Social platforms are the gateway to news for Gen Z

The research confirms that social and distributed environments dominate how young people encounter news. TikTok, Instagram, and YouTube now play a larger role than Facebook in news discovery. Only 14% of those aged 18–24 go directly to news sites, while 40% mainly access news through social media.

The implication is not simply about presence on these platforms, but about behavior within them. News organizations need to treat social platforms as a primary point of contact, which requires content designed for how those platforms function. That includes format, pacing, tone, and the expectation that users are encountering news alongside other types of content.

For young audiences, social platforms unavoidable points of entry. However, strategies that rely solely on driving traffic back to owned properties are less effective in engaging these audiences. The challenge is to use platforms to deliver great experiences independently, while creating clear pathways to direct engagement and monetization.

Format expansion requires deliberate choices

Young audiences are increasingly watching and listening to news, but this does not replace reading. Among those aged 18–24, 42% prefer to read news online, compared with 32% who prefer watching and 16% who prefer listening.

For publishers, this requires maintaining strong written coverage while also expanding into audiovisual formats. Short-form video, vertical formats, and platform-native storytelling are becoming standard expectations. These formats need to be developed as core editorial products rather than adaptations of existing content.

The report also points to the importance of presentation. Conversational tone, clear structure, and visual storytelling all contribute to whether content holds attention in competitive feeds.

Relevance and clarity drive news engagement for Gen Z

Many young people describe news as depressing, irrelevant, or difficult to follow. These perceptions contribute to avoidance, even though overall levels of news avoidance are similar across age groups.

This creates a clear editorial challenge. Coverage needs to be easier to navigate and more directly connected to everyday concerns. Approaches such as explainers, contextual framing, and “what it means” formats help reduce complexity. Including a mix of positive and negative stories can also address the perception that news is overwhelmingly negative.

Content priorities may also need to broaden. Younger audiences show greater interest in entertainment, wellness, science and technology, and practical information. Expanding coverage in these areas can increase relevance without displacing core reporting.

Personality-led content shapes connection

Reuters’ report highlights a shift toward personality-led content. Younger audiences often respond more strongly to individual voices than to institutional brands.

For publishers, this points to the need to invest in journalists as visible, distinct voices. Encouraging reporters to build followings, developing in-house creators, and collaborating with external creators can extend reach and deepen engagement. The emphasis is on credibility expressed through voice and perspective, not just brand identity.

Representation and trust require attention

Trust gaps between younger and older audiences are relatively small, and perceptions of fairness in news coverage are broadly similar. At the same time, younger people are more likely to feel underrepresented or treated less fairly, with this sentiment particularly strong among young women.

Addressing this requires changes in both staffing and engagement. Hiring more diverse journalists, creating youth advisory structures, and incorporating audience feedback into coverage can help close the gap between perception and intent.

AI is already part of the news experience

Young audiences are experimenting with artificial intelligence as a way to understand the news. Many are open to its use in journalism, particularly when it helps explain complex topics.

This creates an opportunity for publishers to develop AI-supported tools that improve information accessibility. Potential applications include personalized explainers, chat-based navigation, and features that break down complicated stories into more manageable parts.

Business models need flexibility

Lower brand loyalty and lower willingness to pay among Gen Z require a broader approach to revenue. Micro-subscriptions tied to specific interests, membership models built around community, and revenue from events or creator partnerships are all areas to explore.

The report also suggests that value may be tied less to access and more to participation and connection. This has implications for how products are structured and how audiences are engaged over time. Media companies must convert distributed attention into direct relationships, relevance, and sustainable revenue.

Younger audiences are not disengaged from news. They are engaging on terms shaped by the platforms, formats, and expectations that define their daily media use. For publishers, the challenge is to translate that engagement into something durable: relevance, trust, and direct relationships that extend beyond platform environments. Those that succeed will be better positioned to sustain both audience and business over time.

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Paramount Skydance plans to acquire Warner Bros. Discovery and align HBO Max with Paramount+. Executives there also plan to fold BET+ into Paramount+ this year to scale reach and streamline offerings. 

Meanwhile, Disney is deepening its Hulu integration by bringing its content into the Disney+ app. The company has signaled a move toward a single viewing destination with distinct brand hubs for Disney+, Hulu, and ESPN. 

