Through our research for this report, it became clear that Gen Z news-consuming behaviour could not be understood in a vacuum but instead is part of a larger pattern shaped by their overall consumer behaviour, interests, and social media habits. Understanding how this generation engages with news requires us to consider the broader context in which they seek out information, entertainment, and connection.
For this reason, we begin by offering a comprehensive overview of Gen Z’s defining characteristics, including the fragmentation of audiences, the rise of niche content, the quest for authenticity, and a heightened awareness around mental health. These factors are crucial to understanding not only how Gen Z interacts with news but also how they filter and prioritise the information they consume.
We’ve supported these insights with examples that highlight how news consumption trends have evolved over the past few years. To further clarify this shift, we have divided successful news providers into three main categories, each employing distinct strategies for engaging younger audiences:
- Social-first publishers – Platforms and publishers that place social media at the core of their content distribution.
- News-focused content creators – Independent creators who have built their brands by reporting news in an innovative and personalised way.
- Legacy media – Traditional outlets and their efforts to adapt and engage with Gen Z audiences through modern storytelling techniques.
In each category, we examine diverse strategies and explore how these different types of news providers are meeting Gen Z where they are.
1/ The changing media landscape
1A - The fragmentation of media and the rise of niche communities in the digital era
The proliferation of platforms such as TikTok, YouTube, and Reddit into the mainstream has rapidly displaced legacy media conglomerates such as Comcast, Time Warner, The Walt Disney Company, Viacom, News Corporation, and CBS Corporation, which had long shaped societal norms, trends, and cultural icons for the previous generation. This era of media dominated by a few conglomerates led to what we at Yoof refer to as ‘monoculture’ - a form of cultural homogenisation where the tastes in news, music, film, and entertainment were gatekept and dictated by these corporations, particularly in the Western and global media spaces, nearly monopolising the industry.
Today, the landscape has changed drastically. Media has become radically democratic. Now, anyone can challenge the status quo and build an enviable platform reaching millions globally, all from the comfort of their own bedrooms. Social media has opened the market to millions of ‘micro channels’, created by ordinary individuals. This is a stark contrast to just 15 years ago when only a few hundred established channels were covering news and entertainment, mostly controlled by media conglomerates.
‘Our media diet is quite different now. There are so many different runners in the mix for where we get it from. There is this idea of a more democratised media that Gen Z experiences, but the algorithms are systematically problematic. However, the real fear comes from the platforms that aren’t giving you content like that, so WhatsApp and encrypted message-based platforms for example. The risk of misinformation is far greater there.’
CIPR Report 2024
Today, one can find hundreds of thousands of videos on the most niche topics, driven by Gen Z's curious desire to explore and discover new and interesting subjects. However, it is important to recognise how significant this insight is when connected to the increasingly diverse taste and interests of the global Gen Z audience when it comes to the consumption of mass media. Two examples of niches that have reshaped the consumption of media including news and entertainment, led by Gen Z, include:
- BookTok: As detailed further below, this niche, started by readers on TikTok, has transformed how physical books are perceived among Gen Zers in the English-speaking world, primarily in North America and Europe. For instance, data from Nielsen in 2021 confirmed that the print books favoured by Gen Z accounted for 80% of all book sales between November 2021 and 2022.
- Core-ification: Gen Z approaches life through a unique lens. They seek feelings, aesthetics and styles that allow them to embody a ‘vibe’, an experience to re-create a fully expressive, bold, and creative world outside their digital personas. They seek to bring many ‘out of world’ aesthetics and feelings typically found in video games, anime, fictional film, and music videos. This desire for immersive, themed experiences extends to their news consumption. For example, trends like ‘Hopecore’ represent a fascinating blend of optimism and cultural commentary, resonating with many who seek a more hopeful narrative in today's often challenging world. This specific trend is part of a bigger movement first neglected then adopted by all types of news creators: Solutions Journalism.
These attitudes are heavily influenced by the broader macroeconomic and political climate. Today, much of Gen Z faces a more uncertain socio-economic future than previous generations, with once attainable goals, such as homeownership, now increasingly out of reach. Additionally, being the most educated generation in history, combined with living in a globalised world, has resulted in higher levels of competition and stress.
With these concerns in mind, many Gen Zers are falling out of love with traditional celebrities, who often are ‘unreachable’ and unrelatable. They promote lifestyles of hyper-polished excess and overindulgence, frequently at the expense of nature and the climate (e.g. frequent use of private jets for short commutes). As Gen Zers increasingly unsubscribe from the mainstream, they turn to niche and micro-communities that align with their interests, values, and beliefs for their entertainment and news, across various digital platforms.
Finally, values of openness and acceptance have made Gen Z largely responsible for cross-border cultural consumption and dissemination (e.g. news, film, gaming, and music). Through social media, they’ve brought once-niche cultural exports, such as anime, K-pop, and Afrobeats, into the global mainstream, while local stories (e.g. a viral event in Denmark) can quickly reach a worldwide audience.
- Curating a Digital Streaming Universe: One example of how legacy media organisations, such as Disney and Warner Discovery, are addressing media fragmentation is through collaboration to bundle their extensive media offerings into a single, streamlined package. This summer, the companies began bundling their Disney+, Hulu, and Max streaming services for customers in the United States.
- The Future Looks Bright, Innovation is Ripe: The Business of Fashion (BoF) is leading the way, having been recognised as one of the most innovative media companies of 2024 by Fast Company. BoF leverages artificial intelligence to enhance reader value, for instance, using AI-driven analysis of social media posts to rank luxury fashion labels. This approach provides an additional layer of insight, boosting engagement and retention while building trust - without relying on AI to generate news articles. At Yoof, we believe BoF’s innovative and tone-accurate use of AI to bring stories and articles to life, will help create a more dynamic and interactive media landscape. This technology will allow legacy media who are struggling to attract the Gen Z audience to better engage with data and gain a broader perspective. An example of this would be the French publisher, Le Monde showing an interactive accurate AI-powered tsunami history map of Japan that can be edited to showcase previous damage in a hyper visual way. We believe the potential applications are endless especially through the growth of augmented reality (AR).
1B - Gen Z and the shift in consumer behaviour
The behaviours exhibited by Gen Z tend to be overlooked, yet they are key to understanding what is often considered the most ‘misunderstood’ generation. Having grown up alongside the internet, Gen Z is accustomed to its many conveniences, from shopping and communication to entertainment. Over the years, Gen Zers have played a crucial role in shaping the digital world, which has now become integral to our daily lives. Today, many of our most important assets - memories, money, and relationships - are stored on our portable supercomputers. This increasingly hyper-digital reality has brought numerous benefits, such as offering vast opportunities (like income from the creator economy) and amplifying causes that matter to Gen Z (including mental health, climate change, work, and consumerism). This means Gen Z are social first and often start their news journey on social media platforms like Instagram, TikTok, and YouTube. These platforms are preferred over traditional news websites or apps.
Gen Z is often labelled as the most selfish generation by many older peers, who view them as unable to cope with the pressures of everyday life. However, Gen Z believes they are not responsible for maintaining the current status quo but instead for changing it to meet their own standards. Recognising that mental health plays a pivotal role in maintaining both physical and social well-being. This mindset has led Gen Z to actively reject conventional norms, such as embracing body positivity as a new standard of beauty, and prioritising fair pay and strict work-life boundaries. These beliefs have also reshaped their approach to their digital diet, particularly in how they consume news content. Many in Gen Z perceive the news as overwhelmingly negative, prompting them to avoid it unless they come across it through friends’ or family members’ social media. For this generation, the news has become something encountered by chance rather than actively sought out, often viewed as a chore rather than a source of engagement.
“I enjoy [news] being intertwined with social media. I don’t have to actively think ‘Oh, let me check up on my friends and let me check up on my news.’ I can do both at the same time.”
CNN Newsource
Many media brands mistake Gen Z's high screen time for an intense desire for content consumption, without truly understanding the behaviour behind it. In today's attention economy, social media companies have become undeniable forces in society, playing a crucial role in shaping opinions and thoughts. These tech giants have invested billions of euros to ensure users stay on their platforms as long as possible by implementing addictive features. Why? Because the longer users remain on the app, the more advertisement revenue is generated, as brands compete for even a second of our undivided attention - often at the expense of Gen Z’s well-being.
