undermine the premium news and entertainment that consumers love.
The world of news is changing – and the pace of transformation isn’t slowing anytime soon. As social media commands ever-increasing attention and content creators continue to gain traction, it’s no surprise that audiences are switching from broadcast news or reading an article to hearing a 30-second news synopsis on TikTok. In fact, companies like Influencer Journalism are already actively working to connect legacy media with influencers, while others like NBCUniversal have announced mobile-first news initiatives.
To keep up with evolving preferences, it’s vital that legacy media adapts, and news executives remain tuned into to audience expectations. That means learning from those who have found success from social media. News influencers, who are content creators that post about current events and happenings, are already popular with young audiences. And their preferences will undoubtedly shape the future of news.
Here are five tips from three successful, TikTok news influencers that media organizations can learn from, and put to work, as they build their audience growth strategies.
1. More fun, less complicated
News influencer @SmallTownIndiana, 48, who is located in Indianapolis – and refrains from using his real name to protect his privacy – has garnered about 179,500 followers on TikTok. He posts videos about local happenings and breaking news in Indiana.
He says that when it comes to viewer engagement, legacy media should focus on being a little less serious and a lot more comprehensible.
In fact, SmallTownIndiana says that after the January TikTok ban, his news stories no longer perform best on his account; it’s those like his series about finding the state’s best pork tenderloin sandwich that do better. The serious news topic that does perform is related to the high-profile Delphi murders, involving two teenage girls, which he also has a series about. Videos related to both of these topics have garnered over 100,000 views.
Although incorporating fun isn’t possible for every news story, especially those that are sensitive, it is important to balance serious topics with lighter ones, or perhaps create social content that is centered on lighter material or approaches. And for almost any topic, simplifying subjects and making them accessible will help engage broader audiences.
2. Short form news delivery
Another point that SmallTownIndiana cited was that traditional media organizations have the tendency to give people information in large doses and deep dives. For example, broadcast news requires people to sit through a 30-minute to one-hour long newscast to see what they are interested in. Yet, many news consumers want their information delivered conveniently and quickly.
“TikTok, to me, it has landed at a time where people are always on the go,” he said.
SmallTownIndiana said that his TikTok page gets a lot of traction because he relays information about what’s happening in his city or state in less than two minutes. As a result, he said, many viewers have told him that they come to his page first if a newsworthy event is happening. This is evident in his view count, which consistently sits in the thousands range.
His big takeaway is to think about ways in which audiences can find what they are interested in easily and consume it in a quick, easily digestible way.
3. Prioritize authenticity
Twenty-seven-year-old news influencer @_imjustzander, who has nearly 224,000 followers on TikTok, advises legacy media to appeal to Generation Z and Millennials in a respectful, yet authentic way. “People are smart, especially Gen Z,” said Zander (who prefers to use only his first name for privacy reasons). “They know when companies are trying too hard.”
Zander, who is located in Georgia, has been creating content since 2020 and makes videos primarily focused on political and global news. His experience growing an audience has shown him that authenticity is key.
His videos are quick-hitting and timely. He posts about six to eight times a day, while working a full-time job. He says his legal background has helped him succeed when talking to an audience on social media – and that news companies need to hone their communication style to resonate with their values, especially in the digital age.
“The pendulum is always swinging when it comes to social media,” he said. “And right now the pendulum has swung to where people just crave authenticity. People are so done with influencers; people are so done with just all of this over-professionalism.”
For legacy media, Zander believes that means leaning less into trends, which come and go quickly. Instead, they should focus on topics that are important to younger generations and do so in a way that respects their perspective.
4. Allow reporters to be real people
Fortesa Laitifi – @hifortesa – is a 31-year-old Los Angeles based news influencer who posts videos about politics, abortion rights, and the lives of child influencers. Given her background in journalism, which she received a master’s degree in, and her success in garnering an audience of about 42,500 followers on TikTok, she advises legacy media to have their reporters post on social media.
“Legacy media needs to meet people where they are,” said Latifi. “Either you want people to consume your stories or you don’t.” And to do that, they need to be present on social media not hidden behind a masthead.
Latifi cited The New York Times as an example, as the publication has seen success on TikTok and received hundreds of thousands of views by having its reporters explain their stories.
