Tags containing: "digital video"

Media executive considers YouTube video distribution

Broadcasters take a considered approach to YouTube

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

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

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

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

Programs and priorities

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

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

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

YouTube: A channel for video discovery

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

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

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

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

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

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

Space to experiment

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

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

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

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

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

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

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

Considered and careful

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

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

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

Media must catch up to Gen Z’s video playbook

May 22, 2025 Jason Kint, CEO – DCN

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

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

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

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

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

Creators are the new gatekeepers

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

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

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

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

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

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

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

So, what should media companies do?

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

Here’s how media brands can strategically respond:

1. Design for engagement, not impressions

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

2. Co-create with cultural insiders

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

3. Reimagine platform strategy

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

4. Lead with values – and humanity

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

5. Build with the “SHARES” formula

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

The future Is participatory

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

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

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

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

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

The New York Post’s multi-platform publishing strategy

May 8, 2025 Charlotte Henry – Independent Media Reporter

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

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

A video strategy means YouTube (and more)

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

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

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

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

Cross-platform monetization strategy

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

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

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

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

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

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

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

An adaptable audio strategy

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

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

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

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

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

Don’t fear cannibalization

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

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

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

Research | Video

Who’s streaming and how to appeal to audiences

April 29, 2025 Suzanne S. LaPierre – Independent Media Reporter

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.

A smart TV on the wall of a home to suggest the topic of the article: CTV opportunities for media companies and audiences

Supporter Spotlight | Video

CTV growth brings opportunities for the media – and audiences

April 14, 2025 Emmanuel Josserand, Senior Director, Brand, Agency and Industry Relations – FreeWheel

Streaming video has become a daily habit for today’s consumers, with 2024 being something of a landmark year for the industry. Worldwide, audiences flocked to streaming platforms in unprecedented numbers to watch their favorite content and sporting action like the Olympics, Euro 2024, the World Series, the WNBA, and high-profile boxing matches.

Alongside technological advancements, CTV has established itself as the primary platform for premium viewing experiences, which has increased the popularity of live streaming for major events. This presents lucrative opportunities for media owners aiming to succeed in their ad-supported streaming ventures.

The latest FreeWheel research offers insights into these industry dynamics, exploring ad viewership trends across the premium video streaming ecosystem in European countries^* and the U.S. for the second half of 2024. In this article, we’ll dig deeper into the findings to uncover how these trends impact media stakeholders and how they can make the most of streaming’s developments.

Scaling live opportunities with CTV

The continued adoption of connected television is driving strong streaming viewership, including live programming. NBCUniversal’s exclusive U.S .coverage of the Paris Olympics, for instance, saw an 82% increase in viewership across multiscreen TV compared to the Tokyo 2020 Games, while Warner Bros. Discovery’s coverage in Europe grew by four times. The WNBA 2024 season was the most streamed in Paramount+ history. And Netflix’s exclusive live stream of the fight between Jake Paul and Mike Tyson in November 2024 attracted 108 million global viewers.

It’s easy to see why live programming is also transitioning to streaming platforms. Live streaming can meet modern-day viewers’ desire for immediacy, convenience, and universally engaging experiences. Live streaming also expands traditional TV’s engagement potential to audiences with diverse needs and unique preferences.

In many cases, these needs involve watching live programming from the comfort of their own homes and simultaneously being able to enjoy social experiences with family and friends. CTV devices now account for 77% of premium video ad views for live programming in Europe, demonstrating how CTV has evolved into a class of its own, capable of delivering both high-quality viewer experiences and results for content distributors.

Our data also shows that while still relatively small, programmatic transactions are growing strongly, with 37% in the US and 40% in Europe. This type of transaction will continue to expand as rising investment in programmatic is opening up new inventory opportunities.

Harnessing VOD’s flexibility

FreeWheel’s research shows that in the US, the majority of ad views (57%) were on live content, with the remaining 43% on VOD. In Europe, however, VOD captured the majority of ad exposure, 76%, compared to 26% of live programming.

This preference for VOD in Europe can be partly explained by the historical presence of free public service broadcasters (PSBs) and the prevalence of operator authentication in the region. In the U.S., the tendency is towards OTT distribution, which accounts for 65% of ad-supported content that is consumed.

Publishers are harnessing the flexibility of on-demand to further monetize their video inventory. And while VOD offers various monetization models, including subscription-based access (SVOD), pay-per-view (TVOD), and advertising-based access (AVOD), it’s the latter category where we’re seeing impressive growth. verall ad viewership on streaming platforms in the second half of 2024 was up by 24% year-on-year in Europe compared to 10% in the US.

Going beyond with interactivity

Our report also identifies interactivity as a potential growth area. The digital nature of streaming and CTV means they are primed for interactive viewer experiences that media owners and advertisers can utilize to boost engagement. The use of ad formats such as QR codes, clickable ads, and trivia quizzes are becoming more common to drive engagement at all stages of the marketing funnel.

