Together, these forces are changing what competitive advantage looks like. No longer seeking scale for its own sake, publishers are focused on proof, predictability, and performance.  

To gain a high-level view of the industry, DCN gathered perspectives from companies that work with publishers every day across measurement, monetization, infrastructure, workflow, and operations. Their proximity to daily decision-making across media companies of all sizes and types provides insight into the competencies publishers are actively strengthening as they adapt to discovery volatility, evolving advertiser expectations, and the operational realities of AI.

Several capabilities stand out as especially relevant for publishing priorities in 2026.

Authenticated audiences anchor revenue growth

The media industry’s shift from quantity to quality has accelerated. Advertisers are increasingly focused on confidence in who they are reaching, how audiences engage, and what outcomes media delivers.

Rich Murphy, CEO, president, and managing director of Alliance for Audited Media, points out that buying continues to move away from pageviews and impressions toward outcomes. In that environment, independent, third-party verification is foundational. Publishers able to demonstrate authenticated reach and engagement across channels are better aligned with how advertising investment decisions are being made this year.

This change is reshaping how growth is defined. Audience scale still matters, but only when it is identifiable, engaged, and repeatable. Audiences must be respected as business assets rather than traffic streams—assets that need to be cultivated, measured, and maintained over time.

That redefinition is already influencing advertiser behavior. Jack Marshall, head of news at DoubleVerify, points to engagement data showing that trusted news environments outperform non-news content. For advertisers prioritizing attention and impact, proof and performance are increasingly intertwined.

Cross-platform adaptation reflects audience discovery

As search and social referrals become less reliable, publishers are rethinking how content travels and how value is captured beyond owned-and-operated environments.

John Nardone, CEO of JWX, says publishers are strengthening their ability to adapt content across platforms rather than rely on a destination-first model. With referral dependency declining, publishers can no longer wait for audiences to arrive. Instead, they need systems that allow high-integrity journalism to meet audiences in the formats each platform favors—whether vertical video, audio, or short-form social expressions—while still reinforcing the core brand.

That shift turns content operations into an adaptive engine. The goal is not simply wider distribution, but more relevant, context-aware presentation of journalism across platforms. This enables audiences to experience content in ways that feel native to where and how they are engaging.

From the demand side, Sean Dean, vice president of media owner development at Criteo, notes that clearer signals around context and engagement make it easier for adapted content to be understood, valued, and discovered as it moves across platforms.

And from an audience perspective, Naomi Owusu, CEO and co-founder of Tickaroo, emphasizes that relevance is built through formats that invite participation and transparency. When audiences feel content is timely, understandable, and connected to their needs, cross-platform presence reinforces trust and habitual return behavior rather than fragmenting it.

In 2026, brand presence across platforms is increasingly tied to audience loyalty and repeat engagement, not just reach.

Modern media infrastructure is about signal quality and orchestration

In 2026, modern media infrastructure is less about adding tools and more about connecting systems that have historically been siloed.

From the demand side, infrastructure quality shows up as signal quality. Dean at Criteo says accurate, complete bidstream and bid-response data allow buyers to understand context, pricing, and performance with greater clarity. When those fundamentals are in place, innovation and premium demand tend to follow.

In premium video and streaming environments, infrastructure also needs to support consistency and accountability across screens. Nicolas Mignot, vice president of publisher sales and strategy at FreeWheel, emphasizes that modern infrastructure increasingly connects ad exposure to business outcomes such as sales and conversions. As advertisers expect video to behave more like digital channels, infrastructure becomes a growth enabler rather than background plumbing.

From the content side, JWX’s Nardone describes modern infrastructure as an orchestration layer, which collapses the divide between the newsroom and the ad tech stack. When a single piece of content can be automatically optimized for reach, engagement, and yield across platforms, publishers are better positioned to monetize attention wherever it occurs.

Engagement becomes the key to unlock monetization

As reach fragments and acquisition costs rise, sustainable monetization in 2026 depends less on volume and more on depth of engagement. It’s also critical to understand how clearly that engagement translates into advertiser value.

Ginny Hunter, vice president of publisher client development at DoubleVerify, says one persistent inefficiency is treating performance, media quality, and revenue as separate conversations. Publishers that unify these signals can proactively package and price premium opportunities around advertiser-favored KPIs, shortening the path to investment and strengthening trust.

In video environments, engagement is also reshaping how inventory is valued. Nicolas Mignot, vice president of publisher sales and strategy at FreeWheel, notes that advertisers increasingly look beyond content metadata to signals such as attention and ad interaction. These indicators help distinguish passive viewing from moments when ads are more likely to resonate and perform.

This year, monetization strategies that treat engagement as a secondary outcome face growing pressure. Approaches that design for engagement as a core input to pricing, packaging, and measurement are proving more resilient.

Trust and inclusion support long-term audience value

In a market saturated with automated and commoditized content, differentiation increasingly hinges on whether publishers can deliver journalism that audiences perceive as credible, relevant, and trustworthy.

Tickaroo’s Owusu believes that inclusive, audience-first journalism is closely tied to trust. Audiences no longer grant publishers the benefit of the doubt; they want to see their communities and lived experiences reflected authentically in coverage. That requires more than hiring practices. It depends on editorial, technical, and product systems that allow a broader range of voices to shape storytelling.

Trust also depends on accountability beyond the newsroom. Marshall from DoubleVerify points to engagement data showing that trusted news environments consistently outperform other content categories, reinforcing that credibility is not just a values issue—it is measurable and meaningful for advertisers. When trust is supported by transparent signals and outcomes, it becomes a durable source of audience and revenue value.

Owusu emphasizes that transparency is of particular importance as publishers adopt new tools. In the context of AI, audiences want clarity about what is human-led, what is assisted, and where accountability sits. Trust, once lost, is difficult to regain. And in 2026, it is increasingly visible in retention, engagement, and willingness to pay.

AI becomes operational infrastructure, with limits

This year, AI has moved beyond the experimental phase for many publishers. As media companies increasingly work with AI, it has started to function as infrastructure, shaping how inventory is forecast, priced, packaged, and sold.