Another way for legacy media to accomplish this, she said, could be by having a designated TikTok person who posts videos. Dave Jorgenson from The Washington Post was one of the first and remains one of the best. With his presence on TikTok, the newspaper has amassed 1.8 million followers. “That really changed the way people think about TikTok and news,” she said.
Beyond simply building a younger audience, Latifi says that misinformation is an important reason journalists need to be on TikTok. In a time where it is easy for fake news to run rampant, she points out that is crucial for people to have reliable sources of news, no matter where they consume it.
5. Consistency is key
Given the impact of algorithms and virality, an important component is posting consistently on social media. According to Latifi, it is crucial to spend a lot of time on TikTok to get to know the platform and figure out which videos perform well.
As with other social platforms, posting consistently is essential to build a relationship with an audience and build a habit, where they are looking for the content on a regular basis. It is also critical to engage and learn from comments to cater to audience needs.
“People might think it’s a lot of effort and it is a lot of effort, but young people, we know from the data, are getting their news from places like TikTok, from places like Instagram,” she said.
Additionally, finding a niche or area of expertise can be beneficial. Latifi, for example, gets tagged in videos related to family vlogging because of her content about them, which receive thousands of views.
Ultimately, she says, it’s in the hands of legacy media to meet their audiences where they are. “We can grunt and groan about how the kids aren’t reading newspapers, or whatever. The important thing is that they do want to hear the news,” said Latifi.
See the big picture
News in this era is a delicate balance of finding new ways to attract audiences while also staying true to impartiality and delivering truthful, fact-based information. While social media connections are heavily reliant on authenticity and being personable, traditional journalists must simultaneously focus on maintaining professionalism and accuracy in their reporting.
Despite changes in news consumption habits, long-form content is still going strong, given its ability to tell in-depth, meaningful stories. But that doesn’t mean that short-form content shouldn’t be leveraged as a means of getting people there.
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.”
Differences in international and generational media preferences inform evolving technology and industry patterns and continue to keep things interesting in 2025. Conventional media categories are becoming more fluid, inviting new opportunities. A new report by Nielsen Media Analytics, the 2025 Global Media Planning Guide, provides actionable insights.
Overall, an accelerating trend is the convergence of multiple platforms – from streaming services to social media. This presents significant challenges:
Adapting to current generational media preferences. Different age groups engage with media uniquely across various markets, calling for customized strategies.
Understanding international users’ media habits. Media trends and the pace of transition differ across countries, requiring flexible approaches.
Harmonizing traditional and digital media. It’s essential to allocate investments effectively across established and emerging platforms.
Streaming audiences vary internationally
According to Nielson’s data, traditional TV remains the dominant choice among older U.S. audiences and some countries outside of the U.S., while U.S. residents in general, and younger audiences around the world, are gravitating increasingly towards digital media. Connected TV (CTV) reach has steadily surpassed live and time-shifted TV reach over the past few years, but total use of the television has remained steady since the first quarter of 2022, demonstrating its resilience.
The specifics vary significantly across global markets, however. Take Poland versus the U.S., for example. In the U.S., CTV devices and streaming services have become the dominant viewing method. Whereas, in Poland, traditional TV remains the primary viewing platform. Only about 8% of total viewing time in Poland was spent on streaming in the first half of 2024, according to the Nielson data. In the U.S., streaming accounted for around 40% of TV viewership during the same period.
Americans spent about half of their TV viewership on broadcast and cable combined. In Poland, the combination of satellite and cable amounted to almost two-thirds of viewing time. U.S. audiences spent 38% of their time on streaming- significantly more than Polish viewers at 22%. The data emphasizes the need for flexible global media strategies, with traditional and digital platforms coexisting to meet diverse audience preferences.
Streaming audiences vary across generations
As younger audiences worldwide gravitate toward digital media, older generations retain their preference for traditional television. In the U.S., individuals aged 2-34 spend more than 60% of their TV viewing time on streaming platforms. Those ages 50-64 spent well over half of their time on broadcast and cable TV as opposed to streaming, while those 65+ spent fully 75% of their viewing time on broadcast and cable TV combined, and less than a quarter on streaming media.