Gen Z has already coined a term to describe this addictive behaviour: ‘doomscrolling,’ which has been shown to be linked to anxiety, distrust, and despair. Many feel powerless to stop themselves from scrolling through the endless abyss of highly tailored, addictive content, now commonly referred to as ‘brainrot’ - content that is seen as non-beneficial and offering no significant purpose to one’s life. Despite tech companies like Instagram and YouTube heavily adopting features to showcase addictive short-form vertical video content in response to TikTok’s meteoric rise during the COVID-19 pandemic, few foresaw the damage this would cause, not only to their profits but also to the minds of their users. Short-form content is now often blamed for Gen Z’s notably short attention span and lack of deep engagement on platforms built around these vertical video formats.
Platforms like TikTok, which have heavily benefited from the addictive nature of short-form vertical video, are now backtracking and shifting focus towards encouraging longer-form content consumption. While user retention was high, it was often based on superficial use, primarily driven by ‘doomscrolling’. To address this and cultivate a platform that fosters deeper audience connections, especially with Gen Z, TikTok is now attempting to shift user behaviour.
As people continued to use TikTok, content creators began migrating or prioritising long-form platforms such as YouTube to build stronger communities and more engaged audiences, rather than merely accumulating followers who are not highly invested. This shift is largely because audiences struggle to form deeper connections with creators through 30-second videos, whereas on YouTube, where the average video length is around 11 minutes, the opportunity for meaningful engagement is far greater. This comes as no surprise when viewed from a Gen Z perspective, a generation that values community building and deeper connections.
However, in the short term, many Gen Zers are addressing their ‘doomscrolling’ habits by at least making it more meaningful, seeking out ‘hopecore’, a rapidly growing niche of optimistic, motivational videos. At Yoof, we believe the next 24 months will be dominated by long-form content as people start to consciously limit their consumption of short-form video, with digital fatigue setting in on a mass scale.
Who would have ever thought the ‘low attention span’ generation would bring back books? Well, it’s true. Books have emerged as another medium allowing Gen Z to escape the overstimulation of the digital world and reconnect with their own imaginations. Demand has been so high that cultural Gen Z content creators like Kaia Gerber have even started book clubs to cultivate this new community of readers.
At Yoof, we have closely followed this trend and have been astonished by the impact it has had. This impact is clearly exemplified by the success of the latest superstar author, Colleen Hoover, whose romance novel sequel It Starts With Us has sold over 800,000 copies, propelled by TikTok's 'BookTok' community. At Yoof, we see this as further proof of Gen Z's power in reshaping the wider media landscape and their desire for transmedia exploration.
The answer is simple: Gen Z is increasingly seeking more activities rooted outside the digital realm. However, the side effects of addictive short-form content are becoming a significant challenge for this generation. For example, many are engaging in ‘second-screening’, a term used to describe the practice of using a second electronic device, such as a smartphone or tablet, while watching television or engaging in another primary screen activity. Such patterns may point to a deep-seated inability to focus on one thing at a time. Nevertheless, Gen Z remains highly attentive to their well-being, despite the countless distractions readily available at their fingertips. In the meantime, as we wait for legislation to catch up with the incredible pace of digital development, Gen Z is turning to communities and broader discussions to find creative and fun solutions to these challenges.
1C - The AI revolution, brought to you by Web 3.0…
The internet has evolved through generations, each bringing significant changes to the media landscape. The rise of social media, a defining moment of the modern internet, revolutionised communication, enabling platforms that are now powerful forces in media. Today, a new shift is underway, AI technology is flipping the media landscape on its head, because both content creation and advertising solutions are simultaneously being radically re-invented.
When it comes to content creation, AI is quickly catching up in producing original and thought provoking written and video content. AI’s knowledge capabilities powered by internet access and data fed to it through its human users are leading to real-life consequences. Today content is increasingly becoming hard to discern between what is AI and original human content. Social media platforms are increasingly awash with AI generated face-less videos dictated by AI human-like voices. At Yoof, we believe within the next 24 months AI technology will evolve to indistinguishable AI generated human avatars with real voices and personalities.
So, what does this mean for the media? It is looking bad, but there’s hope…
The benefactors of AI aren't really looking equitable - especially for media organisations. This is because tech companies are not only hoarding eyeballs of mass audiences, they are also hoarding advertising revenue at an increasingly unprecedented scale at a time global advertising revenues are expected to exceed 1.07 trillion USD. At Yoof we have been following this trend closely and have noticed over the past decade just five companies - Alibaba, Byte Dance, Amazon, Alphabet and Meta took home more than half of global advertising spend in 2023.
Today, this dire situation for newsbrands has been further exacerbated by their reliance on referrals from social media websites that are increasingly prioritising user generated content due to regulatory requirements in certain markets such as Australia and the UK for social media companies to pay local publishers for their content. The result? Data has shown that traffic from news sites from Facebook and X fell 48% and 27% year-on-year respectively in 2023 alone.
This trend is further proven by recent allegations made by publishers claiming social media platforms such as Snapchat are now sidelining them by cutting investments and initiatives that were there to solely cater and appease publishers.
‘Overall I think to expect the level of individual attention that you [publishers] got in the absolute heyday for all these platforms is probably naive. [Nowadays] There’s less proactive programs for publishers. It does feel like a lot more stuff is built for the creator economy, for creators.’
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🚨 Yoof Insight breakdown: Due to a combination of regulatory pressure and power consolidation from technology companies who seek to increasingly keep their users on their platforms - newsbrands are being increasingly being sidelined. These actions are directly impacting how Gen Z comes across news related content from newsbrands on social media.
2/ What are the priorities and focus areas of editors of social-first news publishers?
Social-first publishers are redefining the way news and stories are consumed, particularly by Gen Z audiences. By prioritising mobile-first, platform-native content, they leverage the power of short, visually engaging formats, interactive storytelling, and authentic voices. This strategy allows them to stay relevant in the fast-paced digital world, creating a deeper connection with their audience. Their success lies in understanding the habits and preferences of modern media consumers, offering real-time relevance and fostering community through platforms like TikTok, Instagram, and YouTube.
Social first publisher interviewed for the following section:
- Screenshot media (UK)
- Will Media (Italy)
- The News Movement (US)
- QoT/ Ole Interactive (Brazil/ Latin America)
- Junkee (Australia)
Though the concept itself of the social-first publishers leads to the encountering of younger audiences, these publishers do not have a unified target audience.
Will Media co-creator Alessandro Tommasi described the media’s objective as an attempt ‘to be a bridge between generations’ in Italy, however, still reporting an audience of about 70% under 35 years old.
Alma Fabiani, head of content at UK-based Screenshot media pointed out that their target audience was not Gen Z specifically but rather ‘next Gen’, pointing out that though ‘the main audience that we're currently talking to and engaging are Gen Zers [...] it's clear that Gen alpha, for example, is already coming up and really interested in a wide range of formats and content’. This approach comes from an aspiration by Screenshot Media to tackle a challenge many traditional outlets have faced: how not to age with their audience. Fabiani’s insight echoes Tommasi’s vision for Will Media, as well as that of many other creators’—staying adaptable and relevant in a rapidly changing media landscape.
Out of 5 interviews, 4 interviewees evoked the fact that their audience was more female leaning. While most noted that this did not directly impact their editorial strategy, some acknowledged that it occasionally led them to adopt a ‘softer approach’ in their content.
Regarding the editorial strategy most interviewees suggested that their team being of a similar age group as their target audience played an important role, helping them identify relevant topics and determine the best ways to approach them.
‘We look at what's trending online and conversations that are gradually gaining traction, even if they're underreported. Our content also reflects our team's key interests because we regularly discuss them, especially on the media side. Every morning, we evaluate the day's focus, considering platforms and verticals, ensuring we're happy with the angles we choose and keeping our approach fresh.’
Alma, Screenshot media
Many social-first publishers cater to Gen Z by launching multiple publications, each focusing on a few specific topics among the likes of culture, entertainment, politics, and social issues. This multi-publication model aligns well with Gen Z’s diverse interests and their preference for specialised, relatable content. Rather than one-size-fits-all media, these publishers deliver tailored content that resonates with niche audiences, allowing them to engage deeply with subjects they care about. It also helps maintain a flexible and dynamic editorial approach, ensuring they stay relevant across different platforms and conversations, while fostering a sense of community around shared interests.
By creating separate publications, these publishers can build more targeted and recognisable brands for each topic, allowing them to capture specific audiences where they are most active.
Yoof noticed this pattern in 4 out of 5 interviewees. Brazil’s Ole interactive offers QoT, more focused on the present, spanning across entertainment, pop culture and gaming and Playground, more focused on future technology, and the conscient use of the latter, aiming for a sustainable world. Junkee has its sister brand Punkee, so on and so forth.