Unni Kurup, director of client consulting and strategy at Theorem, describes AI’s real impact as emerging in commercial and operational decision systems—forecasting demand, optimizing yield, planning inventory, and coordinating decisions across teams. In volatile markets, AI can be used to forecast demand more accurately and align decisions across sales, pricing, and operations, reducing costly missteps.

At the same time, leaders are clear that not every application is appropriate. Murphy from Alliance for Audited Media emphasizes that, as AI becomes more deeply embedded in media operations, strong governance is essential. Without transparency, human oversight, and clear data-privacy protections, AI can introduce bias and opacity in the push for efficiency.

In 2026, effective AI adoption is less about speed and more about judgment: applying automation where it sharpens decisions and operational clarity, and restraint where trust and accountability are at stake.

Looking ahead: partnerships, execution, and what matters now

As publishers navigate 2026, decision-making has become more deliberate. An environment defined by uncertainty has sharpened the consequences of choices about audiences, investments, and partnerships. That execution depends not just on internal capabilities, but on the partners publishers choose to work with and the standards those relationships reinforce.

From a business perspective, performance, flexibility, and transparency have become baseline expectations. Tina Pautz, chief business officer at Raptive, says publishers have less tolerance for partners who underdeliver or fail to evolve alongside changing business models. Sustainable growth depends on alignment, clarity around tradeoffs, and a shared focus on long-term outcomes rather than short-term gains.

Supply-chain integrity is also receiving greater scrutiny this year. Bill Wheaton, CEO and co-founder of Symitri, believes that complexity and opacity (particularly the spread The of MFA inventory) are diluting value for both publishers and advertisers. Direct connectivity, clearer supply paths, and reduced waste are increasingly part of how publishers demonstrate accountability and rebuild confidence in the digital marketplace.

Taken together, these perspectives point to a broader shift. Publishing partnerships and priorities in 2026 are less about maximizing scale at any cost and more about reducing uncertainty, protecting trust, and enabling consistent performance over time.

The publishers in the strongest position this year aren’t trying to do everything. There’s less appetite for new-for-new’s-sake, and more focus on capabilities that actually move the business forward. That means understanding and authenticating audiences, adapting content strategy to the new rules of discovery, improving signal quality, and tying monetization more directly to engagement.

The post Trends shaping publishing priorities in 2026 appeared first on Digital Content Next.

Five years ago, in the wake of the murder of George Floyd, many major businesses in the US announced their commitment to diversity, equity, and inclusion (DEI) policies. It was meant to be a period of reckoning with social inequality, one that would have a long-term impact on culture in general.

That was the case at many news outlets, whose coverage had been blinkered by a lack of minority representation. However, half a decade later, we have seen those initiatives stall–or even backslide.

Dr. Amy Ross Arguedas is a Postdoctoral Researcher Fellow at the Reuters Institute for the Study of Journalism, with a particular specialism in trust. She is co-author of the report ‘Race and leadership in the news media 2025: Evidence from five markets’. She describes the situation saying, that “where we saw some improvements during the past five or six years… we just see that things are pretty much back to where they were at the very beginning of all of this.”

Retreat on diversity

The Reuters Institute study found that “in the US, the percentage of top editors of colour also decreased – to 15%, compared with 29% last year”. While causality is difficult to establish, similar trends were also observed in the UK:  there are “fewer top editors of colour.” Precisely zero major outlets in the Institute’s sample had a minority editor.

Those trends have been exacerbated by a number of job losses across the industry that disproportionately impact minority journalists. For example, Vibe magazine, a rap and R&B-focused magazine originally co-founded by Quincy Jones, was acquired by Penske Media in October. In the immediate aftermath, many of its journalists were laid off, leading to a fundraiser organized by Vibe reporter Mya Abraham to help the eliminated staffers.

Abraham says: “I’m not sure there’s one or several ways to “ensure” that minorities aren’t disproportionately impacted by layoffs. Several of us have already worked twice as hard to gain half – or less than – a non-minority.

“It’s unfortunate that we’re often the first to be discarded when media companies restructure or fold completely. It would be great if job security was based on actual merit as opposed to someone just blindly making a decision without knowing your true value.”

Similarly, the National Association of Black Journalists (NABJ) called out the dismantling of minority-focused teams at NBC after a number of job cuts in October. At the time, Errin Haines, NABJ president, said: “the decision to eliminate these diversity teams goes beyond a line item on a budget, executed at a time when accurate and inclusive storytelling is needed most.”

Similarly, the National Association of Black Journalists (NABJ) has noted the preponderance of job losses among its members. Errin Haines, president of The National Association of Black Journalists, said: “When our industry catches a cold, journalists of color catch the flu, because newsroom cuts always disproportionately impact us. Diversity is too often the casualty of media consolidation, downsizing, or layoffs; we are frequently the last hired and first fired. This is not a new phenomenon, but what is new in this climate is political rhetoric that minimizes the value of diverse perspectives and representation across a range of institutions — including journalism.”

Revenue short-termism

Regardless of the motivations for the job cuts, the question is whether they will deliver any tangible benefit in the long run. As the saying goes, you can’t cut your way to growth.

That calculation becomes even more precarious when the potential audience upside of diverse coverage is considered. Many media organizations are now relying on reaching new audiences and media companies across the board must prepare for generational turnover. Some, including the LA Times, have launched sub-editions dedicated to reaching minority audiences, which are predicated on being able to speak to that community knowledgeably and authentically. Doing so requires representation in terms of journalists.

Jendella Benson is head of editorial for Black Ballad. She explains that “Audiences are not ‘locked in’ to heritage/mainstream media brands as they once were with so many options out there. They will go wherever they feel their values and concerns are reflected. Even in digital media, we are already seeing some of this happening with audience fragmentation. People are moving away from established media brands for various reasons, and moving towards more ‘niche’ or highly specific outlets that either share their interests or political perspectives.”

It’s a position backed up by the Reuters Institute’s research. Where there isn’t representation, there is a lack of an ability to spot the opportunities to speak to new communities. Dr. Arguedas explains: “As we note in the fact sheet there can be an argument made in terms of your ability to speak to certain kinds of audiences, to understand their needs.