In Thailand, a similar pattern prevails, with adults over 40 preferring TV to social media or video streaming platforms. Gen Z shows the lowest preference for traditional TV viewership of all age groups in Thailand (47%), favoring digital alternatives, whereas the 55+ demographic exhibits the highest linear TV viewership (62%), according to Nielson’s data.
However, it’s important to note that older viewers generally watch significantly more total TV compared to younger audiences. This holds true in the U.S. as well as Thailand, where all types of media have a greater reach among older audiences. According to a recent Deloitte report, Boomers spent an average of 3.5 hours per day watching TV shows and movies on streaming video services, cable, or live-streaming TV, while Gen Z audiences spent about 2.1 hours per day on those activities.
This dynamic has implications not only for how content is consumed but also how it is created, delivered, and marketed. As digital natives grow up, they are driving a new era of on-demand streaming, mobile media consumption, and personalized content algorithms. Meanwhile, the media industry must continue to accommodate older people, who remain loyal to traditional formats and are often heavy consumers of media. For example, older generations are more likely to keep their cable or satellite TV subscriptions long-term, while Generation Z and millennial cable subscribers are more than twice as likely to indicate that they plan to terminate their subscriptions within the year, according to Deloitte’s 2025 Digital Media Trends report.
Why some audiences still prefer linear TV
Linear TV retains some advantages in addition to the loyalty of older and international audiences, as pointed out by Vijya Amirtham on VPlayed. It is conducive to live events, such as sports, games, and award shows, which have massive appeal to large audiences. Linear TV also enables targeting by advertisers based on channel, genre, and airtime. Viewers tend to find TV ads more credible, especially on trusted channels, and are conditioned to expect ads when watching linear TV. Amirtham also asserts linear TV audiences “are predominantly associated with affluent groups.”
Boundaries between traditional TV and digital media are blurring with the evolution of Cloud TV and Over-the-Top-Television (OTT)- traditional TV content such as series and movies watched over the internet. These technologies are enticing viewers by combining the benefits of linear TV and more fluid digital mediums that offer on-demand viewing and are sometimes free of traditional ads. Amirtham recommends developing a linear TV app as one method for media leaders to expand and enhance audience engagement.
Maintaining and growing audiences
As DCN previously reported, younger generations are gravitating towards streaming services and social platforms and away from traditional TV. However, while media companies keep a keen eye on Gen Z trend-shapers, it is also wise to accommodate mature and international audiences, who are loyal and heavy consumers of traditional media formats.
For media leaders, it’s still too soon to abandon linear—if the goal is to reach the widest audience possible. Instead, deliver integrated solutions that merge linear TV and streaming assets, while working to enhance cross-platform integration. Effective strategies across age groups, international markets, and media platforms will depend on accurate measurement, outreach, and partnerships. The growing convergence of platforms invites opportunities to cultivate deeper connections with viewers around the world.
In the 115-page decision, Judge Leonie Brinkema found that Google willfully acquired and maintained monopoly power in the publisher ad server market and the ad exchange market. The ruling states that Google unlawfully tied its publisher ad server and ad exchange, in violation of Sections 1 and 2 of the Sherman Act.
Judge Leonie Brinkema found that Google’s exclusionary conduct not only limited competitors’ ability to compete. In fact, it “substantially harmed Google’s publisher customers, the competitive process, and, ultimately, consumers of information on the open web.”
A brief history of ad tech
Advertising and publishing have always been intrinsically linked, with the former owing much of its initial success to the latter. The emergence of newspapers and other print publications allowed the advertising industry to solidify and grow, providing advertisers with a platform to place their content.
As both industries increasingly turned digital, programmatic advertising emerged, which automated the process of matching the available ad space publishers sought to sell, with the ads advertisers sought to place. In the milliseconds that it takes a user to open a website, a real-time bidding process takes place, in which the user’s impression is auctioned off to advertisers competing for available ad space to capture this impression.
These auctions are facilitated by ad exchanges, which “serve as the critical intermediary between advertisers’ ads and publishers’ inventory by facilitating real-time auctions in which advertisers can bid on inventory.” In order to manage and sell this inventory, publishers utilize publisher ad servers which “make it easier for publishers to place multiple sources of advertising demand in competition against each other.”