Across the industry, streamers are scaling up ad-supported tiers and lean harder into live sports as they compete for audience attention and ad dollars. Yet, even as services pour billions into original programming, viewers struggle to explain what truly differentiates one streaming brand from another. 

That gap between investment and perception sets the stage for new research from Hub Entertainment. Its study, Evolution of Video Branding, examines how TV and streaming brands shape viewer decision-making in an increasingly crowded marketplace. The findings show strong brand recognition but weak brand clarity. Roughly two-thirds of viewers say they feel confident explaining how a streamer differs from competitors. That figure shows no improvement from last year, suggesting that confidence outpaces actual clarity. 

Exclusive originals no longer drive streaming differentiation 

Many services attempt to stand out through exclusive original programming, but that strategy no longer delivers the impact it once did. Original series now appear across nearly every major platform, turning exclusivity into an expectation rather than a true differentiator. 

Hub’s research highlights the limits of that approach. Viewers still cite exclusive originals as a key differentiator for leading services. However, they struggle to identify meaningful differences in value, usability, or content focus. As a result, scripted content feels increasingly interchangeable across platforms, making it harder for viewers to associate any one service with a distinct genre or identity. 

Viewers cannot remember where to watch programming 

Confusion also extends to where shows live. In a crowded streaming environment, viewers frequently forget which platform carries which title. Less than half of viewers correctly identify where to watch signature series such as Landman on Paramount+, The Pitt on HBO Max, or High Potential on Hulu within Disney+. Awareness drops even further for newer buzz-driven titles. Barely one in 10 viewers correctly identifies HBO Max as the home of Heated Rivalry. 

That confusion carries real consequences. If viewers cannot remember where a show lives, that show fails to reinforce the brand behind it. Original programming loses power as a brand signal when it does not anchor clearly to a service in viewers’ minds. 

For streamers, sports still breaks through the noise 

Sports programming shows a greater ability to cut through the interchangeable scripted landscape in Hub’s research. Peacock’s February coverage of the Super Bowl and Winter Olympics drives stronger differentiation around sports. It underscores that live, culturally significant events can deliver clear brand signals. 

YouTube moves closer to a TV identity 

While traditional streamers wrestle with differentiation, YouTube continues to move deeper into the television conversation. Long viewed primarily as a social and creator driven platform, YouTube increasingly functions like a TV network in the eyes of many viewers. 

Hub’s research shows a near split between viewers who see YouTube as a creator platform and those who see it as a TV or streaming service. Younger audiences lead that shift. Thirty-two percent of viewers under the age of 35 consider YouTube more of a TV or streaming service, compared with 24% of viewers age 35 and older. The growth of long form content and living room viewing pushes YouTube further into traditional television territory. 

As consolidation accelerates and platforms bundle more content under fewer destinations, scale alone does not solve the branding problem facing streamers. Hub’s research shows that brand clarity comes less from the volume of originals and more from the consistency of what a service represents to viewers. Services that send clear signals around value, quality, genre focus, or viewing experience stand out more, even as individual programs blur together in viewers’ minds. 

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HUB Entertainment Research’s new report finds that viewers no longer treat social video as separate from television. They integrate it directly into their TV experience, with social and creator video increasingly becoming part of the living room screen. Among viewers ages 13 to 24, 54% say watching short clips on TV feels just as fun as watching longer shows or movies. Among those aged 25 to 34, that number rises to 63%. Even 39% of viewers aged 35 and older agree. In practice, the distinction between television and social video holds less meaning for many audiences. 

HUB’s findings align with DCN’s research, Decoding Video Content Engagement: Gen Z & Gen Y in Focus. Short form and social video are no longer peripheral channels. They function as core components of the media ecosystem and drive engagement, discovery, and loyalty. A video strategy that overlooks these platforms ignores how audiences actually consume content. 

Viewers treat YouTube as television 

YouTube plays a major role in how audiences watch video on television screens. Viewers increasingly treat YouTube as television rather than a separate category. When content appears on the TV screen, it feels intentional and immersive. It gains focus and legitimacy. It no longer feels disposable, even when the content runs only a few minutes. 

According to HUB, self-reported time spent watching social and creator videos remain steady since 2022. During the same period, time spent watching TV shows and movies declines by roughly two hours per week. This pattern shows how attention fragments across formats and moments. Social video fills time that once defaulted to linear viewing because it fits more easily into daily routines. 