As the report states, “Failing to address these disparities… can also potentially erode trust, particularly among marginalized and under-served groups that have for a very long time expressed their discontent and grievances around how their communities are portrayed in the news media.”

That is especially important given that a lack of trust in the news media is frequently cited as one of the main reasons for a lack of financial support for news, particularly among young audiences. Cutting back on diversity, then, leads to a less diverse audience profile in turn, stunting opportunities for audience growth.

Ethical and commercial synergy

A number of the biggest US-based publications declined to share their future DEI plans for this article. In the UK, where the political situation is perhaps less fraught, national publisher Reach plc cited a number of its ongoing initiatives, including its work with The Prince’s Trust to encourage young people from underrepresented backgrounds to get into journalism:

“Through that program we now have 8 young people in our newsrooms on training contracts who might have otherwise found it more difficult to break into the profession. This year we have renewed the program with a focus on regional newsrooms.”

Notably, much of the messaging around the DEI initiatives that do still exist, such as those at Reach plc, is predicated on the idea that it is the right thing to do. Increasing equity is the end in itself for some news organizations, rather than a path to profitability.

However, the two aims are not mutually exclusive. Benson says: “Media platforms who are offloading ‘the diversity’ within their newsrooms and editorial departments are essentially accelerating their decline in my opinion. They might be able to keep treading water for now, but when more of Generation Alpha start to age into media consumption, they will find an audience that will not have the inclination to engage with a brand that doesn’t match their expectations when it comes to basic representation.

“And as we know, advertisers go wherever the audience is.”

It would not be fair to single out the media industry for that backslide. Companies including Amazon, Disney, Google and Meta have abandoned DEI policies, which the Guardian attributes to pressure placed upon them by the Trump administration. It cites research from law firm Freeths, which found that 22% of respondents said profit motivations came into conflict with ethical and moral concerns at their organization “very regularly”. 32% said regularly, and 37% said sometimes.

The difference is that, for an industry that is predominantly based on audience trust, journalism cannot afford to become any less diverse. Abandoning DEI might be more palatable to the powerful right now, but in the long-term it risks making media outlets less appealing to the young and minority audiences that their future depends upon.

The post The hidden business risks of pulling back on media DEI appeared first on Digital Content Next.

For digital media leaders, these findings offer more than just a temperature check. They provide a strategic warning as well as a roadmap. Embedding diversity into newsroom culture and content is not an HR initiative; it’s a growth strategy. Publishers who embrace this reality will win audience trust, engagement, and establish long-term resilience. Those who don’t face a credibility gap that the next generation of journalists – and audiences – will not overlook.

The risks of DEI pullback

Political and commercial pressures are reframing DEI efforts as expendable. As budgets tighten, organizations scale back hiring programs, pause training schemes, and treat diversity as a “nice to have”. But in digital publishing, this pullback runs counter to key audience trends.

Younger audiences increasingly expect to see themselves represented in the news they consume and quickly disengage when they don’t. Representation has therefore become central to maintaining relevance, building loyalty, and sustaining long-term audience relationships.

In other words, deprioritizing diversity actively widens the gap between publishers and the people they hope to reach.

What the next generation sees

Our survey reveals a profession struggling to reconcile its democratic mission with its internal structures. While young journalists overwhelmingly believe in journalism’s public interest based purpose, their lived experience of entering the industry tells a different story: 74% want improved hiring practices and more inclusive editorial processes, and 72% cite lack of paid opportunities as a barrier to entry. Many describe newsrooms as “exclusive” or “closed to those without privilege.”

In their own words, respondents criticized “surface-level DEI efforts” that fail to impact coverage priorities or shift who gets to tell which stories. This isn’t abstract critique; it is a generation identifying structural weaknesses that directly affect publishers’ ability to innovate, build trust, and grow.

Diversity: Moral framing, or business imperative?

Digital media executives are already familiar with the pressures reshaping the industry: fragmented audiences, advertiser skepticism, rising misinformation, and platform volatility. Diversity is not separate from these challenges: it is one of the most effective levers for addressing them. Newsrooms that reflect a range of lived experiences consistently produce stronger, more accurate journalism because they are less likely to miss important angles or reinforce blind spots that audiences, particularly younger ones, spot instantly.

Diverse teams are more likely to challenge assumptions and create new storytelling approaches that resonate with wider audiences. Just as importantly, representation strengthens trust. When audiences recognize themselves and their communities in coverage, they are far more likely to engage, subscribe, and stay loyal. Without that connection, trust erodes, and with it the revenue models that rely on sustained audience relationships.

Lessons from those getting it right

Luckily, there is a new wave of publishers and organizations demonstrating how embedding representation into workflow, commissioning, and leadership supports audience growth and editorial excellence.

Community-first publishers such as The Mill (UK) and A Mensagem (Portugal) are thriving precisely because they reflect the identities, concerns, and rhythms of their communities. Their growth shows that audiences reward authenticity and representation with attention, trust, and subscriptions.

With a clear global DEI strategy, a dedicated head of editorial standards, and programmes like the New Voices media training initiative, Bloomberg’s structural approach to diversity means it invests not only in who gets hired but also in who gets heard. It is a reminder that inclusion is an editorial responsibility, not a box-ticking exercise.

Bodies such as JournoResources & We Are Black Journos are also building pathways for underrepresented journalists by offering training and support. Their work strengthens the pipeline and ensures that talented reporters lacking traditional access routes can enter (and stay) in the profession.

The commonality across these examples is simple: successful diversity is woven into an organization’s operating system, not pinned to its noticeboard.

What effective integration looks like

Achieving meaningful diversity requires structural integration, not one-off initiatives. It begins with widening access: transparent recruitment, paid early-career roles located beyond a single metropolitan hub, all help ensure that entry into journalism isn’t limited to those with financial privilege and proximity.

Editorial processes must also evolve. Commissioning that intentionally considers underrepresented voices, supported by broader source databases and community engagement, improves accuracy and relevance in ways that top-down planning alone cannot.