Ad exchanges, publisher ad servers, and other technologies make up what is commonly known as the “ad tech stack.”
Google currently operates the largest ad exchange, AdX, and the largest publisher ad server, DoubleClick for Publishers (DFP).
Google’s monopoly
In her ruling, Judge Brinkema found that both publisher ad servers and ad exchanges constitute distinct relevant product markets, and that Google possesses monopoly power in both markets. This conclusion was based on Google’s predominant share of both markets and high barriers to entry and expansion for competitors.
(Judge Brinkema also found that advertiser ad networks, another component of the ad tech stack, did not constitute a distinct relevant product market, as argued by the DOJ.)
In terms of the publisher ad server market, Google’s DFP held between 91% to 93.5% of the worldwide market from 2018 to 2022. This market share has been durable due to publishers’ ability to only use a single ad server for open-web display ads and the complex and resource intensive nature of attempting to build an ad server.
As a former Google executive stated, switching publisher ad servers “[t]akes an act of God to do” and is a “nightmare” because “[n]othing has such high switching costs.” In fact, even Meta, one of the world’s largest tech companies, shut down a project aiming to build an ad server “due to the significant barriers to gaining scale in a market dominated by Google.”
In terms of the ad exchange market, Google’s AdX holds a market share about nine times greater than that of its next-largest competitor while charging a higher “take-rate” per display transaction. The inability of competitors to constrain AdX’s pricing, despite charging nearly half what AdX does per transaction, directly points to its monopoly power in the market.
Google willfully maintained its monopoly power in both markets by tying DFP to AdX by imposing “technical and policy restrictions that prohibited publishers from receiving real-time bids from AdX (the tying product) unless they also used DFP (the tied product).” This tying forced customers to use a product they maybe would not have chosen otherwise and reduced the market share for rivals that could not compete on the merits.
How this monopoly impacts audience experiences
Although “search” is likely the concept people most closely correlate with Google, Google is fundamentally in the business of advertising. With the majority of its core services being offered at no financial cost to users, nearly 80% of the company’s revenues come from digital advertisements.
Due to its prevalence in search, browsing, email, mapping, file storage, word processing, translation, and video sharing, “Google arguably sits on the most valuable data asset in the world.” For years, this data asset, comprised of information from every action made on its properties, has been used by Google as a bargaining chip in its quest to control more of the advertising market that feeds its ever-growing gargantuan power.
The monetization of their websites is “crucial for publishers who wish to retain a greater degree of editorial independence.” As a result, the world’s most trusted publishers have been left with no realistic alternative in the publisher ad server and ad exchange markets as they continue to weather the storms of the digital landscape.
As publishers are forced to pay significant fees to Google and contend with policies that prevent them from securing the most value for their ad space, they are precluded from investing these resources in fostering their editorial operations and bettering the consumer experience. This means fewer articles from your favorite authors, fewer episodes of your favorite podcast, fewer detailed statistics on your favorite sports teams, all while Google uses your data to keep publishers captive to its products.
As Google and the DOJ now contend with the possible remedies to be imposed, consumers should remain engaged on this issue and be wary of arguments that Google’s monopoly is somehow beneficial to the average person. For too long, consumers and publishers have been on the losing side of Google’s control of the ad tech stack. Judge Brinkema’s decision points to a brighter and fairer future ahead.
By now, we are all painfully familiar with the way AI systems are reshaping how audiences discover and consume information—often at publishers’ expense. These powerful technologies reuse publishers’ content, usually without permission or fair compensation, placing growing pressure on publisher revenue and content control. Premium content creators of all sizes face identical risks as AI companies increasingly set the rules.
However, media companies are far from powerless. By taking collective action, the media industry can assert control over how our content is used and ensure our voices are central to shaping AI policies. Several practical pathways exist, including regulatory advocacy, strategic litigation, licensing agreements, and technological measures. The key is that we must work together.
Regulation/policy: defining the rules for AI
Enforceable policy regulations represent a clear line of defense against unauthorized use of content. Currently, ambiguity around “fair use” allows AI companies significant leeway. OpenAI’s CEO, Sam Altman, recently acknowledged this plainly, admitting that restrictions on AI scraping copyrighted material would threaten his company’s existence.