Younger viewers feel conflicted but committed 

More than half of younger viewers say they spend too much time watching social video. At the same time, they describe it as easy, fun, and culturally relevant. That contradiction defines how many young audiences relate to media today. They recognize habit driven behavior but continue to value what social video delivers. Personality, authenticity, and immediacy keep social content appealing. These traits matter more than polish or production scale. 

Viewers who are 35 and older spend fewer hours watching social videos than younger groups. However, their usage grows faster than any other age segment. Social video no longer belongs only to youth culture. It increasingly attracts mainstream audiences, especially when viewed on television screens. For media companies, this broadens the opportunity to reach older viewers through creator driven formats. 

Creators shape discovery across platforms 

HUB finds that official trailers on social platforms influence nearly half of viewers when choosing new shows or movies. Short clips, recaps, and behind the scenes videos also play an important role in discovery. 

Discovery no longer starts with network promos or streaming homepages. It begins in feeds where audiences already spend time. Creators and algorithms play a central role in shaping audience attention. Viewers increasingly rely on feeds rather than schedules or homepages. They rarely start with the question of where to watch. Algorithms surface clips based on past behavior, social signals, and cultural momentum. What appears next often determines what they watch at all. 

Creators act as filters in this environment. Their reactions, edits, and commentary help audiences decide what content deserves time. A clip from a trusted creator often carries more weight than a traditional promotion.  

Social and creator video no longer sit outside the TV ecosystem. They influence how audiences spend time, discover content, and define value. Ignoring them means misunderstanding modern viewing behavior.  

Media companies are responding by partnering with creators, licensing social formats, and experimenting with distribution. These strategies reflect audience reality, not trend chasing. Winning attention means meeting audiences on the screens and platforms where they spend their time. 

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While the Life in Media Survey does find negative correlations between certain online activities and their emotional health, it also makes some surprising discoveries. For example, contrary to the idea that smartphones lead to isolation, they find that smartphone owners tend to spend more time with friends in person than those without phones. However, for ethical media companies – who care about the audiences they serve – it is important to consider how best to optimize digital experiences to support young teens’ wellbeing.

The Life in Media Survey, a collaboration between the University of South Florida and The Harris Poll, explores digital media use and well-being among those aged 11-13. Although numerous researchers, educators, parents, and policymakers have advocated for reducing digital media usage among children, the USF study shows an increasing level of connectivity. A significant 78% of all participants possess their own smartphone, with 72% of 11-year-olds included in this group; additionally, 56% have their own tablet. 

Kids estimated that they spend an average of 4.4 hours on their smartphone and/or tablet on schooldays, 6.3 hours on non-schooldays. And for some of these kids, smartphones are disruptive given that 20% of kids reported that push notifications on their smartphones and other devices are always on. 

Social media, gaming and cyberbullying  

The study also shows that children who game daily or frequently use social media spend more time connecting online with friends. However, these connections can have negative effects. For example, cyberbullied kids spend more time online, potentially exposing them to harmful environments, which can exacerbate emotional distress. Balancing the benefits of technology with its risks remains a central challenge in shaping healthy digital environments for the next generation.  

The survey uncovers a link between cyberbullying and engagement with social media influencers. Cyberbullied kids are more likely to interact with influencers—whether by sending money, messaging them, or purchasing endorsed products. This interaction suggests that some bullied children may turn to influencers for emotional support or validation, using them as an escape from online bullying in other spaces. 

What kids think of technology’s impact 

While there are concerns about technology’s impact on children, many kids still express enjoyment in using digital devices, particularly social media. Around 74% of kids enjoy social media, whether they experience bullying online or not. However, the emotional impact of technology is more complicated. Cyberbullied kids are more likely to feel that technology interferes with their daily lives. This highlights the need for platforms to ensure a safer online environment for young audiences. 

One in three kids agreed with the statement “Social media causes more harm than good,” and about the same proportion disagreed with that statement (34% and 33%, respectively). Three in 10 kids (29%) say that they believe that A.I. causes more harm than good, and respondents were slightly more likely to agree with the statement if they’d previously used A.I. tools (32% vs. 28%). 

What young audiences are doing online

Streaming platforms are also a significant part of children’s media consumption. Three out of four children use Netflix and Disney+ (77% and 73%, respectively), while half or more use Amazon Prime Video, Hulu, and Spotify (68%, 56%, and 52%, respectively).  