Cultural change is equally critical. Newsrooms need environments where a wide range of journalists can thrive, backed by mentorship, fair pay, and sustainable workloads. Diversity cannot be confined to junior levels; it must be present in the rooms where editorial decisions and organisational priorities are set.

Finally, integration must extend to skills and innovation. Our research shows that young journalists feel least prepared in AI, data, and digital competencies: the very skills shaping journalism’s future. Organizations that invest in training and inclusive product development not only broaden their talent pipeline but also accelerate their ability to innovate responsibly and remain competitive.

The commercial case: Diversity drives sustainability

Ultimately, digital publishers cannot afford to treat diversity as optional. The business case is clear:

• Represented audiences engage more.
• Representative storytelling strengthens loyalty and subscription revenue.
• Diverse teams improve organizational adaptability: crucial in volatile markets.
• Authenticity is becoming a competitive differentiator.

The next generation of journalists, the very people who will shape this industry for decades to come, understand diversity’s relevance instinctively. They are not calling for tokenism; they are calling for transformation.

Diversity is a strategic response to the most urgent challenges facing digital media: trust, innovation, and sustainability. The publishers who succeed in the next decade will be those who understand that representation is a growth driver and who build their organizations accordingly.

The post Diversity is an effective business strategy, not a slogan appeared first on Digital Content Next.

Young, connected, and culturally rooted 

Hispanic viewers are the youngest demographic in the U.S., with a median age of 31. Approximately 37% of Hispanic households have children under 18, fueling media habits that emphasize flexibility, mobility, and personalization. Multigenerational households foster dynamic viewing environments where cultural traditions influence media choices. 

Media curators in the attention economy 

Hispanic audiences engage with media deliberately. They curate their own experiences. Streaming services, social platforms, and podcasts are central, offering entertainment and connection on their terms. 

Streaming dominates, particularly among younger audiences who cut the cord in favor of on-demand programming. Yet linear television remains an anchor, especially Spanish-language content that resonates deeply with cultural identity. 

Variety shows and conversational formats remain highly popular. Nearly 20% of Hispanic broadcast viewing goes to variety programming, well above the national average. These formats maintain traditions of community and shared humor, from classics like Sábado Gigante to sketches influencing mainstream shows such as Saturday Night Live. 

Podcasts and radio continue to thrive, with radio reaching 93% of Hispanic listeners monthly, and podcast listeners are 62% more likely than average to act on ads. Low-clutter, trusted environments offer significant brand opportunities. 

Algorithm Influencers: taking control of digital spaces 

Representation matters. More than half of Hispanic consumers want to see themselves reflected in social media and advertising, especially Spanish-speaking audiences. In response, many become creators themselves, producing content that elevates voices and curates culturally relevant feeds. 

Hispanic audiences are digital trendsetters. They are 29% more likely to use AI tools like ChatGPT, 115% more likely to use video editing apps like CapCut. They are also 80% more likely to leverage platforms like Linktree to control their online presence. Social shopping is also strong, 51% frequently buy products they see on social media, and 35% say shoppable ads make purchasing easier. 

Nielsen’s 2025 report shows marketers chasing audiences on digital and streaming, but many are missing Hispanic viewers. In Q1 2025, online retailers spent $363M on English-language ads versus just $3.4M on Spanish-language, mostly on YouTube. This is a missed opportunity for marketers to engage with the Hispanic consumers. 

Soccer champions: passion that drives engagement 

Hispanic audiences are avid “fanáticos”, shaping U.S. soccer culture. They are 39% more likely than the general population to follow Major League Soccer, and 58% become fans through friends. The majority, 72%, are Gen Z or Millennials, driving a youthful, influential fan base. 

The 2026 FIFA World Cup, playing across North America, amplifies this impact. Already, 40% of U.S. Hispanic consumers identify as World Cup fans, particularly among first- and second-generation audiences. Cities like New York and Miami, with large Hispanic populations, are places of deep engagement. 

Soccer fandom is active, not passive. They are 21% more likely to stream sports and gravitate toward mobile-first content. On social media, they’re setting the pace, turning to TikTok for sports news at rates 38% higher than the average fan. Hispanic fans are also more likely to buy from sponsors and recommend sponsoring brands, making them a powerful force for growth in the sports economy.  

Learning from Hispanic audiences: culture as strategy

The message is clear. Culture is not an accessory; it is a strategy. Hispanic consumers are young, digitally savvy, and culturally connected. They curate media, influence algorithms, and champion cultural touchpoints that resonate far beyond their community. 

Media companies are already leaning in, building audience growth strategies that put Hispanic viewers at the center. They’re partnering with creators who reflect identity and values, and develop content that resonates with family, culture, and digital habits. For media companies, the payoff goes beyond capturing attention. It’s about shaping how Hispanic audiences tell their stories, connect through culture, and influence the broader media landscape. 

The post Hispanic consumers redefining media trends  appeared first on Digital Content Next.

Three years on, the Lionesses are set to defend their crown in Switzerland next month, and the appetite for women’s sport has never been greater. Whether you’re a broadcast, digital or print outlet, female athletes, the stories around them and the competitions they participate in provide the opportunity to attract new viewers. Revenue can take time to build, but the appetite is there. And, by failing to invest and get involved in the coverage now, there is the real risk of being left out of a crucial growth area that serves as a cost-effective way to get into showing live sports.

Expansion drive in women’s sports

On Tuesday, the Women’s Super League, the top female domestic league in England, announced that it is expanding from 12 to 14 teams for the 2026/2027 season. In the U.S., a peak of 2.8 million tuned in to watch Caitlin Clark return from injury on Saturday as she helped the Indiana Fever beat the New York Liberty. American tennis star Coco Gauff’s win over Roland Garros was watched by 1.4 million, a 94% increase over  the previous year.

Francois Goddard, an analyst at Enders Analysis, noted that women’s football received a bump from the 2022 tournament. It looks like the same thing could happen again at the end of this summer too. With this in mind, the moment for companies to strike is now, according to The Athletic’s women’s football writer Megan Feringa. “If anyone is looking at the summer and hasn’t already assembled at least a one-person team, but ideally, more than that, I think they’re going to get to mid-July and think, oh shoot, we are so late on this,” she told Digital Content Next.