When asked why they chose to forgo written articles and maintain minimal content on their website, the response from Will Media was clear: ‘We want to be where people are, and people aren’t visiting our website; they don’t engage with it on a daily basis’.
In discussing whether QoT adapts their editorial choices to their audience, its director of operations noted, ‘The platforms and their algorithms dictate more than the audience. Sometimes we have to adjust or even abandon editorial ideas due to algorithm changes or fading trends’.
A surprising insight came from Australia’s Junkee, with Talecia Vecio revealing that one of their most significant Gen Z audiences is on Pinterest. ‘It’s surprising because people don’t typically think of Pinterest as a platform for social justice and culture. It’s a creative space with fewer rules, where users simply enjoy being there.’
For Screenshot, Alma explained ‘Unlike many legacy media outlets that took their time to realise it, we know that younger generations are genuinely interested in politics—if not more so than previous generations. Our approach is to make political content accessible and digestible by delivering it through platforms and formats they're already familiar with, such as TikTok, Instagram, and YouTube. Understanding which platforms they frequent and the expected formats is essential in shaping our content.’
She then emphasised the value of Instagram carousels as a news conveying medium, stating, ‘The image carousel is probably the most interesting format right now. On both TikTok and Instagram, it’s being heavily promoted by the algorithms for various reasons. While it’s not the easiest format to master—since everyone is accustomed to short-form videos—carousel posts can drive significant engagement. The metrics we focus on, such as shares and saves, indicate their effectiveness. When you create a compelling carousel that performs well, it reflects not only the topic and coverage but also every detail, from design to captions. It’s a more time-consuming process, but the value it brings is substantial.’
Yoof explored the significance of sound on TikTok and what it could teach us about the new media consuming generations. TikTok’s audio-driven nature taps into Gen Z's desire for entertainment that feels authentic and emotionally resonant. Sounds, whether they’re trending clips, original music, or familiar audios, help frame the emotional tone of videos and increase relatability and immersivity. Additionally, TikTok’s algorithm thrives on viral sounds, enabling creators and brands to gain massive reach by tapping into existing trends or creating new ones.
‘I think that nowadays, the sound is a very essential component of how you create an engaging narrative’
Victor, QoT
This strategy works because TikTok's algorithm favours content that incorporates trending or topic-related sounds, which boosts visibility. Sound enhances viewer engagement and retention, increasing the likelihood that audiences will watch beyond the critical five-second mark—key for achieving virality.
Alma Fabiani remarked ‘The fundamentals of storytelling remain consistent, regardless of the subject matter. Whether you’re interviewing a celebrity on a red carpet or discussing a geopolitical conflict, you have just one or two seconds to captivate your audience. It’s about crafting a compelling hook that sparks intrigue and keeps viewers listening.’
This led us to the conclusion that today, sound has a profound impact on Gen Z consumption habits and thus on Gen Z-catering content creation. For this generation, sound is essential in storytelling, providing context, mood, and meaning to short-form content. This enables creators to convey richer narratives in mere seconds, necessary on platforms like TikTok.
When discussing their editorial positioning, Victor stated, ‘At QoT, we are deeply committed to social impact, aligning with the UN’s Sustainable Development Goals, such as education, sustainability, and gender equality. Even when we cover topics like games, series, or streaming music, we approach them from a progressive perspective, considering their societal impact.’
This emphasis on social impact resonates with Gen Z’s media preferences, as this generation is particularly attuned to social justice, sustainability, and ethical issues. Gen Z values authenticity and seeks to engage with brands and media outlets that are making a positive difference in the world. They are also more socially and environmentally conscious than previous generations, caring deeply about issues like climate change, gender equality, and reducing inequality—all central to the Sustainable Development Goals (SDGs). Moreover, Gen Z prefers purpose-driven content that not only entertains but also educates and inspires action. All insights which QoT have understood, as Victor elaborated:
‘We partner with organisations like Survival International to bring credibility to topics like indigenous rights. They help us amplify important messages to our audience. On the other hand since we have grown I use QoT as a source of amplification of their message.’
This focus is especially pertinent in Brazil, where many such communities face significant isolation and related challenges.
Screenshot media emphasised the importance of clarity in storytelling: ‘We don't want people to feel confused, so that's why we always go to “episode one”. We don’t assume any prior knowledge. Our journalists, who are in the same age group as our audience, ensure that we communicate in a peer-to-peer manner rather than a teacher-student dynamic. This approach allows us to break down complex global issues, helping our audience feel informed rather than overwhelmed.’
As previously mentioned, one insight that Yoof has consistently found is that in social-first media, the team are often the same age or close in age to the audience they aim to reach. As The News Movement, Screenshot Media and Junkee pointed out: ‘Our team is almost entirely made up of Gen Zers, and we believe that the best generation to create content for Gen Z is, quite simply, Gen Z. This makes perfect sense. Many competitors may not prioritise this, but it allows us to stay ahead of trends and discuss topics that genuinely interest us, both in and out of work.’
For Talecia at Junkee, this helps finding the right tone to address the target audience: ‘The voice comes across that way because we are that way... there’s nothing that drains me more than when a corporate tone comes through. We’re people, let’s speak like people.’
Alma emphasises the importance of a diverse range of topics, stating, ‘We believe there’s equal value in an explainer on current affairs and in a viral TikTok trend that resonates with Gen Z and other youth audiences. Our focus is to cover a wide array of topics and categories.’
She adds, ‘Every generation seems to think that younger people are less interested in serious topics, but that's often not the case. There's a strange gap in understanding between generations that we aim to bridge.’
‘We want our audience to feel uplifted after engaging with our content, not despairing or overwhelmed by negativity. It’s crucial that our stories leave them with a sense of hope rather than helplessness.’
Alma, Screenshot media
Jemima, deputy head of news at The News Movement, concurred and developed: ‘We recognise that news avoidance is exceptionally high among young people, largely due to the overwhelmingly negative tone of much of the news coverage. When tuning into programs like the 10 O'Clock News or visiting major news websites, they’re often met with bleak reports about the state of the world, which can feel daunting. [...] To address this, we focus on delivering our stories in a way that is engaging and easy to digest. But then on top of that, we also specialise in three main areas: Sex and Relationships, Arts and Entertainment, and Life and Style. We’ve identified these topics as resonating strongly with our audience, based on audience data showing high engagement levels. Although some may dismiss these subjects as trivial, they actually reflect what young people discuss with their peers. By exploring these themes seriously, we aim to provide valuable insights that help our audience navigate the world that they're living in.’
Alma echoed: ‘We always aim to maintain a balance in the types of content we produce, whether daily, weekly, or monthly. In today’s political climate, it’s easy to lean heavily into fearmongering and negativity. While covering hard-hitting topics is important, it’s equally crucial to present a balanced perspective. In our morning content briefings, we ensure a mix of various content types, from articles to videos, tailored to the topic at hand. Providing factual information and clear explanations is essential, even for complex issues.’
When asked how The News Movement balances delivering informative news content with more lighthearted topics while keeping it engaging and entertaining for the audience, Jemima responds:
‘Social media consumption often involves a quick transition from one topic to another, creating a sense of whiplash. You know, you're going from one topic to the other quite quickly, and they can seem juxtaposed with each other. But that's something that we feel quite comfortable with. If you're scrolling, people are very comfortable with seeing a funny video and then immediately afterwards, a very serious or sad story. So we embrace this juxtaposition and signal the type of content in our posts. For example, our Instagram feed features colour-coded verticals, allowing users to easily navigate to the content they’re interested in, whether it’s lifestyle, arts and entertainment, or hard news.’
As for Talecia, when faced with the question of the reason behind three topic choices: Music, Social Justice, and Culture, she says
‘No one else has really captured how these elements intersect in a meaningful way... How do we connect with people who share our values? It’s through music, pop culture, and cultural conversations.’
As social first publishers, these media interact consistently with their audience. Yoof therefore asked them about the notion of community around their content and whether they used for their different formats user generated/ inspired content.
The answers varied starkly from one media to another, the consistent aspect being that these media did not make use of user generated content. However, the notion of including people, creating a community, and interacting with the latter allowing it to inspire certain topics which will later be mentioned was constant.
Will Media takes a unique approach to audience participation. They prioritise incorporating the community’s perspectives into their content. The media planned a tour across Italy where they visited various locations, inviting local communities to engage in open discussions. ‘We just ask. There's no panel, no formal introduction—nothing. We simply go there and ask, "What keeps you awake at night? What is the hardest topic to talk about with your parents at lunch?" That’s how we gather insights and choose additional topics to discuss.’