When asked to list their most-used platform, more respondents selected YouTube than any other program, followed closely by TikTok (17% and 15%, respectively). Entertainment tops the favorite genres of online videos, with gaming listed by 35% of respondents, followed by music and comedy (29% and 23%, respectively, based on selecting up to two favorite genres). 

The research findings show that users spend almost four hours a day on their most-used app. Those who favor Netflix report using the app for an average of 4.0 hours a day, which is slightly higher than the average 3.6 hours reported by those who prefer YouTube, Roblox, and Instagram. The slight bump might be due to the longer-form content on Netflix. TikTok use averaged slightly lower, at 3.2 hours a day. 

The “more-and-more” phenomenon 

The data here points to a “more-and-more” trend, where kids who engage in one type of media activity, such as gaming or social media, are more likely to binge on another media activity. This phenomenon underscores the need to create content that spans multiple platforms. By doing so, they can capture and hold the attention of young audiences more effectively. 

The Life in Media Survey provides valuable insights into how digital media shapes young adolescents’ lives. While technology fosters connection and entertainment, it also brings risks related to cyberbullying, excessive screen time, and emotional well-being. For the media industry, this means developing content that engages young viewers and supports their mental health. By prioritizing positive and age-appropriate media experiences, the industry can help mitigate these risks while embracing digital media opportunities. 

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Our study revealed that 71% of Gen Z consumers turn to social platforms and YouTube as their primary discovery hubs. This deeply impacts their entertainment choices across TV shows, sports, podcasts, and more.

At a time when capturing attention and loyalty is more complex than ever, Mary Ann and I designed this study hoping to understand Gen Z better ourselves and to provide a roadmap for brands, creators, and advertisers looking to connect with this influential demographic. We surveyed 2,000 U.S.-based Gen Z respondents (ages 16-27) in a study conducted by Toluna in December 2024 and January 2025, with key input from QuickPlay and Swerve Sports executives.

Key takeaways from Gen Z Culture Decoded

• Social media dominates: At least 74% of Gen Z consumers engage with social media at any time of day.
• Hyper-connectivity defines behavior: On average, Gen Z participates in seven different digital activities daily, with the number rising to eight in the early evening.
• Viewing habits shift throughout the day:
  • Video consumption increases steadily, peaking in the evening.
  • Sports and gaming peak in the evening.
  • Music, audiobooks, and podcasts see higher engagement in the afternoon and evening.
  • Radio and news updates are most popular in the morning.
• Comedy is king: Across entertainment platforms, comedy emerges as the #1 genre, influencing both content creation and advertising.
• Short-form and vertical video formats are ascendant: 
  • 81% of Gen Z video viewers said they watch videos in vertical format weekly.
  • 79% of Gen Z users indicated that a “shorts” feature would increase their engagement with a streaming service.

What this means for the future of digital engagement

We found that, for marketers, advertisers, and media strategists, winning Gen Z’s attention requires a multi-platform, video-driven, and socially integrated approach.

Our research points to opportunities for media companies to engage audiences on their own platforms with formats adapted from social platform norms, such as vertical video and short-form video with text on screen. The platforms of these media companies – from Hulu to Peacock to Netflix – currently primarily focus on long-form and horizontal video. 

Our partners weigh in

Gen Z Culture Decoded aimed to provide a roadmap for connection and relevance. We and our research partners knew that Gen Z habits and preferences would differ from older generations. It is clear that breaking through to this savvy and surprising generation will require unprecedented levels of agility and investment in new skills and tools. 

Halford said the research shows a clear pathway for streamers to reclaim engagement lost to social platforms: “While social media and YouTube are the starting points for Gen Z content discovery, their consumption patterns are complex and sometimes surprising. The demand for integrated short-form content experiences is undeniable.”

Quickplay Co-Founder and CBO Paul Pastor said it confirmed what he has seen among the Gen Z demographic: “Gen Z demands short-form, engaging content across all platforms, and it’s where and how they discover new content. They are a hyper-connected generation that expects content to be readily available, personalized, and easily digestible.”

Understanding how Gen Z’s attitudes and behaviours differ from other generations is essential, said Jasen Holness, EVP Commercial Strategy, Toluna. “This research provides a practical blueprint.”