There are lots of reasons why women’s sports provide such an exciting opportunity for media companies. To start, while there is some crossover, women’s sports tend to attract a different type of audience from men’s sports, which lends them a family-friendly reputation. “I think we do see that in general women’s sports competitions, fans over index for having children in their households,” says Danni Moore, Senior Analyst at Ampere’s Analysis. This means streamers and TV could bring in the wider family audiences to their service by investing in women’s sports. (And this also offers a fresh and appealing audience for advertisers.)

Rights heat up

Another sign that moving into women’s athletics now makes sense is that the cost of female sports rights is already starting to go up. “The WSL, I think the women’s Bundesliga and the Spanish Liga F, they’ve all gone up,” according to Moore. However, they are still low-cost relative to their male equivalents, which provides a great entry point for streamers looking to get into the live sports game. “Now it’s a good time to get in because they are cheaper,” she says, “but if the prices do go up in the future, [media companies would] be missing that opportunity.”

This all helps explain why Disney+ has become the home of Women’s Champions League soccer in Europe. It has taken the rights previously owned by Dazn for an unknown prize in a five-year deal. ESPN, Disney’s multiplatform sports brand, will produce all live matches for Disney+ with commentary offered in multiple languages, alongside pre- and post-game programming. The broadcasts are set to launch in October, with no additional subscription cost for viewers to access the games.

It’s a good move for Disney, according to Goddard, because the company “needs more content in Europe, more local content and more regular content.”

The pan-European tournament ticks all those boxes. It also allows a platform that has not shown live sport in a mass way before to dip its toe into the water without splashing out huge amounts of cash.

The excitement around women’s sports goes beyond soccer and basketball though. “What if we look at women’s hockey,” says Feringa. “What if we look at women’s softball, cricket, rugby? You’ve got Ilona Maher, who has sort of exploded the rugby scene,” she adds. “It seems inconceivable that people don’t want to jump into this space. It just feels like an obvious win”

Adland’s interest increases

Advertisers are increasingly interested in women’s sport too. In the age of subscriptions and streaming, live sports are still a popular placement for advertising. “This makes it even more attractive as an option for local, regular content,” says Goddard. As with the price of the rights, the cost of advertising against women’s sport is understood to be less than in men’s sports, providing marketers and brands with a way to make their money go further in the sports space.

Rihanna’s brand Fenty Beauty has signed a sponsorship deal with the New York Liberty, the first time it has moved into marketing withing sports and Feringa notes:

“The [National Women’s Soccer League] NWSL and the WNBA have done such a fantastic job in terms of sort of aligning themselves with brands, and vice versa, brands aligning themselves with different sports and different teams.”

With the WNBA continuing to dominate the headlines, the women’s Euro’s set to bring some of the best in the world together. And there’s so much more to come in this booming space. Thus, media companies of all kinds need to think about how they are going to show up for female athletics to capture engaged audiences and advertisers seeking family-friendly fare.

Already, we’re seeing a growing number of media brands introduce targeted coverage for women’s sports – including Associated Press, USA Today, Roku and CNBC. Audiences and advertisers are showing up in growing numbers. But there are still plenty of opportunities out there. For media companies still sitting on the sidelines, now’s the time to get into the women’s sports game or risk being left behind.

The post Women’s sports are hot. Media: don’t miss your shot appeared first on Digital Content Next.

The Hollywood Diversity Report, Part 1 highlights the undeniable link between diversity and financial success in Hollywood. In 2023, global box office revenue rose 31% to $33.9 billion, while the North American box office grew 21% to $9.07 billion. However, despite these gains, the domestic box office lags 21% behind the 2017-2019 average. The future of movie-going remains uncertain as the industry navigates the pressure of changing audience expectations and preferences, testing the industry’s resilience and capacity for innovation.

The theatrical dataset mirrors this trend. The 109 English-language films in the 2023 dataset represent a 22% increase from 2022 but fell short of the 146 films in the 2019 dataset. In 2023, theatricals span 12 primary genres. Action, constitutes 27.5% of releases, dominates, followed by comedy (20.2%), horror (12.8%), animation and biography (9.2% each), and drama (8.3%). While action and horror hold steady, comedy and biography have grown, animation dipped slightly, and drama declined. Biopics and dramedies emerge as notable subcategories.

Representation in casting

Cast diversity continues to evolve. Films with over 50% BIPOC (Black, Indigenous, People of Color) casts represent the plurality of top films for the first time in 2023, which marks a significant milestone in a 13-year trend. In 2011, 51.2% of films had less than 11% BIPOC representation; by 2023, this figure dropped to 8.5%. However, actors with disabilities remain largely absent, with 61.3% of films including no known disabled actors.

Actors with disabilities did experience modest gains, increasing their share of leads to 11.3%. However, visible disabilities remain absent among top leads. Women’s share of lead roles declined to 32.1% in 2023 from 38.6% in 2022, marking a significant setback. Female leads would need an 18% increase to achieve parity with male leads. Films with BIPOC leads often fall at opposite ends of the budget spectrum, either under $10 million or exceeding $100 million, reflecting a “feast or famine” dynamic.

Representation gaps persist across racial and ethnic groups. Latinx and multiracial actors remain underrepresented in all roles, while Black, Asian, Native, and Asian, Middle Eastern, and Northern African (MENA) actors are approaching proportionate representation. Gender disparities prevail; except for Latinas, women in every racial and ethnic group are underrepresented compared to their male counterparts.

Box office receipts

Despite continued disparities, box office performance reinforces the demand for diverse content. Films with 31-40% BIPOC casts achieve the highest median global box office receipts, while those with less than 11% perform the poorest. Median return on investment peaks for films with 41-50% BIPOC casts.

Audiences increasingly support diverse casts, with BIPOC moviegoers buying the most opening weekend tickets for seven of the top 10 films in 2023. Female audiences account for most ticket sales for three of the top 10 films, while 18- to 34-year-olds dominate ticket purchases for six of the top 10 films.