Beyond helping brands to make more meaningful connections with consumers, interactive ads present an opportunity for media owners to capture deeper insights on how audiences interact with content and the ads. This offers a better understanding of which formats and approaches work – and which don’t.

Video, by its very nature, is never static. But these latest innovations are ushering in a new, golden age of video. CTV in combination with interactivity creates the ideal conditions to deliver a new genre of ads that can flow with the content to enhance viewer engagement and enjoyment. Harnessing streaming’s next phase of evolution will be critical to ensure content providers, advertisers and their agencies keep innovating and delivering new exciting experiences for the viewers.

*The data set used for the FreeWheel Video Marketplace Report H2 2024 is one of the largest available on the usage and monetization of professional, rights-managed ad-supported video content worldwide and is based on aggregated advertising data collected through the FreeWheel platform. The European countries included are Belgium, Denmark, Estonia, Finland, France, Germany, Italy, Latvia, Lithuania, Netherlands, Norway, Spain, Sweden, and the United Kingdom.

Levers controlling revenue from multiple sources to show the revenue streams for streaming and digital video

Industry-Research | Video

Streaming revenue sources are shifting

April 1, 2025 Rande Price, Research VP – DCN

The transition away from traditional pay-TV is accelerating. In fact, traditional TV no longer dominates the video subscription market. By 2028, traditional pay TV’s share of video subscription revenues will decrease to just one-third. Meanwhile, digital pay-TV services, also known as virtual multichannel video programming distributors (vMVPDs), will increase their share from 13.2% in 2025 to 15.4% by 2028. These services, including YouTube TV, Fubo, and Sling TV, deliver linear TV content over the Internet, making them appeal to consumers seeking flexibility and lower costs than traditional pay TV.

Emarketer’s Digital Video and Trends report for Q1 2025 shows that streaming services are poised to achieve even greater growth, increasing their share of video subscription revenues by about eight percentage points by 2028. Notably, YouTube has become a significant player in the subscription business. While YouTube remains known for its free, ad-supported platform, its YouTube Premium and YouTube Music services collectively boast over 100 million subscribers. YouTube TV, which claimed 8 million U.S. subscribers in 2024, is also contributing significantly to the growth of digital pay TV.

Rising costs and consumer behavior

Although subscription revenues still dominate the streaming sector, rising prices are reshaping consumer behavior. In recent years, both traditional pay-TV and streaming services have raised prices, driven by inflation. However, streaming services have increased prices at a faster rate over the past two years, surpassing the cost growth of traditional pay TV. This price disparity has triggered consumer pushback, especially as streaming services introduce price hikes and clamp down on password sharing.

the prices of streaming services outpace inflation which drives streaming revenue

Streaming giants like Netflix, Hulu, and Disney+ employ strategies to boost profitability, including raising subscription costs and limiting account sharing. These actions, along with content cuts, have led to some consumer dissatisfaction. Despite these challenges, streaming services remain profitable on paper.

Among the streaming platforms, Hulu and Disney+ have made some of the largest price increases for their ad-free plans. While Apple TV+ stays relatively affordable, its library lags behind competitors. All the while, it has doubled its subscription price since launch.

Live sports drives subscription growth

Streaming services are capitalizing on the growing demand for live sports, which increasingly draws subscribers away from traditional TV. Major streaming platforms, such as NBCUniversal’s Peacock and Amazon Prime Video, continue to invest heavily in sports rights. This is further shifting the sports broadcasting landscape from traditional TV to streaming platforms. By 2027, digital sports viewership will surpass traditional TV viewership by 52 million viewers, signaling the ongoing transition in how consumers watch live sports.

YouTube TV’s growth and the digital pay-TV market

YouTube TV is seeing significant success among the growing digital pay-TV services. As traditional pay-TV continues to shed subscribers, YouTube TV is adding them at a steady pace. By 2026, it will become the largest pay-TV operator in the United States. Although YouTube TV is not yet profitable, it is an important player in the broader digital pay-TV market, now accounting for about one-fifth of total pay-TV subscription revenues.

The digital pay-TV market is also experiencing consolidation. In January 2025, Hulu + Live TV and Fubo TV announced a merger. Disney will hold a 70% stake in the new venture, with Fubo’s leadership overseeing operations. Although Hulu + Live TV and Fubo will remain separate offerings, this consolidation may lead to further streamlining of the digital pay-TV space.

Shifting streaming revenue streams: subscription vs. advertising

While subscriptions still represent the majority of revenue for streaming services, advertising is growing in importance. From 2023 to 2027, advertising’s share of total streaming revenues will increase by nearly four percentage points. This rise in ad spending reflects the growing significance of connected TV (CTV) platforms, a critical avenue for advertisers looking to reach consumers on streaming services.

In fact, CTV ad spending may exceed 15.8% year-over-year growth in 2025, outpacing the 10.6% growth forecast for U.S. streaming subscription revenues during the same period. However, both advertising and subscription revenues in traditional TV are in decline, though price increases for subscriptions help slow the rate of decline.