A deep dive into Gen Z’s digital universe

Gen Z Culture Decoded covered over 60 key questions, exploring topics such as: content discovery, YouTube consumption trends, news consumption, advertising preferences and more. We explored how Gen Z is reshaping media engagement and connection by examining cultural interests, habits, and preferences, looking for deeper understanding of what meaningful interactions look like. 

We all know that Gen Z has a digital first mindset. However, they consume content differently than other digital first audience groups, and it is critical to understand how these different consumption habits impact brand perception, trust and loyalty. With the insights from this study, we hope to enable media leaders, brands and advertisers to better find Gen Z and to satisfy their expectations now and as they grow into adulthood.

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

Standing out from the video crowd

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

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

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

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

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

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

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

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

Specialist shows optimized for video length

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

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

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

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

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

Keeping control of your work

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

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

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

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

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

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

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The belief that younger audiences will engage – and even pay – for media products drove the foundation of Youthquake.  Danuta Breguła, MD for Paid Products at Ringier Axel Springer Polska and Liesbeth Nizet, Head of Future Audiences Monetization at Mediahuis nv are the people behind the Substack publication that focuses on how publishers can connect with young people. 

Crucially, it’s no longer the case that young people will simply “grow into” paying for news as they get older and have more disposable income. Nizet explained that this is a change that she’s seen over the 15 years she’s worked in journalism. “News is not a destination any more,” she observed. “[Young people] consume news between all the other cool things. That’s why platforms are really interesting for them, because they give you news, but also all the other stuff.”

Although the push to go directly to a news app or site may be lower, Nizet believes that younger audiences can be persuaded to pay for news. That belief drives her work every day at Mediahuis.

“You see that young people want to pay for a new skin in Fortnite, or something on Roblox, or a nice feature on Airbnb for example, because it inspires them, or triggers them,” she explained. “Why aren’t we able to find what triggers them [to pay] for something as important as independent journalism?” 

Thinking beyond the article

One issue Nizet highlighted is that many news organizations still think in text and image. Even video on news sites is usually landscape with a clumsy play experience. “It’s not the experience that they have on other platforms, and there is really some space for us,” she emphasized.

Short-form video — in portrait for mobile viewing – is the preferred consumption format for 61% of Gen Z and young millennial consumers surveyed by the Reuters Institute. Short-form text was the next most popular (40%), with long-form text ranking third in young audiences’ preferences (32%).

One example is looking at explainer videos which perform well for creators and influencers. News brands are ideally placed to do well from these, but Nizet said that this requires journalists showing their faces. To engage young news audiences, “we need to show our vulnerability,” she outlined. “We need to show how much effort it is to create a really good article, that it’s not just some piece of content like an influencer unboxing something.”

Nizet pointed to Danish news publisher Zetland as an example of offering alternative formats. Zetland identified that many of its readers wanted to get an update on their commute, and didn’t necessarily want to be looking into their screens. They invested in building an audio app with journalists reading out their stories. Now, 80% of their audience consume the news that way, and 45% of their subscribers are in their 20s and 30s.

Building trust off-platform

As well as innovating around publishers’ own platform experiences, there is value in investing in a presence wherever younger people are, in order to build those relationships. French daily newsbrand Le Monde told Press Gazette that investing in content for primarily Snapchat, TikTok and YouTube had helped initiate relationships with new audiences, who they then saw become paying subscribers after two or three years.

Nizet noted that although the end goal of being visible on social media should be to tease audiences back to publishers’ own work, there is a bigger role at play. “We can show them [on social] what our journalism looks like, how trustworthy it is, how we show different perspectives, and how we make content that is relatable to their world,” she said. “That is what will make them pay for it.”

“They don’t want to pay for some instance that is preaching to them how they need to live their lives. That is often what we still have in traditional media: we are going to tell you how the world is, and how you should think. It worked for other generations, but it doesn’t work for [young people].”

Although younger audiences are more likely to turn to social media for news, they are also very distrustful of the information they find on it. A Gen Z Report from Oliver Wyman Forum & TNM found that Gen Z are almost twice as likely to fact-check news, but also that they trust people like them 2x as much as “mainstream” news outlets.

With that in mind, publishers should be mindful to have journalists in the newsroom which reflect the audiences they want to attract, and make them visible. At Mediahuis, they have invested in a team of Gen Z editors to help challenge and change mindsets, as well as encourage relationship-building with those audiences.