Audience preferences align with representation trends. Films with diverse casts achieve higher box office performance across global, domestic, and opening weekend metrics. Nine of the top 10 global box office films feature cast members with over 30% BIPOC representation, demonstrating the commercial success of diversity. The data underscores the importance of reflecting America’s increasingly diverse audience in theatrical releases.

Streaming genre trends and budget allocations

The 2024 Hollywood Diversity Report: Part 2 focuses on the top 100 English-language streaming films from 2023. It offers insights into genre trends, budget allocations, and representation among leads, directors, and writers. As outlined in Part 1, the theatrical film industry registers incremental recovery in 2023, but streaming remained dominant despite studios reducing original content production. This strategic pullback coincided with economic uncertainties and labor disputes, resulting in 115 streaming original releases compared to 161 in 2022.

Comedy led streaming releases at 30%, followed by drama (17%) and action (14%). Notable shifts included a rise in biography films (4% to 10%) and a decline in animated features (13% to 9%). Budget distribution starkly contrasted with theatrical films: 61.3% of streaming films had budgets under $20 million, compared to 30.3% of theatrical releases. Only 3.2% of streaming films had blockbuster budgets ($100 million or more), dwarfed by 25.7% for theatrical films.

Representation in leading roles

BIPOC and women actors achieved proportional representation among leads in streaming films in 2023, marking progress since 2022. However, disparities persisted within specific groups. Latinx (8%) and Asian (4%) leads remained underrepresented, while Black (16%) and Middle Eastern/North African (MENA) leads were overrepresented. Native (1%) and multiracial (12%) actors approached proportional representation. Gender dynamics varied by group: women outnumbered men among white, multiracial, and MENA leads, while men predominated among Black, Latinx, Asian, and Native leads.

Budget disparities also reflected systemic inequities. White male leads were most likely to star in films with budgets over $20 million (57.2%), while BIPOC leads (58.6%) and White female leads (77.5%) frequently headlined films under $20 million. Women with disabilities remained underrepresented despite an increase in lead roles from 6.1% in 2022 to 9% in 2023, with no visible disabilities represented.

Directors and writers

BIPOC and women directors saw gains but remained underrepresented in 2023. Women directors faced a budget ceiling of $50 million, while BIPOC directors maxed at $100 million, with significant opportunities skewed toward white men. Among writers, similar patterns emerged. Streaming films with BIPOC and women writers featured more diverse and balanced casts, yet these groups remained underrepresented. Multiracial and MENA writers neared proportional representation. However, shares for Black, Latinx, and Asian writers fell short.

These reports underscore the ongoing evolution of Hollywood’s streaming ecosystem. While strides in representation are evident, industry efforts still need to achieve inclusiveness across all facets of production. Examining theatrical and streaming releases as viewing habits evolve offers valuable insights into each platform’s unique challenges and opportunities. These distinctions help illuminate how representation impacts storytelling, audience reach, and industry success across a diverse and changing media landscape.

The post Diversity-driven success overlooked in film funding appeared first on Digital Content Next.

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.”

A new social video series – and partner

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.

“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?”

The post PBS Film Club launches, featuring a film community Fable appeared first on Digital Content Next.

He was asked about the macroeconomics of Hollywood, particularly how streaming has affected the subjective quality of content compared to decades ago. Damon explained how DVDs once generated huge revenue, allowing studios to take more creative risks because they could rely on profits from DVD sales after a film’s theatrical release. He shared an example from a studio executive who explained that making a movie would, in theory, cost $25 million, with another $25 million for print and advertising. Gross box office receipts are then split with theater owners, who typically keep about half. This structure means the film would need to earn around $100 million just to break even or beginning to even discuss profit.  

Safe bets versus experimentation and adaptability

This hit me close to home, even though I’m in a different industry. It made me think about how the news media industry has also undergone drastic changes due to technology, shifts in audience consumption habits, and declines in traditional revenue streams like print subscriptions and classified ads. Both industries now take fewer risks in unpredictable environments, arguably leading to a drop in content quality and diversity. While exceptional work is still produced, the shift toward safer, commercially viable content is evident. Yet the evolving landscape hints at a future that demands a more integrated and adaptive approach.  

Hollywood content creation, as Damon suggests, centers on box office hits that drive significant revenue in their theatrical run. In news media, revenue reliance is on digital ads, subscriptions, and paywalls.  

Damon’s discussion of the economics of film made me wonder: What’s the new “DVD-sales” for the news media industry? What will create sustainable revenue beyond conventional methods? As technology advances, I believe the solution is in building new models that effectively leverage current tech and audience trends to offer long-term financial stability. 

While traditional news content remains important, it’s clear that audience expectations constantly evolve. Technology unlocks new possibilities which organizations must experiment with to master. At the same time, communities and influencers are reshaping how audiences connect with news. To stay relevant, news media has to adapt to these changing consumption patterns and provide deeper engagement. It’s time for journalism to meet these evolving demands, focusing on the key areas that will define the future of news and become the industry’s new “DVD-sales.” 

Diverse and individualized identity in media 

As audience preferences evolve, identity and self-representation are becoming central to media consumption. People no longer want just content—they want content that reflects their values and creates a sense of belonging. Subscriptions, affiliations, and donations have become extensions of personal identity, allowing individuals to support causes, movements, or news platforms that align with who they are or aspire to be. This shift is empowering. It fosters deeper connections between the audience and the media. However, it requires representation and relatability.  

Audiences increasingly seek a voice in the content they engage with. Community-led journalism and immersive experiences meet this demand by offering behind-the-scenes access, deeper insights into investigative reporting, and platforms for expressing concerns and successes within communities. These media-driven town halls—both in-person and virtual—create spaces where passion and substance shape the conversation. Historically, community-led journalism has also empowered underserved groups. It gives them ownership of their stories, fosters empathy, and reinforces a sense of identity as individuals see themselves reflected in the content. 

Mission-driven partnerships 

As audiences seek media that reflects their authentic selves, corporations and philanthropic organizations are aligning with news outlets that share their values to forge impact-driven partnerships that open new revenue opportunities for news media. These partnerships—particularly with philanthropic foundations, renewable energy companies, and organizations focused on health and sustainability—fund journalism with shared societal goals. Rooted in corporate social responsibility, they empower journalism to deliver objective reporting while driving meaningful social change.  