While this Emarketer report focuses on the U.S. market, it’s important to note that streaming services are also seeing significant growth worldwide. As of Q2 2024, nearly 60% of Netflix’s revenues come from outside of North America. While prices are lower in regions like Asia and South America than North America and Europe, the global growth potential for streaming services remains immense. Countries across North America, South America, Europe, and Asia-Pacific are seeing high levels of subscription penetration, with streaming services continuing to expand their reach internationally.

Digital Pay TV contributes to streaming revenue

The video subscription landscape is undergoing a dramatic transformation. Traditional TV’s dominance is slipping as streaming services and digital pay-TV providers continue to capture an increasing market share. For media executives, this shift presents both challenges and opportunities.

Subscription revenue remains the primary source of growth for streaming services. Rising costs and consumer demand for more flexible, lower-cost options continue to shape the industry. At the same time, the increasing importance of advertising revenue, coupled with the global expansion of streaming platforms, offers new avenues for monetization. Staying ahead of these trends and adapting to the evolving market dynamics is key to maintaining a competitive edge in this rapidly changing ecosystem.

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

Is there a perfect length for digital video?

March 27, 2025 Charlotte Henry – Independent Media Reporter

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

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

Standing out from the video crowd

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

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

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

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

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

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

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

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

Specialist shows optimized for video length

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

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

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

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

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

Keeping control of your work

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

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

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

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

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

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

DCN-Research | Featured Post | Video

Decoding the video habits of Gen Z and Gen Y

January 6, 2025 Rande Price, Research VP – DCN

Younger audiences, especially Gen Z, are shifting much of their video consumption to platforms like YouTube and TikTok. These platforms evolved from simple entertainment spaces into hubs that meet various emotional and intellectual needs, increasingly replacing traditional media consumption. The rise of these digital spaces fundamentally changes how people create, share, and consume media.

Digital Content Next’s (DCN) new study, Decoding Video Content Engagement explores how Gen Z and Gen Y interact with video content across YouTube and social media. These platforms, central to younger generations’ entertainment and information routines, feature a range of content. This content includes professionally produced material by established media brands and more spontaneous creations by independent influencers. This study provides insights into the motivations and behaviors of these audiences, with a follow-up quantitative phase planned to deepen the understanding.

How younger generations connect with video

The study identifies four primary themes in the way Gen Z and Gen Y engage with video content:

1. A primary entertainment medium

For younger generations, video is the primary entertainment medium. Unlike traditional media, which often require scheduled programming, platforms like YouTube and TikTok offer on-demand access to diverse content for education, escapism, and entertainment. This flexibility meets emotional and intellectual needs and enables creators and media brands to connect with younger audiences where they already are.

2. Algorithm-driven discovery

Algorithms are crucial in helping users discover content that matches their interests. Gen Z and Gen Y are active in shaping their feeds by engaging with content they enjoy, using likes, comments, and shares. This active participation enhances user satisfaction and ensures the platform serves more of what resonates with them, increasing their video consumption and deepening their engagement with YouTube and TikTok.

3. Instant decisions

Viewers often decide to engage with a video within the first 10 seconds. This makes the opening moments of a video critical for capturing attention. Whether from an influencer or a media brand, personal, relatable, and authentic content is more likely to engage viewers. Dynamic intros and the creator’s personality play a central role in sustaining interest and encouraging engagement.

4. Creator-driven content

Creators play an essential role in driving content consumption, as their personality, interests, and authenticity are key factors in fostering viewer engagement. Creators often appear as real, personal, and relatable figures. Therefore, audiences feel they can form connections with them, even if they are strangers in real life.

Consistency in content, whether in tone, subject matter, or humor, is vital in maintaining trust and building a loyal audience. Users anticipate new videos based on their enjoyment of previous content and expect a certain level of predictability. However, the authenticity of the personal brand, or media brand, is paramount.

Monetization and platform preferences

The rise of creator-led content presents new monetization opportunities as creators entertain and turn their audiences into valuable assets. Platforms like TikTok and YouTube allow creators to generate income through sponsorships, partnerships, and other revenue streams. The 50 Richest Content Creators study further highlights the earning power of top creators.

Media companies must recognize creators’ ecosystems and understand how they engage audiences. By understanding how creators and influencers resonate with younger demographics, media companies can enhance their brand presence and create authentic content that aligns with the expectations of their target audience.

Influencers’ role in the news ecosystem

The rise of news influencers further illustrates how traditional media consumption disrupts. According to the Pew Research Center’s study on America’s News Influencers, about one in five U.S. adults, and 37% of 18 to 29 year-olds, regularly access news through influencers on platforms like TikTok, YouTube, and Instagram. These influencers often operate independently of traditional media organizations and blend entertainment, personal branding, and journalism to engage their audiences.