A two-way relationship

Another opportunity social platforms present publishers is the ability to engage and interact with young news audiences. This isn’t a new phenomenon, of course. Nizet noted that older generations also comment and read what others are saying with as much interest as the original content. 

“We are not just senders, but we act like senders,” Nizet explained. “We see platforms as traffic drivers. But a platform can do so much more than just traffic building. It’s about building trust and engagement, and letting people get to know your journalism.”

Crucially, this requires a re-adjustment of who publishers assess as their competitors. “We’re not competing against [traditional] media any more,” Nizet pointed out. “We are competing against cat movies, and influencer drama… that is the real competition.”

There is a balance to be struck between investing in building audiences on platforms publishers have little control over, and showcasing work to build trust. Nizet draws a clear distinction in her work at Mediahuis. Off-platform is the hook, where the question should be how journalism can be showcased and trust can be build. On-platform is about the reward, the value, the exclusivity and the community.

Looking outside publishing for inspiration

However successful individual publishers might be at attracting younger audiences, Nizet believes that real change will come from looking outside the industry at what works in other areas. This is the focus of her and Breguła’s Youthquake newsletter, and a report on How publishers can grow with today’s youth.

“We really want to go beyond the obvious things. So for example how Taylor Swift or Red Bull can help us understand and monetize younger people,” Nizet said. “There’s also a link between content creators, influencers and news brands…which could offer you a totally different perspective as a journalist than what you are used to, and it can be so enriching.”

It’s a sentiment that Zetland CEO Tav Klitgaard echoed to The Publisher Podcast this week. “The product has to be much better,” he said, referring to news sites and apps. “You have to compete with Spotify and Instagram. You shouldn’t compete with a legacy print paper, and it seems like a lot of people in the media industry are still believing that’s [who] you need to compete with, which is just totally wrong. You need to compete with YouTube.”

A shift in thinking to engage young news audiences

Nizet is optimistic that publishers can build a relationship with younger audiences, even a paying one. She pointed out that there will always be a need for news, and that there is a lot of opportunity for those who can think outside the box.

Crucially, the answer to these challenges won’t come from the way publishers are used to doing things right now. “We need to shift how we think,” Nizet emphasized. “We don’t control the internet… but we can see how we can adapt to it in formats that [young people] like, and stories that they like and feel relatable. 

“At some point, they will pay for it. I don’t mean when they are 30 or 35, I mean at the moment that they are feeling the value that we can offer them.”

Building a relationship where that value becomes evident to Gen Z is not a quick task. Strategies put in place now will take years to pay off, as with the example of Le Monde on social media. But it is a vital job that news publishers need to actively be planning for, if they want young audiences to pay for news in the future.

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It’s clear that the news industry has already made strides in adapting to this ever-changing landscape, but what remains unknown is how it will be able to continue catering to social media-focused Generation Z. The traditional news industry as it was once known no longer exists and shifts in consumer behavior continue to accelerate. Thus, news organizations’ future success is rooted in their ability to reach younger generations.

The high cost of news

In the past, the news could more readily gain viewers and readers because of lower costs. In the 1830s, for example, the penny press enabled newspapers to cost one cent, making them accessible to everyone.

Yet, as time has passed, print newspapers have become incredibly expensive, which is a substantial barrier to modern-day news consumption. In 2019, a seven-day print subscription to The New York Times added up to more than $1,000 per year in parts of the U.S., a Boston Globe subscription cost about $750, and a Washington Post subscription cost about $650.

Trust factors

Another barrier the news industry has faced when trying to connect with young audiences is a lack of trust. Although the news is more regulated now, the number of Americans with a “great deal” of trust in mass media tanked from 72% in 1976 to 31% in 2024, as shown in the below graph. This is compounded by the growing reality that audiences trust inflencers more than media brands.

These staggering numbers are not to say that a handful of major news organizations haven’t done well financially over the last few years, though. Both Fox and The New York Times, for example, have seen steady increases in revenue.

Although major news companies have implemented several measures aimed at younger generations and experienced modest audience growth, the lack of engagement remains a significant concern. That’s because more and more young adults are turning to influencers for their news. In fact, nearly 40% of American adults under the age of 30 say they regularly get their news from social media platforms.