Talecia evoked the sense of community and developed how it impacts the work of Junkee: ‘We actively engage with our audience. We often reply to comments with follow-up videos, validating their questions, their opinions and continuing the conversation. The goal is to start or add something meaningful, making sure the conversation doesn’t end with us. The audience’s opinions are just as important, if not more, because if we’ve done our job right the conversation doesn’t end with us, we’ve sparked a dialogue'. She adds ‘The TikTok comment section is one of the funniest places I’ve ever seen... People gather the maximum of their irony and bring it there. It’s a gorgeous place to be.’
These insights showcase the centrality of the audience as well as the proximity, almost a peer relationship between the ‘storyteller’/news giver and the public which becomes involved.
Jemima explained how they ensured that the news and other topics they covered catered to the audience: ‘Data is crucial, so we frequently use Google Trends. For example, during the recent shift in focus of the Middle East conflict to Lebanon, we found people searching for ‘What is Hezbollah?’ and ‘Does Hezbollah run Lebanon?’ In response, we created a video directly answering those questions. Our format, 'TNM Explains,' delivers fast-paced, under-one-minute videos that start with questions people are Googling. The one-word explanations flash on the screen, keeping it engaging because it demands people's attention, but we're already starting from a strong place as we know we’re answering a question that people want answered.’
‘We're not a breaking news publisher’ explains Victor. Instead of rushing to be first, QoT prioritises a delayed publication, leaving time for the editorial team to digest the news, deciding on a clear perspective before publishing, thus allowing them to explain the news, rather than contribute to the chaos of breaking news and constant updates.
Jemima, who previously worked in legacy media, highlights a key difference in the approaches: ‘We’re not tied to creating content for a 6pm TV bulletin or a 6am breakfast radio show. This flexibility allows us to step in at the moments we know our audience needs us, producing meaningful, lasting content.’
Talecia expands on this idea: ‘We stay informed and know what's happening, but we don’t feel the need to be the first to report. Who really cares if something happened until we’ve had time to form a meaningful opinion? If we don’t have a perspective to share, we won’t post. When something genuinely excites us, we’ll share it on platforms like Instagram, once it feels worth discussing.’
Victor Marcello for QoT and more generally Ole Interactive:
‘First of all, we are a Latin American company. So I think that's the most important component: what sets us apart is our cultural relevance and relatability. We are a large company made by and for Latins. So we have operations throughout Latin America, which gives us unique insights into local trends, consumption habits, and culture. This connection helps us build authentic communities around our brand'.
Additionally, Ole Group’s legacy of over three decades in the broadcasting industry—spanning pay TV, broadcast, and now digital—gives us a strong foundation in storytelling. With Ole Interactive, the digital arm of Ole Communications, we continue to evolve, keeping our core business which is creating content and making it resonate with Latin American audiences through a distinctly local lens.’
Alma Fabiani for Screenshot media: ‘One key factor is our cross-platform strategy. We tailor each piece of content to suit the specific platform it’s released on, ensuring it's optimised for where young audiences are. Many digital publishers simply post the same video across TikTok, Instagram, and YouTube Shorts without that extra step. We take the time to adapt and refine content for each platform’.
Alma emphasised the importance of SEO in the content creating process: ‘Our captions are optimised for SEO, and we have a targeted hashtag strategy alongside topic research on platforms like TikTok, YouTube, and tools like Ahrefs. It was a bit more enjoyable a couple of years back, but now, with keyword stuffing and Google algorithm changes, the landscape has become challenging. Still, SEO remains central to how we create content across platforms.’
Additionally, as Alma pointed out, Screenshot Media doesn't just follow trends—they start them. Fabiani notes their nomination for The Drum Awards as an example, stemming from a viral conversation they initiated with the question, ‘Would you rather be stuck in a forest with a man or a bear?’ (example below). The initial video, filmed near their London office, just talking to (mainly) women on the streets, sparked widespread discussion.
They then use a ‘rinse and repeat’ strategy which consists in revisiting viral topics across multiple formats and angles to keep the conversation fresh and engaging, while still diving deeper into the subject.
3/ News-focused content creators - who are they and how Do they work and their business models?
3A - Investigative journalism
News-focused content creators doing investigative journalism have found success by tapping into a Gen-Z audience that values authenticity, transparency, and direct engagement. This generation is drawn to in-depth reporting that exposes hidden truths, challenges authority, and highlights social justice issues—areas that traditional media sometimes miss or present in a less engaging manner.
This is a phenomenon that has spread throughout the world:
One powerful example is French Youtuber Gaspard G, a creator who has gathered over 1 million YouTube subscribers, largely from Gen Z, by breaking the stereotype of short attention spans.
‘Tomorrow, media brands will be faces and not logos’
Gaspard G
Through 45-minute explorations of societal issues, he captivates his viewers, blending personal narrative with expert analysis. Similarly, Johnny Harris– in the US– has amassed 5.9 million subscribers with his visually rich, investigative storytelling. Harris’s content simplifies complex global issues, providing context that helps young viewers understand the world through engaging narratives.
Another notable example is Dhruv Rathee, a content creator based in India, who has achieved similar success by adapting a Western style of investigative journalism to South Asia, gaining over 25.1 million subscribers. By focusing on local issues that resonate deeply with his audience, Rathee exemplifies how investigative journalism can transcend geographical boundaries, drawing young viewers into stories that directly impact their lives.
However all news content creators have very different styles of investigative videos.
Cleo Abram for instance takes a radically different approach on the platform. Talking about the responsibility which is often considered as incumbent to journalists to ‘point out challenges and be sceptical’, she explains:
‘I want to bring a more optimistic point of view into the situation [...] I have a responsibility to help people imagine what could go right!’
In her world where the numerous issues combined with a certain dose of ‘lucrative fearmongering’ leads to a global pessimistic view of the future especially among younger generations, she attempts to delve into the inventions and ideas which could better our lives– launching her platform by creating a series called ‘Huge *if true’. Her focus on technology, and policy does not prevent her from being relatable, as she relies on human curiosity, centering on topics that resonate with her audience and spark our innate curiosity about the world such as ‘What we get wrong about AI’ or ‘Why the Olympics almost banned this shoe’.
In France, Gaspard G. stands out as one of the leading news-focused creators on YouTube, renowned for his long-format videos that explore a range of national and international topics. Recently, Gaspard has expanded into investigative journalism, taking his audience for instance to the frontlines in Ukraine to interview civilians. He has also co-hosted a debate with Franceinfo (public french broadcaster) on ecological and social transitions, showcasing the possibilities of collaboration between independent creators and legacy media.
His most popular content includes deep dives into the lives of notable figures such as Michael Jackson, Elon Musk, and Cyril Hanouna, delivered in a simple, conversational style that resonates with viewers.
The success of these long-format creators proves Gen Z isn’t only drawn to quick content; they seek deeper connections and stories that reflect their values. They also demonstrate the value Gen Z places on context and nuance, signalling a desire for substance over simplicity. These creators challenge the notion that Gen Z only wants bite-sized content. In fact, they gravitate toward stories that allow them to explore more substantial ideas—stories that reflect their curiosity about the world. For brands, the lesson is clear: long-form content can hold Gen Z’s attention if it delivers the depth, relevance, and authenticity they crave.
In recent years, a fascinating trend has emerged – a trend Yoof has overwhelmingly observed with ex-Vox journalists– as former full-time journalists transition into independent creators on platforms like YouTube. The shift some creators such as Johnny Harris, Phil Edwards, Cleo Abram have done so successfully, setting a blueprint for leaving traditional journalistic positions and successfully becoming self-employed in the digital landscape. These ‘ex-journalists’ are not just sharing news; they are producing content that attracts educated audiences and embraces long-form storytelling.
As Johnny Harris articulates, ‘There’s a lot of people that think that journalism is a status… You are a journalist if you are doing journalistic things, which is actively and earnestly inquiring into facts and truth about the world and trying to communicate that truth to an audience.’ This perspective underscores a broader definition of journalism that transcends traditional boundaries. Insight echoed by Cleo Abram, a former colleague turned independent as she adds ’Journalism is an action’.
Among these ex-Vox creators, the feedback about their time at Vox is quite unanimous. Johnny Harris reflects on his experience, saying, ‘I realised I didn’t quite fit into that traditional mould, but fortunately, Vox provided a unique hybrid environment that encouraged my entrepreneurial spirit. It allowed me to develop my own voice and communicate in a tone that resonated directly with the audience. I truly owe my entire career to this format and the direct-to-consumer approach it embodies.’
