The study examines the attitudes, values, and behaviors of different generational segments and racial, ethnic, and identity (REI) cohorts in the context of digital media. To accomplish this, a survey was conducted among 1,500 respondents ― proportionally across Gen Z, Gen Y, and Gen X segments and each segment included Black, Latino, Asian, LGBTQ+, and White populations.

Representation matters

The findings uncover the perspectives and preferences of how respondents engage with digital media content, their subscription practices, their relationship to ad-supported content, and their views on representation and portrayal.

In this regard, the study underscores the importance of incorporating inclusivity, diverse representation, and authentic portrayal in media content.

• Black respondents exhibit a heightened awareness of diverse creators and producers, actively seeking television content where they see themselves represented.
• The LGBTQ+ community expresses a deep-seated sense of underrepresentation and the need for more authentic narratives in media. 
• Asian audiences are eager to move beyond secondary roles in entertainment content and advocate for realistic and inclusive portrayals.
• Black and LGBTQ+ audiences exhibit increased loyalty to media brands that respect their representation, sourcing content from creators who mirror their experiences and featuring talent that reflects their identity.

Impacts of mobile and social media usage

Generational nuances are exposed regarding the impact of mobile and social media usage on mental health. Gen Z and Gen Y are more attuned to the adverse effects of excessive social media and mobile use, particularly on self-esteem and anxiety. LGBTQ+ individuals, irrespective of their generation, also express heightened concerns over the negative implications of their digital engagements.

Willingness to pay for content

Diverse audiences exhibit varying tendencies toward paying for digital content. Gen Z and Gen Y are notably more willing to invest in digital content than Gen X, hinting at the shifting media consumption paradigms. Black and Latino cohorts emerge as more willing spenders on digital content than other REI groups.

Unlocking media benefits

The study reveals the appeal of on-demand access to content remains a consistent top benefit, across generational and Racial, Ethnic, and Identity (REI) cohorts.

• The desire to watch what one wants when one wants is the foremost advantage of subscribing to video content.
• Anywhere access emerges as the predominant advantage of subscribing to audio content.
• Digital print media garners favor for its capacity to offer knowledge acquisition, personalized curation, consistent content updates, and unwavering quality.

DCN’s Digital Media Audience Diversity Study uncovers a spectrum of insights into the dynamics of digital media engagement. Understanding the subtleties within these findings across generation and Racial, Ethnic, and Identity (REI) cohorts is pivotal for content companies to engage with specific audiences effectively. Beyond profits, this engagement nurtures creativity, fosters inclusivity, and aligns media companies with the evolving ethos of a diverse and dynamic media future.

Full research report for DCN members only. Register to or login to download (on desktop see top right corner of page, on mobile the top center). Download buttons will appear at the top and bottom of the page.

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The business case for DEI 

The moral case for creating media that takes representation into consideration is clear. But for years, media companies have lagged at becoming more inclusive, sometimes even arguing that it just didn’t make good business sense (even when that obviously wasn’t true). Now, a trio of research reports further refutes that thinking. 

Deloitte’s “Media Reimagined” study found that Black, Latinx, and LGBTQIA+ audiences represent a third of the $717 billion U.S. media and entertainment market. “Combined, these three audiences spend more than $250 billion annually and contribute an even higher percentage (52%) among U.S. adult Gen Z entertainment spend,” according to Deloitte.

And lest you think you can entice this audience with any old content, think again. Deloitte found:

• 71% of current media and entertainment spend among Black, Latinx, and LGBTQIA+ audiences is driven by feelings of inclusivity 
• 54% of current media and entertainment spend tied to inclusivity can be traced to women-identifying audiences 
• 13% increase of incremental and/or stabilized revenue potential across all audiences when they feel more included

Dollars and cents aside, inclusivity also leads to better content that all audiences can appreciate. “Our new research reveals that improving equity in the media and entertainment industry increases brand loyalty, drives growth, and results in fresh content that more closely aligns with consumer needs and expectations,” Deloitte summarizes.

Source: Amazon’s 2023 Higher Impact report 

But it’s not just movies, television, and podcasts we need to think about moving forward. Inclusivity in ads matters, too. According to the 2023 Higher Impact report from Amazon Ads, 79% of consumers are more likely to purchase products or services from brands whose values align with their own — and increasingly, DEI is among those values. 

Nearly half (45%) of consumers are willing to pay more for a product that reflects and promotes DEI, according to the Amazon report. And ​​46% of consumers say they go out of their way to choose brands that have corporate commitments to DEI. In other words, consumers are watching — and they reward corporate efforts (and authenticity) when it comes to diversity, equity, and inclusion.