Strategies for engaging young audiences

To appeal to Generation Z, news organizations must shift their current tactics to align with the interests of younger audiences. That means changing how and where they are disseminating information and finding new ways to be engaging, whether it’s through social media, podcasts, or influencers. Gen Z’s changing of the news landscape also sends a critical message to media organizations, which is that adapting is the only way to stay relevant.

Work with news sources they already trust

To attract and engage younger audiences, it is crucial that news outlets actively work with young voices, such as influencers and podcasters. Given that 61% of Generation Z and millennials trust content creators, as shown in a survey by business intelligence firm Morning Consult, their voices are critical.

Having popular social media personalities who make news-related content interview journalists

could extend these influencers’ trust to media brands. This is because using an outside source who has already garnered trust with their viewers could help make the associated news brand appear more credible. Since the ideal way to reach Generation Z is through authenticity, it is best to go directly to the people they find most authentic: content creators.

Podcasts are another popular commodity, especially among Gen Z; 47% of the generation are monthly podcast listeners. They’ve become so popular that they are now powerful vehicles for campaigning in the political world. With Vice President Kamala Harris appearing on Call Her Daddy, a popular podcast among Gen Z, and now-President Donald Trump going on Generation Z star Logan Paul’s Impaulsive podcast last year, it’s clear that the mainstream news is not the only way of spreading the word anymore, especially to young audiences.

Some newspapers have implemented daily news podcasts, such as NPR’s 10-minute-long morning show known as Up First from NPR, which gives listeners a synopsis of the day’s most important news. The New York Times recently launched its own audio app – enabling it to engage within its own ecosystem and further monetize audiences. Strategies like these are crucial in transforming the current news industry to keep up with younger generations, where the preference is for content that is engaging and easy to follow.

Engage via the formats and platforms they enjoy

Another potential reason for this generational disconnect could be the lack of presence of top news broadcasters — such as America’s Robin Roberts and NBC’s Lester Holt – on TikTok, despite having hundreds of thousands of followers on X and Instagram. Given that 52% of TikTok users get their news from the platform, one has to wonder why traditional media doesn’t have a stronger presence on this platform, especially given its current popularity and that of of news influencers. By having anchors use TikTok (and always keeping an eye on the platforms that are popular with young people), news organizations could better connect with their audiences.

Consider Dave Jorgenson, for example, who is the face of the Washington Post’s TikTok. He takes a comic approach to relaying the news by using skits. That’s given massive success to the media brand, which has over 1.8 million followers on the platform and is now more recognizable to younger audiences. Although there is the possibility of these news figures coming off as “cringey,” TikTok is a unique opportunity for more authenticity to come through – which is key to attracting young viewers. (And again: It can be helpful to work with young, popular figures on these platforms.)

Generation Z’s consumption habits have already drastically changed the way that news is consumed – and the media industry must continue to evolve in response. Nowadays, as shown by consumption habits, the news is about so much more than the information being provided: it’s about who’s telling it and how. So, it is important that news organizations find a way to earn Gen Z’s trust by engaging with them on their own terms.

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A recent Pew Research Center study, America’s News Influencers, finds that roughly one in five U.S. adults regularly gets news from influencers. Younger audiences—particularly those aged 18 to 29—are even more likely to do so. Among this age group, 37% rely on influencers for updates on current events.

News influencers reach their audiences through multiple platforms, with X currently leading the way. About 85% of Pew’s sampled influencers are active on X, followed by Instagram (50%) and YouTube (44%). Many adopt a cross-platform strategy, with some maintaining a presence on five or more sites. While these news influencers skew largely male, TikTok stands out for its relatively balanced gender representation among influencers.

Diverse content and political landscape

Americans who follow news influencers encounter diverse content, including factual updates (90%), opinions (87%), humor (87%), and breaking news (83%). Among those consuming opinions, 61% report seeing a mix of views they agree and disagree with, while 30% say they mostly encounter opinions they agree with. Only 2% see information with which they mostly disagree.

Influencers cover equally wide-ranging topics, though politics and government dominate their content. However, this focus reflects the study’s fielding period—July 15 to August 4, 2024. During this time, significant events included the Democratic and Republican National Conventions, the first assassination attempt on Donald Trump, and President Joe Biden’s withdrawal from the presidential race. While U.S. politics takes center stage, influencers also address social issues such as race, LGBTQ+ rights, and abortion, along with international events.