Altman’s candid admission underscores exactly why publishers must engage policymakers immediately. President Donald Trump’s recent executive order, “Removing Barriers to American Leadership in Artificial Intelligence,” explicitly seeks to minimize regulations that might hinder AI companies from pursuing their current path. OpenAI and Google have seized this opportunity to advocate aggressively for fewer copyright restrictions, claiming tight regulations threaten American AI dominance in a geopolitical race with China. Help will not come at the federal level anytime soon.
Several state legislatures are actively addressing AI’s impact on copyright, notably California’s AI Copyright Transparency Act (AB 412) and New York’s Artificial Intelligence Training Data Transparency Act (S6955), both of which mandate transparency from AI developers about copyrighted materials used in training models. These initiatives indicate state-level momentum and promise to set precedents that other states will follow. That said, the most immediate forum for action is likely in the courts.
Courts: establishing clear legal precedent
Legal action is the most promising line of defense and has already proven effective. Recent cases, notably Thomson Reuters v. ROSS Intelligence, represent critical opportunities to establish binding precedents around copyright and AI that can level the playing field.
In February 2025, the U.S. District Court for Delaware ruled decisively in favor of Thomson Reuters, determining that ROSS’s unauthorized use of copyrighted content to train its competing AI product was not protected by fair use. This is a big win for every publisher because it clarifies what has historically been a vague and uncertain doctrine. Making it stick will require a broader chorus of legal wins, but it’s a start.
Recognizing these stakes, publishers are increasingly acting together in the courts. One example is a joint lawsuit from 14 major media organizations—including Condé Nast, Forbes, and The Atlantic—against AI startup Cohere. Similarly, litigation initiated by The New York Times against OpenAI and Microsoft has been consolidated with cases from the Daily News and the Center for Investigative Reporting, forming the beginnings of a unified front of defense.
The outcomes of these collective efforts matter profoundly. While individual settlements might resolve immediate conflicts, only definitive court rulings can deliver lasting protections. Publishers at every scale share a vital common interest in supporting cases that reinforce strong, enforceable copyright standards for everyone. Everyone.
AI licensing negotiations: balancing opportunity and equity
Licensing agreements offer publishers another critical tool to monetize their content and control AI usage. These deals can deliver revenue and clearly define permissible AI applications, and we’ve seen a string of them recently. Yet licensing strategies carry risks: agreements negotiated by major publishers could inadvertently create a market divided between haves and have-nots. It’s also unclear if any of these deals will have long-term value, as the damage done to publishers will likely be much higher than any small payments from these deals.
Smaller publishers risk marginalization if AI licensing standards and terms are set exclusively by larger publishers. Collective approaches that define fair, equitable standards can help ensure licensing agreements work for the entire publishing ecosystem rather than fragmenting it.
Technological barriers: limitations of blocking AI crawlers
Technological measures, such as blocking AI crawlers from publisher sites, are another avenue. It’s worth pursuing, but we should not look at this as a long-term strategy. AI companies regularly evolve their technologies, circumventing technical barriers almost as quickly as they emerge.
While publishers can (and should) employ these measures strategically, lasting protection depends more heavily on clear regulatory policies, decisive court precedents, and equitable licensing agreements.
Making collaboration count
General calls for industry collaboration frequently fall short, offering little beyond vague ideals. Yet the AI challenge distinctly highlights how all publishers, regardless of size, share identical interests. Whether an independent blogger, a small-town newspaper, or a global publisher, AI-driven content reuse affects everyone similarly. AI does not care how big you are.
We’ve already observed direct negative impacts on publisher traffic from AI-powered overview summaries in search results. These early signs are merely the beginning. The entire digital landscape—search behaviors, traffic patterns, and monetization structures—is changing fundamentally with AI, and fast.
Publishers need support to run a sustainable business. This has compelled Raptive to advocate on the AI issue precisely because we recognize it is existential to the viability of independent publishing–and the power of strength in numbers. We have invited publishers with whom we work to sign a new agreement that lets us represent their interests in conversations with tech platforms around AI negotiations.
All premium content creators—those supplying the original, authentic content powering the internet—share a truly common interest. Now is the moment to advocate for it; we’ll be stronger if we do it together.
/ An inside look at the business of digital content
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