The full picture 

It’s one thing to put out a DEI statement, it’s another thing for media companies to hold themselves accountable and achieve diversity at all levels. Deloitte found that three in five respondents “do not feel empowered to prioritize equity in decision-making” while one in three “feel their leaders don’t understand what diversity and inclusion means.” Another quarter of people “say the lack of diversity at senior levels is an issue.”

And in the film industry, that lack of diversity leads to a dearth of diverse stories. Annenberg Foundation research finds that female directors tell stories with more female characters, more characters from underrepresented racial/ethnic groups, more women over age 40, and they hire more women working in other notable behind‐the‐scenes positions.

Unfortunately, The Annenberg Foundation’s latest report, The Inclusion List, produced in cooperation with The Adobe Foundation, finds that inclusion in Hollywood is lacking in diversity and shows few signs of improvement in recent years. With regards to the representation of women on screen, the report’s lead author Stacy L. Smith said, “What’s even more powerful about this list – and consistent with our previous work – is that films from women and women of color directors on the list earned the highest average Metacritic score. These women are excluded from the industry when we know that they are some of the top performers, telling some of the strongest and most compelling stories. This list celebrates women of color in an industry that doesn’t.”

Source: USC Annenberg’s “The Inclusion List” a new data-driven ranking that provides the titles of the 100 most inclusive theatrically-released films from 2019 to 2022. The list goes beyond movies to rank distributors and producers as well, holding the entertainment industry accountable. 

“These trends suggest that any improvement for people from underrepresented racial/ethnic groups is limited,” according to Smith. “While it is encouraging to see changes for leading characters and for the Asian community, our data on invisibility suggests that there is still much more to be done to ensure that the diversity that exists in reality is portrayed on screen.”

The price of not paying attention to DEI

Those who continue to ignore the role DEI plays in media’s success, will be missing the boat — and significant revenue opportunities as well. The undisputed king of e-commerce knows this, and that’s why one of the ways that Amazon segments its advertising audience is “Allies of Diversity”, which it outlined in a sponsored post on Ad Week. The Allies of Diversity audience “aims to provide a solution to reach an array of consumers at scale that have demonstrated signals of allyship. Amazon infers allyship based on aggregated first-party shopping and streaming signals. The company says, “Inclusive advertising helps brands connect with a wide range of people, promotes innovation and ensures that ads can be enjoyed by a variety of audiences.” 

Clearly, Amazon has recognized the revenue potential DEI offers its advertisers but we’ll have to wait to see if Hollywood has the same epiphany. Though, as movies like “Barbie” — which sport diverse casts and women at the helm behind the scenes — rock the box office, the fiscal case for inclusion will be easier to make. However, one may have said the same thing when “Waiting to Exhale” opened at number one back in 1995 or when, in 2018, “Black Panther” became the highest-grossing superhero movie. Will the underlying facts and numbers that all support an authentic commitment to DEI be enough to move the needle?

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DISQO and Do the WeRQ surveyed more than 9,000 people to explore the consumer experience with LGBTQ+ advertising content.

Marketplace

LGBTQ+ is the fastest-growing minority segment in the U.S., with an estimated $1.4 trillion in annual spending. The Human Rights Campaign Foundation (HRC) used U.S. Census Bureau data to estimate that at least 20 million U.S. adults identify as LGBTQ+. That’s nearly 8% of the adult population. Additionally, about 21% of Generation Z in the U.S. identify as LGBTQ+.

Getting involved 

This research shows that nearly three-quarters (74%) of people believe brands should get involved in social issues like DE&I, racial equality, gender equality, and social economics. Brands involved in diverse communities are recognized by consumers. Approximately 37% of participants in this research recall seeing LGBTQ+ ads outside of content made specifically for the community. Forty-seven percent of participants recall seeing ads within LGBTQ+ content. Those identifying as LGBTQ+ are more likely to recall seeing ads in content made for them (57%) but are less likely to recall seeing them in mainstream content (33%).

Almost half of those surveyed (46%) agreed or strongly agreed that advertising is adequately inclusive. More than half (52%) said LGBTQ+ ads felt “authentic.” Notably, 64% of people identifying as LGBTQ+ agreed that ads depicting their community felt authentic. However, older consumers are less likely to say that more LGBTQ+ content should be created.

Consumers recognize that brands are influential, and many want to see them exercise this power in support of the LGBTQ+ community. Eight in ten (81%) participants identifying as LGBTQ+ said that brands have some or a lot of influence. Close to half report that brands are essential in bringing about LGBTQ+ progress.