In an exclusive interview with Yoof, Phil Edwards further highlights the intelligence of his current audience, noting, ‘One thing I consistently notice is the intelligence of everyone I encounter. This reflects my experience with the Vox audience, where I never felt pressured to oversimplify my content. While we prioritised clarity, we never compromised on depth or niche topics. I’ve carried that philosophy into my personal work as well, which is a real luxury.’
In an interview, Cleo Abram shares a significant lesson she learned at Vox and still uses for her content, stating, ‘The head and the hands should be as close as possible. Meaning that the person who came up with the idea should also be the person who does the work.’ She elaborates on the empowerment given by this principle, arguing that the individual with the vision is often the one most invested in its execution. While collaboration is essential, she advocates for keeping the creative process close to the original thinker before delegating tasks.
When asked about his editorial strategy, Phil Edwards marks a big pause, he then emphasises the importance of balancing niche expertise with timely current events. He notes, ‘I found it more useful to have an internal idea of what kind of videos I want to do, which is largely business and tech as a lens for history, but then including some current events, because that's such a helpful driver of new audience.’ This underscores the strategic approach many news-focused content creators adopt by blending a niche expertise with topical relevance. By maintaining a core focus, creators cultivate a consistent, informed audience. However, they also recognise that incorporating current events acts as a key lever to attract new viewers, thus ensuring growth and continuous engagement. This adaptability is especially vital for reaching Gen Z, who expect both depth and relevance in their content consumption.
Phil continues, acknowledging a certain unpredictability of audience preferences: ‘Honestly, I don’t fully trust my own judgement on what will work, and I’m always on this rollercoaster of not knowing how something will perform. Lately, I’ve tried to focus more on what poses a compelling question and what makes a strong, engaging image for the thumbnail. You do have to make concessions when you’re relying on videos to do well.’ He mentions the certain pressure as an independent to make videos that will succeed and feel accessible to the wider audience ‘I try to find the middle ground—where my interests align with what the public wants’.
The freedom of being independent allows journalists to explore diverse topics while building trust and loyalty with their audience. Johnny Harris articulates this well, stating:
‘Being independent means that the audience gives you permission. "You want to be into McDonald’s ice cream machines? Go for it. I will follow you, because you’re this indie journalist who does this and that." For my personality, that is awesome, because I’m all over the place. My craft is the thing that stays the same, but my interests do not.’
This highlights the success of independent journalists, who build trust and loyalty with their audience by pursuing their genuine passions, embracing freedom from traditional journalistic constraints. This connection allows them to explore diverse topics and still retain their audience's attention.
To manage their editorial processes, many independent journalists employ structured tools. Phil mentions his use of a Trello board to organise ideas: ‘I’ve started using a Trello board, which is quite a shift for me since I’m generally unorganised. The board helps me create some distance from my thoughts and develop a structured process. I have a column for brainstorming, one for solid ideas, and another for greenlit concepts that actually make sense.’
Cleo outlines her surefire four step process to making a great youtube video:
- The first step is to pitch the concept with a focus on the key visual in the story, explaining why this topic would matter to the audience– why would it be ‘Huge *if True’.
- Secondly, creating a visual abstract and visual list to identify important visuals for the video (in Cleo’s case often charts or some of her video guests, experts in their domain).
- Thirdly, compiling an info document that collects all visuals supporting each section of the video.
- Finally, drafting an outline and script that uses ‘very simple language to convey very complex ideas’.
Cleo then evokes an insight which Yoof had previously come across in the Social First publishers interviews:
‘Never underestimate your audience’s intelligence and never overestimate their prior knowledge’
For Johnny Harris, the introduction of a video is crucial, ‘setting the tone and establishing a "story promise" that draws viewers in immediately. In the first minute—especially on YouTube but essential in all good storytelling—the audience should get a sense of what’s ahead: a question to be answered, a journey to follow, or an experience to enjoy.’ This approach functions like a trailer, hinting at the value of the content and encouraging viewers to stay engaged for the entire piece.
In a discussion between Johnny and Cleo, Cleo states: ‘We are independent of the constraints of the business model of a larger media company… which is awesome. Like, the work that results is joyful, but also deeply obsessive, and that makes for really, really good quality journalism. And then there’s the other question of, “independent from what, exactly?” Fundamentally, we are mini media companies. Are we independent of the incentives of advertising? No. Are we independent of the incentives of platforms that we publish on? No.’
This quote highlights the balance independent journalists must strike between creative freedom and the underlying financial, algorithmic, and platform constraints that can significantly shape their content and distribution strategies.
To the question of whether his audience influenced his editorial choices Phil Edward reinforces the role of audience feedback in shaping editorial choices:
‘Absolutely. Unlike traditional media, where producers are often insulated from feedback, I see audience comments as a huge asset. They bring niche expertise and often suggest story ideas I might not have considered. For example, a viewer once recommended covering a specific NASA mission involving the space jetpack, which turned into a fascinating video. The community’s feedback keeps me accountable and connected to unique, offbeat topics that wouldn’t typically make it into mainstream reporting'.
In fact, I’ve even invited audience participation in my videos—like sending out turtle soup for a taste test or asking patrons to check out remote gas stations. While it doesn’t always fit, when it does, their involvement adds authenticity and a shared curiosity that I think resonates with everyone involved.’
Cleo Abram adds to this discussion, highlighting the importance of audience interaction: ‘Tell me what topics make you most pessimistic or overwhelmed. I’ll look into them for you. I’ll try and find the best ways to solve them.’ Through this approach creators not only foster engagement but also positions independent creators as responsive and relatable figures in their communities.
Looking ahead, the landscape for independent journalists continues to evolve. Johnny Harris's next venture goal exemplifies this shift. Harris aims to create a collective of independent journalists, to foster an ‘ecosystem’ where each creator enjoys both creative freedom and access to shared resources like project management and mentorship. ‘ByHarris is designed to bridge the gap for journalists transitioning from traditional newsrooms to the creator economy,’ Harris explains. ‘We provide them with a stable structure—handling business, production, and financial risks—so they can focus on deep-dive storytelling without taking on the full entrepreneurial load. This lets journalists create their own channels, stay true to quality journalism, and reach a wider audience without getting lost in the competitive, cutthroat nature of YouTube’s algorithm-driven landscape.’ This model promotes collaboration and financial stability, showcasing a promising future for independent journalism.
Many news content creators also focus on short easily digestible formats. This format is especially prevalent on platforms like TikTok and Instagram, where creators use strategies similar to those of Social-First publishers, emphasising social media optimisation techniques such as timing, frequency, and engagement tactics. These creators' approach moreover intersects with Investigative news content creators when it comes to business models and editorial strategy.
In the multitude of successful such creators examples include Act2ality, Natalia Sisik, and Under the Desk News, all of which have successfully adapted their content to meet modern consumption habits.
As we have established, the way we engage with news is shifting. While watching an entire evening news program was once a ritual for older generations, many contemporary viewers prefer quick, digestible updates. Creators like Polish TikToker Natalia Sisik have responded by drawing inspiration from conventional news formats while reshaping them to fit shorter, more accessible segments:
‘When creating ‘News for Today’, for instance, we aim to present news as succinctly as possible—a quick intro that covers key points, so viewers get the essential facts and know where to go for more.’
🚨Business Insight: Partnerships with short-form news creators can be fruitful: At Yoof, we have noticed Natalia secured an invite to the prestigious Apple Event held on 9th September 2024. We have uncovered a trend of content creators usually excluded from high-profile events due to outdated beliefs regarding their legitimacy to occupy spaces dominated by legacy media companies. However, we see the tide shifting, spearheaded by media fragmentation (mentioned in section 1A.1). We see strategic collaborations with content creators who would usually be excluded from high-profile events as a great way to achieve loyalty and drive organic brand excitement. To prove this, Natalia, through her coverage of the Apple Event, generated over 6.4 million views for Apple on TikTok alone.
Yoof interviewed hugely successful Act2ality in 2023 as they were still developing their editorial strategy. In very little time the Spanish media start-up co-created by two students has taken a lead in news for young audiences on TikTok, becoming one of the biggest news players on TikTok in Europe! To maintain their success, Act2ality knew they had to focus on areas that increased their algorithmic favour while maintaining engagement and cultivating their newly built audience. To achieve this, they focused on their ‘one-minute’ strategy, only posting concise one-minute short-form videos.