 By supporting investigative journalism, documentaries, and projects that resonate with consumers’ values, these partnerships enhance engagement and create a sustainable, mission-driven funding model. And companies that invest in media that align with their core values forge deeper connections with consumers who see these efforts as an extension of their own identities. This trend could shift news revenue models from short-term advertising to long-term, scalable partnerships, offering a significant and exciting opportunity for the future of news media. 

Transformative role of technology 

While sticking with the tried-and-true tactics may seem like the safe bet, the industry will need to reinvigorate its spirit of innovation and risk to best connect with ever-evolving audience expectations.  Technology has empowered today’s audiences to be more authentic by providing quicker access to information and more immediate ways to explore their interests. Information access helps people understand themselves and the world around them with greater speed and depth.  

Newsrooms can harness this shift by embracing immersive reporting through interactive experiences like AR and VR, which allows individuals to step into different perspectives, fostering empathy and engagement. These immersive technologies, from placing reporters on the front lines to using interactive learning platforms, enable audiences to connect more deeply with content, helping them refine their views and consider how they want to contribute or enact change.  

The real breakthrough, however, is in AI’s role in driving personalized engagement. AI allows news organizations to deliver hyper-personalized content based on individual habits and preferences, a process once manual and time-consuming. With AI-enhanced data insights, organizations can understand their audiences at a granular level, offering timely, relevant, and highly customized content. This deeper connection with consumers anticipates their needs and creates impactful experiences, potentially transforming how news is consumed and delivered. 

The road ahead for media revenue

So where is this all leading, and how does this become the new “DVD-sales” for news media? The answer lies in a transformative, identity-driven, community and tech-powered ecosystem where audiences help shape the content. This approach will foster loyalty and create scalable, sustainable revenue beyond traditional ads and subscriptions. By leveraging the combined power of community and technology, news organizations can form partnerships with purpose-aligned entities, redefining how journalism is funded and experienced. 

I envision a digital platform where users actively participate, voting on story ideas or contributing content in an environment that tackles local and global issues. With AI and data-driven personalization, users can receive tailored content and news organizations can create high-demand immersive experiences like virtual town halls. 

 If you’re wondering how these ideas translate into reality, take a look at City Bureau in Chicago, which is already putting some of them to work. This journalism lab is reimagining local media by equipping communities to address information inequity. Their Documenters program trains and pays residents to cover local government meetings, boosting transparency and citizen involvement.  

This concept upholds journalistic integrity, ensures accuracy and drives meaningful community involvement. It integrates the community into the editorial process without compromising professional standards. The approach builds authentic connections and strengthens trust, which is crucial for attracting corporate sponsorships and philanthropic partnerships. No, it does not come in a handy book-sized package like the DVD. However, this is a model that puts the audience at the center to build a sustainable model through experimentation in how the news is made, delivered, and funded.  

The post Redefining media revenue: the search for new ‘DVD sales’ appeared first on Digital Content Next.

In the financial world, negative media coverage heightens perceived risk, which impacts investor sentiment and sovereign bond yields. The research findings indicate that news coverage of African elections focuses disproportionately on negative issues such as violence and election fraud when compared to non-African countries with similar risk profiles. For example, the term “violence” was found to be highly associated with Africa in media headlines – especially in election coverage – even when the content of the article didn’t warrant it. Western media also tends to perpetuate misunderstandings and oversimplifications, such as referring to Africa as a monolith, neglecting to convey the complexities of individual African countries and events.

Global Africa media bias revealed

The study included a comparison of news coverage from seven global media giants: Al Jazeera, the BBC, CNN, Bloomberg, Financial Time, Reuters, and The Economist, all of which are commonly used by foreign investors to keep abreast of international economic and political news. The material covering African countries was compared to that of non-African countries with similar risk profiles.

Negative sentiment in global media reports was found to be more prevalent in articles about African countries during elections when contrasted with comparable Asian countries during elections, even among countries with similar political risk scores.

• An astonishing 88% of content about Kenya and 69% about Nigeria demonstrated negative bias, compared with 48% of content on Malasia, which has a similar medium risk profile.
• Egypt’s coverage was more than twice as likely to be negative (66%) than Thailand’s (32%), even though both countries are classified as high-risk.

Overall negative bias was still present but reduced when a greater variety of media outlets were added to the equation, highlighting the importance of a diverse media landscape.

Election headlines and buzz words

Media headlines pertaining to African elections were often found to contain negative words, even when the text of the article didn’t align with the negativity of the headline, clearly demonstrating an Africa bias. The word “violence” or “violent” appeared much more often in headlines about Kenyan elections (5.8%), and Nigerian elections (4.4%) than in coverage of elections in Malaysia (.1%), Thailand (0%) and Denmark (0%).

The report found a significant increase in negative bias when covering elections in African countries, compared to elections in non-African countries with similar political risk profiles. For example:

• Use of the word “rigged”, or “rigging” appeared in 16% of the articles about Kenyan elections, but in 2% of those about Malaysia and 0% of those about Denmark.
• The word “corruption” or “corrupt” was found in 43% of the articles about South African elections and 28% of the articles covering Nigerian elections, compared with only 2% of those about Denmark’s elections and 20% about Thailand’s elections.

News around election periods was analyzed because that content is most likely to be covered by global media outlets.

The financial cost of media bias

Media representation impacts investor sentiment and perceptions of risk, influencing investment decisions and borrower interest rates.  Comparing differences in bond yields and media representation between countries with similar political risk profiles reveals the disadvantage that negative media slant confers upon African countries. For example, while both Egypt and Thailand are considered high-risk, Egypt’s bond yields tend to be around 15% compared with Thailand’s 2.5%. The difference translates into significantly higher repayment costs.

Bond yields were disproportionately high even for low-risk African countries compared to their non-African counterparts. For example, South Africa and Denmark both rank as low in political risk, yet South Africa’s average quarterly bond yields range between 8.3% and 8.5% while Denmark’s range from 0.5% to negative 0.2%. Report authors calculate that if the difference in negative media sentiment was adjusted, South African bond yields would decrease by 0.05 %, resulting in big savings on interest repayments for the country.