When asked if they ever think about a company’s social and political activities when making a purchase decision, 85% said they did. Less than 15% of people said they never considered this when purchasing.

Generationally, those under 44 years of age are more likely to align a brand’s social influence with their wallets: 18-24 (58%), 25-34 (58%), and 35-44 (57%). Further, 22% of those under 24 said they “always” think about where a brand or company stands when making purchase decisions, 24% for 25-34 and 25% for 35-44. The percentages decline as age increases, with only 12% of people 65+ saying they have these considerations.

Targeting content to LGBTQ+ is growing; this year, fewer people report “not seeing” any LGBTQ+ advertising versus last year (7% versus 20%). The line of cultural margins is shifting, and representation across media platforms offers more racial equality, gender equality, and social economics. LGBTQ+ visibility goes far beyond shout-outs in June. More representation of LGBTQ+ in advertising shows consumers that you see and value them.

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Atkins had created a data-driven initiative in 2017 to increase women’s representation on media content. According to the academics, it was “easy, attractive, social, and timely.”

While we see the challenges news organizations face as they seek to better represent society as a whole, we also see progress. That is progress that we, at 50:50, are keen to build upon.

Equity: Moving beyond gender

No pressure then as we look to move 50:50 beyond gender. The Behavioural Scientist article came out a month after the BBC announced that we were doing just that. We sought to see if 50:50 could increase disability and ethnic minority representation on media.

In October 2020, as the leader of the BBC’s 50:50 product, I voiced my belief that we could learn from how we had increased women’s representation in order to extend the scope of our work. That belief has been validated by the latest 50:50 Impact Report, which reveals the BBC’s data beyond gender for the first time.

Five years on from when 50:50 started, I believe we have demonstrated the benefits of increasing the diversity of voice on media content. Now, we need to sustain that. This year’s results builds on the progress made so far. It sets the foundations for further innovation that will further support content-makers in their mission to reflect the world around them.

Changing for the better

By March 2022, 250 BBC content teams had voluntarily signed up to monitor the disability and/or ethnicity make-up of their output. The good news is that the project continues to move the needle – in a range of areas of equity and representation.

Of those who submitted March data, 21% reached their disability target compared to 15% when they first started monitoring. For ethnic minority representation half reached their target, up from 47%.

Long term change

Some may argue that these sound like small increases. But to be frank: Any improvement is a good sign. I say this, knowing what pilot phase looked like. Some teams were starting at zero representation for disabled people. However, they persevered to move the dial.

Also, this project is about playing the long game. Equity and representation is not one and done. Far from it. The data suggests major gains can be made over time.

Of those monitoring disability for more than 18 months, 53% reached their targets in March. That’s up from 18% when they first started and a 35-percentage point increase. For teams monitoring ethnicity, over the same period, there was a 7-percentage point increase – up from 58% to 65%.

Lara Joannides, the BBC’s Creative Diversity Lead for 50:50, acknowledged there a lot more to do to increase diversity of voice on media content across the board.

“These results are an important milestone as we apply 50:50’s core principles for disability and ethnicity representation. They provide a solid foundation for us to build upon,” said Joannides. “This data allows is us to understand where we can improve, so now we need to go out and find more voices to create content that really reflects society.”

How it works

So how is 50:50 increasing diversity of voice? 50:50 is all about understanding where we are now, so we can make change for the future. Whether its disability, ethnicity or gender representation, 50:50 teams use the core principles Ros Atkins devised in 2017.

Using data to effect change, sees content-makers monitor their content in almost real-time. It mean they can share how they are doing at the next team debrief. Together, the team then decides on any actions needed to reach their monthly target.

Measure what you control, gives the framework for how teams monitor. As I often say, “you can’t change what you can’t control.” That goes for who appears on your control too. So, 50:50 teams are only monitoring who they choose to put on their output.

Never compromise on quality, is the paramount principle. The best contributor must always take part. 50:50 is about enriching storytelling with diversity of voice. To do that that voice has to be the best. As Atkins said, in relation to women, in Behavioural Scientist: “50:50 is not about keeping excellent men out of our programs—it’s about finding many more excellent women contributors.”

Setting targets

While the principles are a terrific foundation, you need to set tangible and realistic goals in order to move forward. When it came to increasing women’s representation it felt like a no-brainer. Overall, teams aim for 50% female contributors over the course of any given month. It is the reason our grassroots initiative is called 50:50.

These targets become more complex when you look at monitoring disability and ethnicity. In general, BBC UK teams work towards the Corporation’s diversity targets: 50% women, 20% Black, Asian and minority ethnic, and 12% disabled representation.