Secondly, to gain algorithmic favour on TikTok, they stuck to posting three times a day, a strategy which helps maximise engagement and caters to different time zones, allowing them to build an audience among others in Latin America. Thirdly, focus was placed on content variety to keep their content fresh and non-repetitive. Lastly, Act2ality encourages audience comments and participation, as Gabriela (one of the co-founders) evoked their strategy of videos asking random people in the streets about topical issues. This approach not only fosters direct engagement but also allows them to capture diverse perspectives on topical matters, making their content relatable and interactive.
One particularly original creator format stems from US based Vitus ‘V’ Spehar’s Under The Desk’s TikTok. Though they had originally created this account as an outlet for posting cooking videos, they explain how the January 6th events sparked them to ‘get under a desk and explain the 25th amendment to Mike Pence, trying to do it in a cute and friendly way.’ And it worked, as they go on to explain ‘it just became this safe space to deliver news. This idea of it being under my desk, where we could hide and just talk.’ At that same time the world was deep in the pandemic and all traditional news anchors were reporting from their home desk leading V. to attempt this conversational tone and ‘kitschy enough’ way to separate themselves from ‘traditional journalists’ and present themselves more as a peer.
Maintaining simplicity and clarity in their scripts is another common approach for these creators. Act2ality, for example, crafts each video with a ‘script of 200 words, a summary of the story, but always in simple and understandable language. If a 13-year-old subscriber watches our video, they should be able to understand everything that is presented.’ This deliberate simplicity of their content, helps broaden the creators’ appeal and ensures they aren’t alienating younger, less-informed viewers.Finally, branding is essential for independent news creators. Establishing a unique, consistent opening or tagline helps build familiarity and trust with audiences, making the content easily recognisable and memorable in a saturated media landscape. This kind of signature branding is key to fostering a loyal audience base and enhancing content visibility. This was highlighted by Natalia Sisik:
‘In those early days, I was advised to say something memorable at the start of each segment—something that would instantly signal the series and make it distinctively mine. I started with 'News for today,' and it resonated so well that, even now, the format keeps that same name.’
Independent news creators rely on a variety of revenue streams to sustain their operations and maintain their editorial independence. Here’s a look at some of the primary income sources they use summarised by Phil Edwards. ‘For me, there's the AdSense part of the pie, which fluctuates month to month, and then there’s Patreon, which I’m looking to focus on more in the future because of the stability it offers. A successful Patreon often involves paywalled content like audio or video, and while I don't have the bandwidth to do that yet, it’s incredibly helpful for covering expenses and also serves as a responsibility to my viewers. The largest slice of revenue—around 70%—comes from sponsored ad reads, which are crucial in this space for maintaining sustainable income.’
Many creators depend on YouTube's AdSense program, where earnings are based on video views, engagement, and ad clicks. This model rewards creators with higher viewership, though income can be inconsistent due to fluctuating CPM (cost per thousand impressions) rates and other factors like audience region. While AdSense can be lucrative for channels with a large, loyal following, creators often supplement this income to offset its unpredictability.
Sponsorships are a significant source of income for many independent creators. By partnering with brands, creators incorporate paid segments into their videos, often stating upfront that the sponsorship enables them to maintain high-quality production standards. Johnny Harris emphasises the importance of sponsorships, saying,
‘Thank you nordvpn for sponsoring today's video. I’ll say very overtly [to my audience]…our business would not be able to run without this creator economy model.’
This allows him to maintain journalistic integrity while funding in-depth projects without compromising quality. Creators often carefully select sponsors to align with their values, which maintains trust and transparency with their audience.
Moreover platforms like Patreon provide creators with a reliable income source by allowing fans to support their work directly in exchange for exclusive content. Through membership tiers, creators can offer perks such as early access to videos, behind-the-scenes content, and direct interactions. For instance, Johnny Harris uses Patreon to engage closely with his most loyal followers, who contribute to his channel’s growth and help maintain financial stability. Subscription models like Patreon or Substack help creators build a dedicated community willing to invest in a closer, more personal experience.
4/ How are legacy media adapting to Gen Z needs and social platforms in terms of formats and what do they need to succeed in terms of innovation?
Legacy Media’s TikTok Dilemma: How to Win Over Gen Z?
In recent years, legacy media have faced the formidable challenge of engaging younger audiences, particularly Gen Z. After attempting to retain Gen Z on their own terrain, legacy media have started adapting to the audience which was gradually becoming unengaged with their content. They increasingly turned to non-traditional platforms like TikTok, with a rapidly increasing percentage of top news publishers regularly publishing content on the platform.
4A - Familiar Faces Over Brand Loyalty
Until recently, legacy media organisations relied heavily on their brand name and history to convey credibility and trustworthiness. Several studies however show that Gen Z places more trust in individual figures they can feel some sort of affinity towards - including individual journalists, rather than the institutions they represent. This generation indeed seeks figures with whom it can build direct relationships through social media and other interactive platforms.
At Yoof, we have uncovered that this is connected to Gen Z's increased propensity for parasocial relationships. This refers to one-sided relationships where one party feels a strong connection to another party, often through media, despite no reciprocal interaction. We believe this is a side effect of Gen Z's desire for deep connections and desire to build direct relationships through social media and other interactive platforms.
Consequently, the focus is shifting towards personal engagement. This is the occasion for traditional media to collaborate with individual journalists within their organisations to develop personal brands that will increase their visibility. Social media platforms can provide a means for these individual journalists to authentically reach audiences and grow affinity, both putting them to the forefront and leveraging their personal brands to engage younger audiences.
A consistent trend among Gen Z has been the attraction of familiar faces over brand loyalty. This generation tends to gravitate towards personality they can identify to, feel connected to and empathise with, in a stark departure from previous generations that may have had a stronger allegiance to the media brands themselves. This shift has prompted legacy media outlets to rethink their strategies, increasingly engaging with non-traditional platforms like TikTok, leveraging the personal brands of their individual journalists who represent their organisations.
‘All of our accounts feature one or more hosts, who are quite different from traditional news anchors - not just in age, but in personality too. Instead of delivering the news in a preachy or instructive way, our hosts engage the audience in a peer-to-peer conversation. It’s not about telling viewers how or what to think; it’s more about creating a dialogue.’
Erika Marzano, Deutsche Welle
Among individual legacy media journalists on TikTok, Max Foster stands out as one of the most successful. Since 2019, he has built a community of 1.2 million followers, capitalising on two key factors. Firstly, his affiliation with CNN lent him a pre-established credibility. Secondly, the reliability factor he cultivated through his account by merging his journalistic experience with the platform's storytelling style, making complex news stories engaging and accessible to a younger audience. His personal charisma, direct interaction with viewers, and ability to concisely explain global events, following a journalistic ethos of ‘Sticking to the facts during breaking news’ all the while effectively utilising the TikTok formats, helped him create a strong connection with followers.
If he is a stellar example Max Foster is no longer ‘one amongst the few’ legacy media journalists to have created a trusted brand for younger audiences to rely on on TikTok. Other successful accounts include journalists such as: Kat Tenbarge from NBC News, Sophia Smith Galer an ex BBC and Vice journalist.
The ‘Journalist brand’ strategy helps counteract the prevalent notion among Gen Z that news is predominantly negative. By presenting relatable faces and behind-the-scenes content, legacy media can frame news as not just a collection of bleak headlines but as a dynamic process involving passionate individuals dedicated to storytelling.
However, showcasing their journalist’s personal brand is not a technique adopted by all legacy media, as Olivier Lafargue from Frances’s Le Monde explained in a Yoof exclusive interview. ‘We remove the author's special writing style (that can be witnessed in Le Monde’s articles), we ensure that everything is explained and that the reader is never lost.’
One of the key ways legacy media journalists have embraced TikTok is by offering behind-the-scenes glimpses into their daily work lives. This content gives viewers rare access to the inner workings of journalism, offering a more transparent look at the profession.
Journalists such as Leanna Byrne (BBC), Charlotte Gay (ITV), Monika Plaha (BBC) or Emma Bentley (BBC then EBRD), have carved out niches on TikTok, showcasing their behind-the-scenes experiences. A simple search for News reporter behind the scenes on TikTok reveals how these journalists capture the essence of journalism in action, from the hustle of newsrooms to the pressures of live reporting.
These videos not only engage audiences but also help journalists cultivate personal brands, allowing them to stand out independently from the larger organisations they represent. As evoked above, our research and interviews have led us to discover that while some journalists create TikTok accounts as part of their media outlet's strategy to engage Gen Z audiences, others have independently embraced the platform. However, the success of legacy media journalists still reflects back on their respective organisations. For this section Yoof interviewed Leanna Byrne, senior business presenter at the BBC. She notes, ‘The people I interact with on TikTok are often much younger than those who typically watch or listen to our content.’ She adds that many of her TikTok followers engage with her LIVEs to tell her they had gone to listen to her business program ‘Marketplace Morning Report’.