The media can improve it’s Africa coverage

The New Global Media Index for Africa, produced by Africa No Filter, The Africa Center, and University of Cape Town, investigated a thousand news articles from twenty leading global media outlets. The researchers found that many of shortcomings noted in the report can be mitigated by acting on the following goals:

• Broader Representation: Interview more diverse sources, including ordinary African citizens, women, and people from marginalized groups. Current coverage focuses on powerful men and elites.
• Geographic Scope: Encompass a wider range of African countries. Many organizations treat the African continent as a monolith, hindering understanding of individual countries and narratives.
• Topic Diversity: Provide greater balance by covering the arts, culture, innovation, technology, and positive development.
• Depth of coverage: Delve deeper into narratives to better inform audiences about Africa’s complexities.
• Critical Self-Examination: Regularly assess news practices and content to foster more accurate and nuanced coverage of African countries.

How to improve election coverage

Due to heightened news bias around elections, Africa No Filter released How to Write About an African Election: A Guide. The guide encourages media organizations to engage in more complex and nuanced coverage around elections by exploring unique angles, including stories of human interest and grassroots mobilization. Key take-aways:

• Move away from the old “war room” approach to election coverage, which relies too heavily on official announcements and pre-scheduled events. Instead, notice stories of civic activity, peaceful government transitions, and democratic advancements.
• Practice solutions journalism by highlighting positive initiatives, innovations, and successes.
• Engage with the youth. Africa has the youngest population in the world. 78% of new voter registrations in South Africa are people aged 16 to 29, according to the Independent Electoral Commission (IEC), debunking the idea that young people are disengaged from politics. The guide suggests amplifying the voices of young citizens, as well as engaging them with platforms and formats they prefer.

The takeaway

The good news is that coverage of African countries has improved over the past 20 years, according to The Cost of Media Stereotypes to Africa, trending towards more positive tone and content. However, global media still tend to emphasize articles about poverty, problematic leadership, disease, corruption, and conflicts when reporting on events in African countries.

Considering the new data, it’s critical for media leaders to raise awareness of the tendency toward negative bias when it comes to coverage of African countries. In addition to the impact on bond yields, it is likely that negative press also has an impact on African tourism, development funding, foreign direct investment, and other potential revenue.

The post It’s time to recognize and change the media’s costly Africa bias appeared first on Digital Content Next.

New research that looks at the preferences of advertising industry professionals finds that they prefer hybrid work over fully remote or fully on-site scenarios. This stated preference spans demographics, tenure levels, and company size.

However, more would prefer to work completely from outside the office than are currently doing so, and there is a greater gap between current and preferred work scenarios among mid-career professionals, employees of local/regional media agencies, and those who identify as Black, Latino, and/or LGBTQ+. These preferences are revealed in the Myers Report 2024 Survey of Advertising Industry Professionals, based on a recent survey of 3,462 advertising professionals. The gap between current and preferred work scenarios offers insight to media leaders interested in attracting and retaining diverse talent.

Currently, most advertising professionals are engaged in hybrid work:

• 74% work in hybrid situations.
• 25% work entirely remotely.
• 1% of survey respondents work fully on-site.

Of the 25% who work fully remotely, a third are older professionals, 55 and up, whereas only one fifth of younger employees18 to 34 do. More than a third of all employees surveyed would prefer fully remote work.

• 64% prefer hybrid work.
• 34% prefer fully remote work.

The survey found small companies with 1-99 employees more likely to offer fully remote work as an option. Currently, 31% of those employed by small companies work entirely from outside the office, compared with just over 20% of employees at companies with 100-999 employees, and about 24% of those at companies with 20K+ employees. The discrepancy between employees who would prefer to work remotely and those currently doing so was lowest among the smallest companies.

Mind the gap!

Currently only 20% of Black advertising professionals work fully remotely. However, almost twice that amount (39%) would prefer to do so. There are also more Latino (37%) and LGBTQ+ (35%) employees who would prefer to work fully remotely as an ideal scenario. These findings are relevant to leaders responsible for DEI and HR, both as indicative of the need to cultivate more inclusive and supportive work environments, and as keys towards developing and maintaining a diverse workforce.

Mid-career professionals with 8-14 years in the industry are also more likely to prefer fully remote work (39%) than new employees or those with over 15 years of experience. Under 30% of employees with two or less years of experience prefer remote work, suggesting that early career professionals may look to on-site collaboration and interaction to improve their career trajectory, while more established professionals are seeking work-life balance. 

Another significant gap appears among employees of local/regional media agencies, where fewer than 20% work fully remotely but over 40% would like to do so. This is an area for improvement when it comes to maximizing employee satisfaction and reducing turnover. In contrast, the alignment between actual and ideal work scenarios among advertisers and brand marketers is more even, with about 30% currently working remotely and about 35% stating that preference.

While there is a slightly higher preference for fully remote work among those aged 55 and up (37%), it is not dramatically different from the preference among the youngest group surveyed, people 18 to 34 (33%). Thus, the gap based on career experience is more significant than that based solely on age.

Set up for success

Based on the survey data, the report authors recommend investing in remote work infrastructure to strengthen workplace culture and improve worker engagement and effectiveness.

• Bolster communication tools and collaboration platforms.
• Facilitate team building activities.
• Train managers on leading remote teams.
• Draft clear remote work policy.

The report also recommends implementing more flexible work options. Although most advertising professionals of all demographics value the flexibility of working outside the office combined with the benefits of in-person collaboration, awareness of gaps in satisfaction levels can help employers stay competitive by maximizing healthy work environments. Recommendations include:

• Conduct periodic surveys to assess staff satisfaction with current working arrangements.
• Enable more remote and hybrid work options based on employee preferences.
• Consider expanding remote work options for mid-career professionals to retain experienced talent.

Although there are more similarities than differences among worker preferences, even minor discrepancies can point to areas for improvement and help industry leaders maximize staff fulfillment and effectiveness.

The post Gaps in employee satisfaction with remote work options appeared first on Digital Content Next.