Influencers often provide diverse content, from factual updates to humor, opinions, and breaking news. As the DCN study highlights, influencers often present differing opinions and foster engagement by offering unique perspectives. Pew reports that 65% of followers believe influencers enhance their understanding of current events. However, concerns about accuracy and accountability persist.

Navigating opportunities and challenges

As the digital landscape evolves, DCN’s findings underscore the need for media brands to adapt to the changing behaviors and preferences of younger audiences. Platforms like YouTube and TikTok offer opportunities to create personalized, authentic content that resonates with Gen Z and Gen Y. The growing creator economy further illustrates the value of influencer partnerships, enabling media companies to tap into established audiences and generate revenue through sponsorships and other collaborations. However, brands must remain vigilant about authenticity, as younger viewers quickly reject content that feels disingenuous or overly commercialized.

DCN’s follow-up quantitative research will provide deeper insights into these trends. It will offer actionable recommendations for media companies aiming to connect with younger audiences more authentically and engagingly. As video content continues to dominate the digital ecosystem, understanding the role of creators and their influence on consumer behavior is essential for navigating the future of media consumption.

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Advertising | Featured Post | Revenue | Video

Streaming and advertising: A classic tale—with a twist

December 19, 2024 Charlotte Henry – Independent Media Reporter

The value proposition of streaming may once have been ad-free experiences. However, today’s media companies seek to have as many viable revenue sources as possible. And, for streamers, that inevitably means showing commercials. However, there’s a balancing act between offering a streaming service worth subscribing to and advertising experiences worth paying for.

There are lessons to be learned throughout the streaming ecosystem. One thing that experts agree on is that improved targeting is critical to attract brands and advertisers. Providing the insights that marketers want is essential for getting them to spend their ad dollars on streaming platforms.

Mixed revenue moves to the fore

The shift to a mixed model didn’t all happen this year, but these last 12 months feel like a point from which there is no turning back, not least because Amazon Prime Video joined Netflix in having an ad-supported offering. Other services have had them from the outset—a smart move given the high sign-up rates for ad-supported streamers.

Adding a cheaper ad-supported tier into the mix helps streaming services bring in the last holdouts and retain more of those that may be tempted to quit. To some extent, the companies actually want their customers to drop into the advertising tier because the more people seeing adverts, the more the streamers can charge for the spots.

Amazon faced a particular backlash when it launched its ad-supported tier on Prime Video this year. Unlike equivalent offerings on Netflix and Disney+, which make such tiers cheaper, Prime Video subscribers get adverts by default at the existing price and have to pay extra to not see them. To encourage retention when introducing an ad tier, companies must avoid making users feel like they are getting a degraded service or having a price rise forced upon them.

For Netflix, the addition of an ad-supported tier seems to be working. In the third quarter of this year, it added 5.1 million subscribers. The company said that in countries where the Basic with Ads tier is available, it accounted for over 50% of those taking out a subscription. This growth is crucial to Netflix because, while it might be the biggest streamer overall, it needs to find a way to bring that heft to its advertising offering.

A course correction

This is all despite the fact that, for years streamers (and Netflix in particular) worked hard to convince the audience that they wanted subscriptions instead of adverts. As Tom Harrington, Head of Television at Enders Analysis puts it: “Netflix had been telling its subscriber base for basically a decade ‘ads are the worst thing. You don’t need ads. Just pay us money.’”

However, after two bad quarters, the streamer changed its tune and launched the Basic with Ads tier in 2022. Harrington describes this as a “kneejerk” reaction. He believes that the Netflix ad product is not innovative. He also argues that traditional ratings arbiters produce more reliable data and provide a better understanding of who is actually seeing the adverts.

The lack of granularity remains a key problem among streamers as they try and draw in brands. Harrington explains that “Netflix doesn’t really know that much about its subscriber base” and argues that Netflix “is not set up” for advertising and rather rushed out its product.

The ad tools from Netflix and other streamers remain rather blunt and old-fashioned. These firms know which account played a show and which ads were served, but seemingly very little beyond that. Ollie Beckwith, Head of Digital Engagement at consultancy Sodali & Co. shares a similar view to Harrington. He argues that other digital platforms might still be more useful to advertisers, despite the popularity of streaming.

“Even in an evolving cookie-less world, social channels like LinkedIn have grown to reach users based on highly detailed demographic variables,” he said. “On the flip side, despite Amazon owning Amazon Web Services (AWS), a platform that collects and delivers data and insights, the targeting capabilities on Amazon Prime Video are too broad to have a meaningful impact on corporate individuals, the same can be said about advertising on Apple TV.”

Thus, it is critical that streamers work to improve their targeting capabilities to stay competitive in the digital ad space. AI is likely to play a significant role in this. Spotify has already incorporated it and other platforms need to focus on an effective rollout of ad-related AI technology for everything from operations to creative.

Offer meaningful advertising opportunities

Jayesh Rajdev, Controller of Advanced Advertising at ITV, a Public Service Broadcaster (PSB) in the UK, pushes back against the narrative that streaming ads are inefficient. He says that the partnerships his company has with credit ratings agency Experian and major supermarket Tesco help it provide its advertisers with meaningful targeting.