These personal accounts allow journalists to engage with their followers in real-time, answering questions, sharing behind-the-scenes content, and providing context that traditional media formats might not have the time or space to cover. This approach enables them to expand their reach, attract a more diverse and younger audience, and humanise the often impersonal nature of legacy media.
‘A video my audience really liked was an explainer of how you deal with breaking news... people to understand what is going through a producer's mind. I think it humanises it... lifting the lid and being a little bit more transparent.’
Leanna Byrne, BBC
Though its growth started there, the phenomenon is not limited to Europe and the States with TikTok growing in the Global South and newspapers such as Jornal da Record’s in Brazil, adapting, with their TikTok offering a mix of newsroom behind-the-scenes and news explainers having grown to 1.9M followers in the past four years since its creation.
Both behind the scenes and the journalist brand talking directly to the viewer are really important because it allows the audience an access it has never experienced before to the functioning of the news, contributing to restoring the trust which has been seen as missing between Gen Z and legacy media.
One of the reasons Gen Z's waning interest in traditional media was highlighted in our interview with Leanna Byrne as she pointed out which of her videos had the most success with her young audience:
‘One of my best videos was talking about intergenerational wealth, the difficulties of buying a house, and the cost of living’
Legacy media has indeed often misrepresented Gen Z and the ways in which they are affected by macro-trends. The way rising interest rates, UK inflation, and the housing crisis are covered are striking examples of this tendency. When consuming any news item on this significant economic issue of the past two years, the lack of focus on young people's experiences is astonishing. While house prices dominate discussions, a topic which seldom concerns Gen Z, coverage on the impact of the rising interest rates on rents has been lacking. Individual journalists engaging with their audience can thus be perceived as positive steps towards countering legacy media's previous failure to address the realities faced by younger generations in the current economic landscape.
One of the key missteps legacy media companies make upon trying to establish a presence in today’s content landscape is pushing the same video across all social media. Platforms like TikTok, Instagram, YouTube, and Snapchat promote content in different ways and attract users for specific reasons, which is why subtle variations in approach are essential for engaging with diverse audiences. Just as you wouldn't present content the same way across print, TV, or radio, each social media platform requires its own tailored style to maximise impact. Without this nuance, media companies risk alienating potential audiences or, worse, missing them altogether.
One outlet in particular that has masterfully found the middle ground between entertainment and news is the US’s Washington Post. The mighty team of 3 has hit the jackpot by infusing animations, memes, and sounds straight from Gen Z culture into their content - all the while never ‘dumbing down’, maintaining the integrity and depth of the news which they deliver where Gen Z is consuming the news.
Our research however allowed us to see a major difference in approach between different legacy media. While Carmella Boykin describes the Washington Post TikTok’s goal as ultimately to peak people’s interests and get them to go to the Washington Post website to learn more about whatever the TikTok was about, Erika Marzano describes the TikTok branch of Deutsche Welle (DW) as totally separate from the rest of the newspaper. For DW TikTok isn’t a subpart but an integral part of their editorial content.
As people increasingly seek relatable content, storytelling has become essential for achieving success on TikTok, closely tied to the platform's emphasis on authenticity. Several such journalists highlight that storytelling and authenticity are inseparable on the platform, which is why viewers are drawn to simple, everyday videos, like those featuring girls talking about their day from their cars. If you’re unsure what I’m talking about, type 'girl that talks in her car' on TikTok, and browse through the mere 59M posts that come up.
‘What has become important is not Tiktok as a platform, but the Tiktok way of storytelling. Within a matter of few years, since the boom of Tiktok, all the traditional, old school social media platforms were implementing at least one of all its features, mainly the vertical, short form video’
Erika Marzano, Deutsche Welle
Another insight our research led us to was exactly how big of a part TikTok plays in certain legacy media, ranging from Dave Jorgense– alone for a few years, and today with his two colleagues– to the Deutsche Welle and its 20 TikTok accounts:
'Each account is managed by its own team, as Deutsche Welle operates in 32 languages. Every language functions as an independent department with its own dedicated team. Within the English language division, the content is further organised by specialised departments, focusing on topics like science, environment, and culture. These teams largely operate independently, allowing for tailored content across different languages and subject areas.’
Finally, a Yoof Exclusive interview with Olivier Lafargue, in charge of the vertical video department of Le Monde, emphasises a crucial aspect of legacy media storytelling : ‘We are very attentive to the information we convey in our videos. As generalist journalists providing vulgarising content, there is a higher risk of inaccuracies. Therefore, journalists often request assistance in verifying their scripts because they personally represent the content in the videos and are more committed to its accuracy. ‘
Another trend which we have discovered from our research redefines the relationship between legacy media and their audience: the hyper-local news. Yoof interviewed in 2023 the lead writer from B-side, a startup within the Boston Globe. Launched in 2022, it is a newsletter, focused on hyperlocal content ranging from news to new openings. One insight Yoof took away from Emily Schario, B-side’s lead writer is that:
‘Media always talks about wanting to meet people where they are, and I think a big part of that is meeting them with a person that they can relate to and understand. That’s where we're finding some success, we're trying to meet younger people with a younger person’.
This is an insight which legacy media have been understanding in the past few years, playing on the factor of relatability.
In the case of B-side, much like Narcity or The Edinburgh Minute, the creators tapped into the heightened desire for community connection that emerged overwhelmingly among younger generations following COVID-19. This shift redefined the concept of ‘being informed,’ emphasising the importance of local engagement and fostering a sense of belonging.
Local media and newsletters are pressing another sensitive point for Gen Z which is actionability. As studies observed that younger consumers wanted the news and information that they consume to empower them to take action. In terms of broader societal issues, one of the avenues is solutions journalism. Born as a response to sensationalism and the overwhelming negativity in traditional news, solutions journalism, also known as constructive journalism, goes beyond simply reporting problems. It delves into the complexities of an issue while focusing on potential ways forward, offering a more hopeful and empowering approach to news that aligns with Gen Z’s desire for progress and positive change.
Another way traditional outlets have found to engage Gen Z audiences, is embracing interactive and immersive storytelling techniques. One of the most innovative approaches involves leveraging technologies like 360-degree videos, augmented reality (AR), and interactive graphics, which offer unprecedented levels of audience engagement. The New York Times has been a pioneer in this field, using AR features to let readers explore major events in detail, such as NASA’s Mars missions. This shift toward more interactive storytelling has also earned The New York Times recognition, with one of its articles receiving a Pulitzer Prize, catalysing a global movement towards integrating these engaging formats into journalistic practices.
Similarly, the Financial Times has embraced gamification by introducing ‘news games’ and interactive experiences that explore complex topics like the gig economy and the US-China trade war.
Scrollytelling, a technique employed by media outlets such as The New York Times, BBC, Financial Times, and Politiken, offers another avenue for interactive media experiences. The combination of data-driven charts, maps, infographics, and illustrations with interactive scrolling text enables scrollytelling to guide readers through dynamic narratives in an engaging and immersive manner. The BBC's investigative report, 'The Lost Tablet and the Secret Documents' exemplifies the effectiveness of scrollytelling in captivating audiences. Losing nothing of its content, the report gains a playful feeling, through a blend of interactive maps, satellite imagery, and text, drawing the readers into the world of a clandestine Russian mercenary group, uncovering crucial insights from an abandoned military tablet.
Customisable news represents a significant shift in how legacy media outlets are adapting to engage Gen Z, who prioritise personalisation and interactivity in their media consumption.
This was exemplified in an exclusive interview by Yoof of Jorge Palacios, journalist at the Chilean publication The Clinic who explained the evolution of legacy media to adapt to younger generations:
‘Now, we focus on topics that resonate deeply with people or impact their daily lives. Our motto, Entender es todo (“Understanding is everything”), reflects this. Young people often don’t have full clarity on how certain issues affect them directly, so our strategy is designed to meet that need by explaining and contextualising stories that connect with their lived experiences.’
Unlike previous generations, Gen Z prefers content tailored to their interests, prompting traditional media to embrace more flexible formats. For instance, platforms like NPR and BBC have developed mobile apps that allow users to customise their news feeds, choosing both topics and formats that resonate most with them.
BBC (among other legacy media outlets) is enhancing audience engagement by encouraging users to sign into their accounts, enabling tailored content recommendations and personalised alerts based on individual preferences. By tailoring updates to individual preferences, they ensure viewers get the news and programs that matter most to them, while also gathering feedback to improve their services overall.