Despite their prominence, news influencers present a complex picture regarding political orientation. Slightly more influencers identify as right-leaning (27%) than left-leaning (21%), though half remain politically neutral. TikTok stands out as the only platform where left-leaning influencers outnumber right-leaning ones.

Audiences value news influencers’ perspectives

Audiences perceive news influencers as offering distinct and valuable perspectives. Most followers believe these influencers help them better understand current events. Among those who rely on influencers for news, 65% say they enhance their understanding of current events and civic issues, while only 9% feel more confused. Another 26% say influencers make little difference in their comprehension.

When comparing news from influencers to other sources, 70% find it at least somewhat different. About 23% describe it as extremely or very different, while 29% see little to no difference.

News influencers with and without industry experience differ

News influencers with and without news media industry experience differ notably in their public personas. Those tied to news organizations are less likely to express political leanings; 64% avoid clear political orientation, compared to 44% of non-industry influencers. Although similar proportions identify as right-leaning (25% vs. 27%), just 9% of industry-tied influencers identify as left-leaning, compared to 25% of non-industry influencers.

Non-industry influencers are also more likely to connect their profiles to specific values or identities, with 22% doing so versus just 2% of industry-tied influencers. For instance, 8% of non-industry influencers support LGBTQ+ rights or identify as LGBTQ+, while none with industry experience express such views.

This research highlights the growing impact of news influencers in the modern information ecosystem. Operating largely outside traditional media structures, they offer audiences a mix of facts, opinions, and entertainment. While their rise enables more personalized and diverse information consumption, it raises important questions about accuracy, accountability, and the evolving role of professional journalism in a landscape increasingly dominated by independent digital voices.

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By collaborating with influential creators, news outlets can access new, often younger, audiences they might overlook. Evolving its newsroom strategies, the Baltimore Banner surpassed subscription goals and expanded its newsroom to 80 staff members. Similarly, the 133-year-old Seattle Times reached record circulation levels, reflecting a broader trend of local and nonprofit outlets successfully adapting to new challenges.

The Poynter Institute’s new report highlights these trends. It identifies how the journalism industry increasingly relies on innovative strategies to adapt, with content creators and influencers playing a critical role in this transformation. While traditional news organizations face ongoing disruptions, this report shows that the demand for credible news remains strong.

Evolving newsroom

Poynter sees the rise of digital content creators, influencers, and the “creator economy” as an opportunity to redefine journalism. Rather than viewing them as purely competition for attention, traditional news organizations can collaborate with a new generation of content creators who bring fresh perspectives and innovative formats.

Social media influencers often cover viral stories, reaching those who get their news primarily from platforms like TikTok or Instagram Reels. Working with content creators can help newsrooms diversify their storytelling formats and engage with younger, digitally savvy audiences. Journalists and creators both serve essential roles in the evolving news ecosystem.

Engaging audiences with news fatigue

Audiences face news fatigue. Wars, political instability, climate change, and economic uncertainty contribute to this exhaustion. However, it’s essential to recognize that news fatigue does not equate to a lack of interest in journalism. On the contrary, data from the Pew Research Center shows that news consumption remains steady, with audiences following major events like the 2024 elections more closely than in previous years.

News organizations must present these topics in ways that resonate with audiences. Context, relevance, and credibility are key to engaging readers and viewers. This is where the rise of the creator economy becomes highly useful. Content creators, with their ability to present news in relatable and entertaining formats, play a unique role in combating news fatigue.

Audiences today are fragmented, consuming information from various platforms and influencers. Journalists and content creators can embrace this reality by delivering tailored, high-quality stories serving distinct audiences. Poynter recommends that rather than diluting content out of fear that audiences will turn away, the focus should be on creating stories that provide context and actionable insights.

Newsrooms must innovate and adapt

Despite ongoing challenges in the news industry, organizations are finding ways to adapt. Collaboration between traditional journalists and digital content creators is key in this evolving landscape, each bringing distinct strengths. The Poynter report highlights the growing influence of creators and influencers in news delivery and building trust with younger audiences. It also explores how they are reshaping the broader media ecosystem.

As the industry transforms, one constant remains: high-quality journalism—whether produced by a traditional newsroom or a smartphone-wielding influencer—retains its crucial role in society. Together, these forces reshape how people consume and trust news. This partnership will shape journalism’s future, ensuring that reliable information reaches audiences in a digital-first world.

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