He explains that ITV has “a really well-established partnership with Tesco where we’ve matched [streaming service] ITVX users to Tesco Clubcard holders at a registered user level. So, you’ve got the biggest viewer graph, if you like, matched to the biggest shopper graph.” Ultimately, the ITV ad innovator argues that the “ability to build an almost funnel centric approach to how you use or deploy your TV advertising has become really powerful.”

Things are moving forward too. “We’re evolving from attributes to attributes plus intent,” he says. I.e., instead of just knowing characteristics of the person with the account, they can identify some shopping intentions too. This is going to be another crucial thing for any streaming platform to develop moving forward.

Streaming advertising opportunities ahead

Given the developments we’ve already seen over the last 12 months, the year ahead in streaming advertising is likely to be a fascinating, and rapidly evolving, one. Making advertising more interactive will be one area of focus for the industry.

Mike Caprio, SVP, GM Global Advertising at unified video tech platform JWP Connatix believes that in 2025 we will see “the fusion of commerce and video as payment processors like PayPal and eCommerce platforms like Shopify enter the fray. Shoppable video—with seamless purchase integrations—emerges as a critical tool for performance-driven campaigns.”

Rajdev reveals that ITV is “about to launch our own really pioneering lead gen ad format that is all remote control initiated for the viewer, and a really slick experience that enables our to convey interests in an ad on ITVX really, really quickly and in a super, super slick way.”

Another key area of opportunity is sports, where viewers are generally used to, and accepting of, advertising. “Sports will serve as a huge opportunity for the growth of ad-supported streaming in 2025,” according to Keith Bedford, General Manager EMEA of streaming tech company Wurl.

“As studios and sports broadcasters struggle to tie in major upfront deals and connect with younger audiences, new models for revenue and content discovery will be required,” adds Bedford. “Short-form video could be one way we start to see sports content companies garner interest and boost engagement for their long-form and TVOD [transactional video on demand] businesses.”

One thing is clear, from adding interactivity to improve targeting, those offering ad-based streaming platforms are going to have to keep innovating if they want to draw in marketing dollars from big brands. Despite the fact that streaming seems to edging closer to classic television experiences (and business models), today’s brands expect to know their money is being spent wisely, and streaming platforms will need to prove it.

Concept image of a 2025 painted on a road headed for a sunrise as a concept image for 2025 media trends

Advertising | Featured Post | Innovation | Perspectives | Policy

The big 5 for 2025: forces impacting media and tech

December 5, 2024 Jason Kint, CEO – DCN

As we barrel into the new year and all that awaits, the media industry is at the nexus of technological disruption, regulatory upheaval, and changing consumer sentiment in terms of media and expectations for it. From the rise of artificial intelligence to intensifying antitrust enforcement and the shifting stance of dominant platforms, the stakes for publishers and content companies have never been higher.

Here’s a look at five critical trends in the media landscape and what they may mean in the future.

1. AI disruption triggers both innovation and legal challenges

Artificial intelligence is reshaping content creation and distribution with breakneck speed. AI-generated search results are increasingly the norm, while the fate of the underlying articles and video remains murky. Publishers are leveraging AI to scale production, personalize experiences, and streamline workflow. However, while this boom propels media forward, the underlying AI models are contentious in their devaluation – or outright dismissal of – property rights, IP, and the fair value of content, not to mention debate around the quality and accuracy of AI generated search results and source attribution.

In 2025, marquee copyright cases are slated for trial. Courts will tackle questions about how intellectual property laws apply to works created or transformed by AI rather than humans. At stake are the legality of using copyrighted material to train AI models and the extent to which those models can monetize their output while risking, if not entirely supplanting, the clear licensing opportunity for publishers. These rulings will set precedents and could rewrite the rules of the road for both AI developers and publishers.

Joining the groundswell, Canadian media orgs jumped in last week by collectively suing OpenAI, alleging unauthorized use of their news reporting to train its models. Similar lawsuits are expected to continue globally as publishers push for enforcement against misappropriation and/or copyright violations of their work.

Media companies must once again prepare for these shifts by walking and chewing gum at the same time. As ever, publishers must safeguard their media content while continuously experimenting. The challenge will be striking the balance between embracing AI’s potential and ensuring accountability with their strategic technical platform partners.

2. The role of a free and plural press amid political threats

In this era of heightened political tensions, the role of the press as a democratic watchdog is paramount. In the U.S., the new administration brings with it a wave of uncertainty. Media leaders watch with a wary eye as leadership nominations roll in.

Concerns about surveillance, legal pressures and expense, and erosion of journalistic protections here and around the world are intensifying (to say the least). Globally, authoritarian regimes are leaning on tech to suppress dissent and control narratives, challenging the resilience of independent media.