However, teams will adjust those targets in line with their specific audience demographics. For example, when it comes to ethnic minority representation for BBC Scotland, they would be aiming for 8% in line with their population. Meanwhile, BBC London is working towards a 50% target to reflect their audience.

Collecting the data

Armed with targets, teams need to collect the data. 50:50 has created two tailored approaches to collect data for disabled contributors and those from ethnic minority backgrounds.

As Joannides explained: “One is by perception, which is how 50:50 has always been done for gender. This means counting based on any publicly available information we have about the contributor. Whether it’s from social media or something they’ve told us themselves. Then the other way, which a small group of teams do, is by collecting actual data.”

Collecting actual data tends to be forms based. This method is being rolled out by BBC Devon across their daytime programming after a successful pilot, and also by 50:50 partners The British Fashion Council.

50:50 gender challenge

It is the second year that 50:50 partner organizations have published their March data alongside the BBC. The 50:50 partner network now spans 30 countries and includes 145 organizations from a wide range of sectors.

Miranda Holt, the external partners lead for 50:50, said the network had grown by 45 new members in the last 12 months.

“We work closely with NHK in Japan, and now reach as far as Mongolia – working with the Media Council there,” said Holt. “50:50 continues to expand in communications companies, law firms, industry regulators and the financial services sector. These organizations show how the 50:50 principles can be applied to any created content – from websites to events to publications. “

Overall, 72 partners submitted their data, up from 41 partners in 2021. Almost half (47%) reached 50% women. For those below the target of 50% women when they first started monitoring, 73% saw an improvement in the gender balance of their content.

As for the BBC when it comes to increasing women’s representation, 61% reached 50:50 compared to 35% when they first joined the project. The proportion of teams reaching 50:50 went up to 69% for those monitoring gender for at least four years.

Audience appreciation

What I find most heartening is that BBC audiences continue to notice an increase in women’s representation. And many are enjoying content more as a result.

In March, a survey of 2,032 BBC online users found that of women aged 16 to 34, 62% enjoyed content more. That’s up from 57% on the previous year, and 68% were consuming more content, an increase of 10 percentage points.

A 50:50 future

This year the BBC is celebrating 100 years of broadcasting. The Corporation’s mission continues to be about delivering value to all audiences, whoever and wherever they are.

BBC Director-General Tim Davie said: “The 50:50 Project plays a crucial role in finding new voices and helping us better reflect the audiences we serve.” He added: “It’s already made a huge impact on the BBC and our global partners. There’s potential to do so much more.”

And there is more to come, as BBC Creative Diversity Director June Sarpong explained: “50:50’s next steps will be to gather data on the representation of class within BBC content to see how well we reflect socio-economic diversity and – crucially – where we need to improve.”

She continued: “Can it be done? Well, as James Baldwin says, ‘nothing can be changed until it is faced.’ So it is heartening that 50:50 is starting to face this.”

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His murder sparked a similar debate across the pond over the United Kingdom’s equivalent acronym: Should BAME (black, Asian and minority ethnic) be used by British broadcasters?

Taking collective action

At the end of 2021, four of the UK’s major broadcasters formulated an answer. They committed to avoid using the collective term in their corporate communications, content and editorial news content. Instead, they would use more specific terms where available.

For Miranda Wayland, the BBC’s Head of Creative and Workforce Diversity and Inclusion, the departure from the catch-all term allows for a greater acknowledgement of the experience of people from different ethnic backgrounds.

“As a creative industry we are focused on increasing representation, so our content reflects society,” she said. “At the heart of representation is how we recognize people’s varied lived experiences and their identity. The more specific we are when describing someone’s heritage, the better we represent them. In turn, we create more inclusive and relevant content for our audiences.”

UK broadcasters – the BBC, ITV, Channel 4 and Channel 5/Viacom CBS UK – agreed to avoid “wherever possible” the BAME acronym following a report the Sir Lenny Henry Centre for Media Diversity. Commissioned by the BBC, the study stated that “A major concern, apparent in recent public responses to BAME, is that it homogenises culturally distinct social groups.”

A question of trust

Through interviews and audience research, the report’s authors found there was a lack of trust around the term BAME because of a belief that it has been used to hide failings in the representation of specific ethnic groups. They wrote: “Several interviewees illustrated this point by saying organisations are quick to announce hitting ‘BAME targets’ but what does that mean if there is still massive black under representation or east Asian representation.”

The researchers did acknowledge, however, that it would not be realistic to remove BAME terminology altogether because it is widely used in society. However, where BAME must be used, content-makers will strive to ensure that any use of the term is accompanied by an explanation. This will be achieved, for example, by stating that ”data for ethnic groups is unavailable.” Another solution is writing out the acronym in full – “black, Asian and minority ethnic” – to recognize the constituent groups that make up the collective term.