For publishers, protecting and promoting a pluralistic media ecosystem is essential. This means investing in news reporting, supporting press freedom initiatives, and maintaining commitments to accuracy and integrity despite political pressures. As threats to press freedom grow, a robust fourth estate remains critical to the industry’s long-term viability as well as to democracy itself.

Social media’s dominance in content distribution is being reshaped by user migration. Elon Musk’s tumultuous leadership of X (formerly Twitter) has alienated advertisers and much of its user base, notably journalists. This has fueled the rapid rise of Bluesky, a decentralized alternative designed to resist the power of billionaires and governments. Remarkably, Bluesky is approaching or has surpassed Meta’s Threads in certain usage metrics. Bluesky’s embrace of open-web principles and support for journalism – very different from the current suppression of links on X and Threads – has further endeared it to journalists and publishers.

These platform shifts come amid the FTC v. Meta antitrust trial, scheduled for April 2025. Although the legal complaint focuses on the relevant market of social media built around the personal social graph (thereby excluding X, Bluesky, Threads, and LinkedIn), the dynamics of platform competition remain crucial for publishers to connect with new audiences where they want to be reached. It is also as yet unclear how the incoming Trump administration will respond to a potential ban of TikTok, which is set to hit a key milestone the day before his inauguration.

For media companies, platform diversification has long been a requirement. Relying too heavily on any one distribution channel leaves brands vulnerable to algorithm changes, shifting user sentiment, and unpredictable policy shifts. Building owned-and-operated platforms, prioritizing direct relationships with audiences, and leveraging multiple distribution channels are essential strategies to ensure resilience in this fragmented ecosystem.

4. Regulatory and court interventions reshape big tech

2025 is shaping up to be a watershed year for antitrust regulation and enforcement. The U.S. Department of Justice (DOJ) has already won its search antitrust case, calling for the divestiture of Google’s Chrome browser and potentially its Android operating system. Meanwhile, the DOJ’s Virginia adtech case (expected to result in another major win) foreshadows broader changes to Google’s dominance in digital advertising. Next up: the Texas adtech trial in March, followed by the previously mentioned FTC antitrust case against Meta.

Beyond the U.S., Canada’s competition regulator called for the breakup of Google’s adtech business last week, with the European Union likely to follow suit. These developments could significantly reshape the global ad market, which would offer publishers an opportunity to regain control over their data and revenue streams.

However, it also introduces uncertainty. Navigating new partnerships, technologies, and regulatory frameworks will require adaptability and leaning into a long-term strategy while bearing short-term headaches (read: costs). Building strong first-party data capabilities and exploring alternative adtech solutions will be crucial for growth in this evolving environment.

5. Advertising reinvented: privacy, AI, and accountability

Advertising is undergoing a transformation driven by consumer privacy concerns and regulation. The death of third-party cookies and the rise of privacy-focused technologies have elevated the importance of first-party data. This means that publishers’ direct relationships with audiences and the high-quality content they provide are more valuable than ever.

Google’s antitrust challenges are also poised to reshape the future of advertising. The cases brought against the company globally allege manipulation of ad auctions and abuse of its monopoly power to harm publishers and consumers alike. If successful, these actions could reinvigorate competition and enable publishers to negotiate better terms, which would have been available for the past 10 years if it weren’t for Google’s behaviors. The greatest fruit of Google’s abuses across search and adtech may well be YouTube where Google has been able to marry its unparalleled access to search, location, web-wide browsing, and adtech data with the largest pool of streaming video inventory on earth. It will be interesting to see if this attracts regulatory scrutiny in 2025.

At the same time, AI is accelerating the evolution of advertising strategies. Predictive targeting, on the fly ad creative, and more advanced tech to control ad campaigns are helping large platforms capture new dollars from offline retail media while better maintaining privacy. For publishers, a dual focus on consumer trust and innovative monetization will be critical for success if they want to peel off some of these dollars.

Outlook: shaping the future of media

In 2025, the media industry is defined by rapid change and high stakes. From AI-driven innovation and platform fragmentation to regulatory challenges and shifting consumer expectations, content companies face a complex and evolving landscape. Success will require a commitment to trust, adaptability, and creativity.

As DCN has long advocated, publishers prepared for these shifts – whether through diversifying revenue streams, strengthening first-party data, or doubling down on audience relationships – will be well-positioned to survive if not thrive. In this new era of accountability and competition, it’s not just about outlasting disruption; it’s about shaping what comes next.

With Where to Watch, ESPN simplifies sports discovery

November 7, 2024 David Weldon – Independent Media Reporter

Gone are the days when a sports fan could locate their favorite team’s game quickly on a predictable outlet. Instead, broadcast contracts are divided among many media outlets, with sporting events appearing on dozens of broadcast, cable and regional sports networks, as well as streaming services. In fact, it’s gotten so tough that ESPN thinks that the biggest win for sports fans may just be having an easy way to figure out where an event is being offered in time to catch the opening kick-off, tip-off or puck drop.

Disney’s ESPN set out to solve the sports discovery problem with its new “Where to Watch” feature. Offered on its main app and website, the feature helps viewers instantly locate any sports event appearing on ESPN platforms and elsewhere, including cable and broadcast networks or streaming services. ESPN is aiming for this feature be comprehensive across the market, not just for ESPN and ABC properties, because the goal is to solve fan fragmentation and frustration.

Where to Watch, which debuted in August, showcases tens of thousands of events across dozens of leagues. Included are events from the NFL, NCAA football, NCAA men’s and women’s basketball, MLB, NHL, NBA, WNBA, NASCAR, UFC, F1, PGA Tour, MLS, tennis majors, Premier League, Champions League, and other live sports events that air on Disney’s ESPN platforms—with plans to grow.

We recently spoke with Casey Grabbe, senior director of ESPN Strategy, and Chris Jason, executive director of ESPN product management, on the development and objectives of this ambitious feature.

The feature aims to solve fragmentation

“Where to Watch is an easy-to-use guide for sports fans to locate any sports event on ESPN platforms and beyond. That includes broadcast, cable and regional sports networks and streaming services,” Jason explained. “From Where to Watch, fans can view all the sports events for an entire day, along with the network or service on which to find them, with quick one-click access to ESPN network streams for pay TV authenticated users and ESPN+ subscribers.”

Beyond just ESPN, fans are also linked directly to select partner networks, which currently include regional sports networks such as NESN and Monumental Sports, Jason said. Fans can search for events, filter, and customize the guide to prioritize their favorite teams and leagues.

“This makes for a fast and easy to discover what they care about most, all tied to their ESPN profile and personalization preferences,” Jason explained.

The motivation behind the Where to Watch feature was simple: reduce complexity.

Disney’s internal research found that sports fans are confused about where to find games, according to Grabbe. As sports viewing has become fragmented across many TV networks and streaming platforms, it has also become difficult and confusing for people to know where they can watch their favorite teams, players, and sports.

“We are hoping to solve that consumer pain point by creating a centralized home for sports viewing information with an intuitive interface that is easily accessible from within their daily routine of visiting ESPN.com and the ESPN App,” Grabbe explained.

How Where to Watch works

Where to Watch is designed to be a simple, scrollable, time-based guide of sports events, Jason said. It is powered by a proprietary event database, managed by the ESPN Stats and Analysis team.

The event database aggregates ESPN and partner data feeds along with originally sourced information and programming details from more than 250 media sources, including television networks and streaming platforms, Jason explained.

“We currently support coverage of tens of thousands of events across dozens of sports and leagues, and other live sporting events airing on ESPN platforms,” Jason said.

In order to watch an event, fans need only press boldly colored “watch” buttons on live game selections, which takes the viewer directly to the broadcast. That is, provided that they are a subscriber to ESPN+ or a pay-tv service. Fans can also customize the feature to highlight a specific sport or league.

Event-driven database drives discovery

Where to Watch is currently available for free to all ESPN App and ESPN.com users, which do not require a paid subscription. The feature employs an event database that was created by and is managed by the ESPN Stats and Information Group. The Stats group aggregates and analyzes data from ESPN and partner feeds. It combines that data with that of more than 250 other media sources. This includes television networks and streaming services. ESPN has a partnership arrangement in which it links users on the ESPN App directly to partner feeds to view content, in an effort to cut down on the friction of finding and assessing sports content.

Sports fans using the Where to Watch service see two primary features: A Favorites element and the Guide. If the fan has a favorite team, sport or league they wish to watch, they can set that information into the feature and it will display upcoming games or events at the top of their screen. The viewer need only click on the event they want to be directed to. The viewer can personalize or change favorite settings at any time. Otherwise, the Guide feature will display all of the options available to watch at a given time on a given day.

Early feedback says Where to Watch is a winner

Jason notes that the Where to Watch feature was designed with the sports fan desires in mind, and that seems to have paid off so far.

“Fan feedback has been overwhelmingly positive, primarily in that this is focused on solving a real pain point for sports fans,” Grabbe said. “We see this sentiment reflected on social media, through various media outlets following launch, and ongoing interactions with sports fans. Several million fans have already used the feature, which is a really promising sign that this can become an indispensable utility going forward.”

Initial partnerships have been formed with only a few regional sports networks – NESN and Monumental Sports – to link fans directly with their programming, with plans to increase the number of these partnerships.

“We want ESPN to be a part of every sports fan’s daily routine,” Grabbe stressed. “Providing fans with this added functionality is helping to further strengthen ESPN’s position as the preeminent digital sports platform. We are always thinking about how we can put the sports fan’s needs first.” ESPN also plans to launch a new stand-alone direct-to-consumer product in 2025, and hopes to include its Where to Watch feature.

“Our near-term focus is to expand coverage across more sports events and leagues,” Jason said. “We are also working on adding additional utility within the experience, for example giving fans the ability to set reminder alerts for games they are interested in. In parallel we continue to monitor fan feedback to evaluate additional ways to improve the experience.”