Sarita Malik, Professor of Media and Culture at Brunel University London and Academic Lead on the Report, said broadcasters need to acknowledge the importance of language as part of wider work to tackle racial disparities.

“Language is a really important issue for media and cultural organizations to look at when trying to tackle inequalities,” she said. “At the heart of the issue is a power dynamic; a power dynamic between those who have the power to label and those who are labelled. Our research identified a mostly negative sentiment towards the grouping of people under collective terms.”

She added that “Committing to use language in more culturally nuanced ways can help to deepen understandings of different ethnic groups. This is one of the ways in which trust can be built with audiences.”

Supporting cultural nuance

As Professor Malik observes, broadcasters need to give their content-makers the right support and resources so they can get their language right and add nuance to their work. At the BBC, the content-makers’ inclusion toolkit seeks to provide such support. Tools include Ipsos MORI’s Language Matters audience research, which echoes the findings of the BAME report by concluding that “specificity around identity is key”.

“In communicating, we often seek to oversimplify. But, when it comes to identity, ensuring the full nuances of someone’s identity are acknowledged as important,” said the Ipsos MORI researchers. “We see this when it comes to how ethnic and national identity interact with one another and how individuals navigate between these two aspects of their identity.”

Participants in the research succinctly illustrated the point. “I always say I’m Indian even though I am a British citizen. I am proud of my Heritage,” he said. Another explained: “My identity shouldn’t be defined by what ‘colour’ I am. I’m an individual and part of a diverse community with a diverse heritage.”

We are not the same

Understanding this type of nuance is at the heart of the BBC Audience’s BAME: We’re Not the Same report. It explores the culture, identity and heritage of the six largest ethnic minority groups in England and Wales – Indian, Pakistani, Black African, Black Caribbean, Bangladeshi and Chinese.

BBC Senior Audience Planner Helen Xa-Thomas began work on the report after noticing that content-makers had no tools to help them move away from “bucket terminology” and address the “nuance” within groups.

“All our identities are so multifaceted and complex. We are never just one entity of our identity,” she explained. “Labeling is a symptom of the shortcuts that we use as an industry. We all think very much demographic first and that can be problematic. For example, when we say ‘youth’ as if all young people are exactly the same.”

She continued: “It’s about understanding, culture and identity for different groups and making us more consciously aware of those differences. Because we are not the same.”

The BBC Audience’s report is backed by the Corporation’s Director of Creative Diversity, June Sarpong, who encouraged people “to grab a coffee and take a moment out to read this insightful BBC Audiences research”.

“This report starts to unpack ‘BAME’ because a ‘one size fits all’ approach doesn’t help us appreciate the complexity and richness of identities that fall within it,” she wrote in her foreword to the report. “One of the barriers we face when seeking to address the diversity deficit is the limits of our own perspective.”

She also pointed out that “The catch-all term of BAME may feel a like a convenient box for those interested in counting people. But when you fail to acknowledge the difference in people’s lived experience and history then people won’t feel like they count.”

Universal takeaways

As stated previously, four of the UK’s major broadcasters have committed to ensuring that people feel better represented by avoiding the use of BAME.

Marcus Ryder, Head of External Consultancies at Sir Lenny Henry Centre for Media Diversity, applauded the decision to adopt the report’s recommendation. He believes there are wider themes that can be taken from the research and applied by content-makers – trust, transparency and the need for bravery.

“As a Black person, when I see the Covid reports I am thinking ‘how does it affect Black people?’ When a journalist just stops short and says People of Colour, it feels as if they’re not representing me properly,’ he said. “So even if you don’t have the information you should acknowledge it as you’re acknowledging that question of how it affects me.

“Admit what you don’t know. If the story was ‘Covid affects People of Color or BAME more according to the latest statistics’ but there’s no breakdown, then say that they have not provided us with more detailed information as to how it affects individual specific races.”

Ryder also said content-makers need to ensure that they are not using BAME, or BIPOC or People of Color because they are “scared to use the term white”.

“Sometimes collective terms are used as a way to avoid using the word white and so we should also ensure that we aren’t just using a term as a way to avoid white,” he explained.

“Lots of studies have shown that white people often think of themselves as being raceless. If we want to have a serious conversation about race, then we need to ensure that we don’t just talk about race of non-white people.”

What each of the reports and research illustrate is that catch-all terminology erodes the trust of the audience, which could cause them to tune out (or worse, log off). As we address increasingly diverse audiences, there is an altogether reasonable expectation that our language, and its use, adapts.

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