Diversity, Equity & Inclusion | Innovation | Video

PBS Film Club launches, featuring a film community Fable

November 6, 2024 Michelle Manafy, Editorial Director – DCN

Social media gets a lot of bad press these days, and for good reason. It’s associated with any number of negative effects – from misinformation to increased anxiety, polarization and more. However, there’s no denying its impact as a cultural force. And, to be fair, there are notable bright spots including the ability of social platforms to increase awareness around mental health and environmental issues and enjoy moments of cultural significance, hobbies and entertainment.

With the launch of PBS Film Club, this trusted public broadcasting service known for its high-quality educational, cultural, and informative programming is doubling-down on the potential of social media to build constructive communities around shared interests. As PBS VP of Marketing Amy Wigler points out, “edutainment is one of the most popular types of content on social media, and we do edutainment better than anyone.”

Produced by the PBS Social Media team, the PBS Film Club – a new social video series – publishes every week on PBS’s TikTok and Instagram channels. Notably, however, PBS has also partnered with Fable, a community-powered platform for discovering, tracking, and discussing books and TV shows. Given PBS’ strong presence across established social channels (200K on TikTok and over 1 million Instagram followers), the decision to partner with Fable was as much around ethos as the ability to reach a new audience.

Founded in 2019 by Padmasree Warrior, Fable’s mission is to foster a love of stories of all kinds and build meaningful communities through curated experiences. Fable’s philosophy centers on promoting literacy, encouraging thoughtful conversations, and creating a supportive environment for readers of all backgrounds. Fable bills itself as a community for bookworms and binge-watchers—both of which titles Wigler and Pina personally and professionally embrace. “Social media should be about community and connection,” says Wigler. “And that’s what Fable is to me.”

Community-centric audience approach

In addition to the launch of its Fable club, the initial PBS Film Club video series roll-out includes 10 episodes hosted by Marissa Pina and Lucky Nguyen. Pina, who is PBS’ Senior Manager, Social Engagement and Multiplatform Marketing says the social team came up with the idea when they were thinking about how to serialize content across TikTok in a way that made sense to showcase PBS’ vast library.

@pbs
Welcome to our very first episode of #PBSFilmClub ✨ This week we’re discussing The Perfect Crime from American Experience and what we’ve learned from it. We want to hear from you, comment below or join us on Fable to share your thoughts. #pbs #documentary #truecrime #bobbyfranks
♬ original sound – PBS

“We were looking for ways to kind of extend our engagement and our community reach especially for younger and more diverse audiences, particularly Gen Z… In the past, I would have done something like this maybe by creating a Facebook group. But Fable already had the audience.” That audience, says Pina, is over a million strong, comprised mostly of those ages 18-35.

To be sure, reaching a young audience is critical to the longevity of any media brand. However, as Wigler points out, “I can no longer run a promo and expect that people will talk about it. I was intrigued about the idea of using content marketing to build audience in a new way.”

“I’ll speak for myself in particular, since I’m in that demo,” says Pina. “I’m probably not going to watch a promo. But when my friend calls me on the phone and tells me, ‘Hey, I’ve been watching this crazy documentary,’ or ‘I’ve been watching this amazing show,’ nine times out of 10, going to watch it.” With PBS Film club, Pina believes they’ve landed on an approach that will “tie in our library with the cultural zeitgeist and things that are going on in the world” in an authentic way.

Authentic audience connections

Throughout the series, Pina and Nguyen will highlight the cultural relevance of past and present PBS programming through short clips. The idea is to bridge today’s trends with some of the historical and nostalgic content from PBS programs. And, in a market crowded with content and faced by younger demographics that lean into individual creators over institutions, landing on a strategy that doesn’t just reach the audience, but truly engages them is the recipe every media company is trying to perfect.

For its strategy to work, “people are essential,” says Pina. “We talk a lot about authenticity, connection and communication. To do that you need to be able to connect with a person.”

Wigler is quick to point to the strength of PBS social team and the hosts of Film Club as winning components of this initiative. But both see the value in allowing audiences to “see the people behind the brand, that maybe looks like them,” as Pina put it. And they plan to include more of the people behind the scenes at PBS in Film Club.

So, while social media has become a complex ecosystem that brands must carefully navigate, Wigler is among those who believes it is critical to have a presence in order to engage with younger audiences, who rely on social for content discovery. However, in keeping with the company’s goal to empower individuals to achieve their potential and strengthen the social, democratic, and cultural health of the U.S., PBS approaches this social-first initiative, and particularly its new Fable fan community, “as a way to explore creative partnerships in the social space that allow our content to shine and community to form,” says Wigler. “Wouldn’t it be wonderful if PBS were known as the friendliest place on the Internet and social media? Wouldn’t it be wonderful if people like our mission is to educate, inspire, and entertain,” Wigler suggests. “And wouldn’t it be amazing if PBS on social media was synonymous for the ability to do all of that?”