The image below shows 8 of the 20 or so newsletter options The Economist offers its subscribers, covering topics like China, finance, U.S. politics, and global defence. By providing such a wide range of specific topics delivered straight to their audience’s inbox, The Economist gives readers the flexibility to follow the subjects that matter most to them. This approach not only meets the demand for tailored content but also helps build trust and loyalty by allowing the audience to find news sources that reflect and accompany their values and interests. This, in turn, strengthens the long-term relationship between the publication and its readers, enhancing both engagement and retention.
However the main drawback of curated news is that it can create information bubbles, limiting exposure to diverse perspectives and reducing opportunities for self-education. When users customise their news feeds based on personal interests, algorithms often prioritise content that aligns with their existing beliefs, leading to confirmation bias. This makes it harder for individuals to encounter new ideas or engage with topics outside their usual preferences. As a result, curated news can prevent people from broadening their worldview, making them less informed about issues they wouldn't typically seek out. To strike a balance, some legacy media have created generalist newsletters such as CNN’s ‘5 Things’ or The Economist’s Espresso. CNN’s newsletter delivers key stories in concise bullet points. The Economist has innovated further by creating a short-form daily news app based on Espresso, offering it for free to students in an attempt to make journalism more accessible and attract younger readers, a successful bet as Espresso which started publishing audit numbers in 2022, grew by 74% year on year to an average of 21,775 subscribers per day. These types of news offerings expose readers to diverse subjects, helping them stay informed beyond their personal preferences, thus widening their understanding of global issues. In this way, curated news doesn't have to limit users' horizons; it can be designed to expand them while still catering to individual preferences.
Another strategy which legacy media have been increasingly embracing to engage Gen Z, a demographic that is often disenchanted with traditional news narratives centred on negativity and crisis, is solutions journalism. Solutions journalism focuses on reporting not just the problems but also the responses and potential solutions to societal issues, featuring people working to find answers to society’s most pressing issues. This approach fulfils Gen Z's desire for actionable and hopeful narratives.
For instance, The Guardian has launched a dedicated section of its website to solutions journalism called The Upside, showcasing initiatives that address climate change, social justice, and other pressing issues. Such efforts not only inform but also empower younger audiences by highlighting examples of community resilience and innovative approaches to problems. This format encourages a more engaged and informed readership.
Moreover, solutions journalism aligns with the digital habits of Gen Z, who frequently consume content on social media platforms like Instagram and TikTok with a study showing that The Guardian’s solutions stories attracted, on average, 10% more readers, with almost one in 10 people tending to share positive news on social media. Here, legacy media can creatively present solutions-oriented stories through visual storytelling, infographics, and short videos that are more appealing to younger audiences. The shift towards this type of journalism also encourages collaboration with grassroots organisations, amplifying diverse voices and community-driven initiatives, which further enhances trust and relevance among Gen Z consumers.
Though solutions journalism cannot on its own represent the solution to news avoidance, legacy media can contribute to reducing the disconnect between news providers and the young generation often due to a sense of powerlessness and depression, by fostering a sense of agency and optimism, addressing Gen Z's desire for meaningful engagement with the news.
TikTok has drastically transformed the relationship between media outlets or individual journalists and their audiences. On social media, the barriers that typically exist between a reader or viewer and their source of information have largely disappeared. This shift allows for a more interactive and engaging dialogue, where audiences feel empowered to contribute to the conversation.
‘When we get comments, we not only try to answer directly, but we come up with videos to answer them. So the strategy is content, which is partially led from the community.’
Erika Marzano, Deutsche Welle
A prime example of a media organisation that has embraced this new paradigm is RTS, the Swiss public broadcasting service, which launched the platform Tataki. The media outlet has built a diverse community of nearly 3 million followers across platforms, with their TikTok being particularly significant, housing over 1.8 million subscribers. The name ‘Tataki,’ as explained by co-founder Serge Gremion, reflects a modern approach to media: ‘It has a nice ring to it and echoes pop culture. This Japanese preparation is an allegory: it's first and foremost the power of the raw, the delicacy of the snack, all served in slices (in series).’ This metaphor highlights Tataki’s mission to deliver bite-sized, relatable content that resonates with young audiences.
Tataki creators describe their mission succinctly: we ‘don’t claim to be the alternative to TV or radio, it's simply a complementary offering... That's still our aim today and nothing is ever won on digital platforms.’ This commitment to understanding the digital landscape is evident in Tataki’s content strategy, which is deeply rooted in audience involvement.
The platform’s DNA embodies the ethos of ‘making content for young people, by young people,’ ensuring that the voices of youth are not only represented but prioritised. One of the standout series on Tataki, ‘Yadebat’ (meaning ‘There is a debate’), exemplifies this engagement. In each episode, host Melissa Yafsin presents a new social issue, giving a platform to those directly affected and allowing their voices to be heard.
Topics range from understanding the impact pornography can have on our lives to overcoming anorexia. Another example of an extremely original series proposed by Tataki is My Country where Sacha Porchet and Pablo Delpedro travel to countries suffering from a bad reputation such as Kosovo or Gaza, trying to understand why through meeting young locals and talking about their daily lives.
With original series, both in-depth and short formats, and an innovative approach to engaging with their audience, Tataki illustrates the potential for legacy media to understand the needs and interests of younger generations. This model of engagement fosters loyalty and a deeper connection between the media outlet and its audience, allowing young people to see themselves reflected in the content they consume. Tataki's success could serve as a blueprint for other media organisations looking to engage with young audiences effectively, reinforcing the idea that the future of media lies in collaboration and conversation.
5/ Our takeaways from this report
It doesn’t come as a surprise that Gen Z are just simply curious about everything around them. If framed right, they’ll happily sit through an hour lecture on quantum mechanics. Why? Because this allows them to make connections and help build a wider view of the world around them. The result? An exponential growth and demand for investigative commentary pieces online - particularly on YouTube. American journalist Phil Edwards, an ex-Vox journalist, exemplifies the shift towards independent, niche-driven journalism on youtube. Leaning fully into his interests, Phil’s core focus – using business and tech as a lens for history has found an ever growing success on YouTube and has been able to capture curiosity across the generations through his engaging in-depth narratives.
‘One thing I consistently notice is the intelligence of everyone I encounter. This reflects my experience with the Vox audience, where I never felt pressured to oversimplify my content.’
Phil Edwards
Each of these long-form creators has their unique editorial focus, yet they share a key insight: never underestimate your audience’s intelligence and never overestimate their prior knowledge.
Big faceless brands are rapidly losing appeal. What was once a symbol of trust has now become a symbol of distrust. Gen Zers are increasingly seeking transparency, demanding not only that brands operate openly but also give back to the communities they source from and serve.
Behind-the-scenes content has been a lifeline for many legacy media brands. Leanna Byrne, a journalist from the BBC, serves as a successful example of how journalists can humanise and build trust for their organisation. Her video, showcasing how a BBC journalist handles breaking news (see example below), performed well, generating over 731,000 views on TikTok.
‘A video my audience really liked was an explainer of how you deal with breaking news... people to understand what is going through a producer's mind. I think it humanises it... lifting the lid and being a little bit more transparent.’
Leanna Byrne, BBC
We see a world moving away from transactional content creator relationships to one that is mutually beneficial and is centred around collaboration. Gen Zers see content creators as an extension to their identity and beliefs. Many Gen Zers see their favourite content creator as their close friends, someone they can relate to and invest in their life experiences.
Apple surprisingly has understood this dynamic and has taken the time to discover influential news content creators globally - one of them being Natalia Sisik, a Polish bedroom reporter. The results were clear, Natalia through her organic TikTok coverage of this year's Apple Event generated a staggering 6.4 million views.
This presents an exciting opportunity for brands to build deeper loyal relationships with news content creators by offering them ‘live experiences’ to events where content creators can share their authentic feelings and thoughts. This has already worked very well for the NFL, through their ‘Creator Week’ campaign which saw:
- 27 creators invited to 24 games in just 23 weeks
- The collaboration generated 150 million impressions
- 46.5 million views
- 2 million engagements
- 4,200 paying subscribers
Finally, inviting news content creators to exclusive spaces will allow their audience who relate to them to live it out themselves, sparking curiosity and attracting a large segment of Gen Zers who may not necessarily be interested in a specific domain to learn more.
Hyper-local news is an emerging trend that resonates strongly with Gen Z. These formats offer a more relatable and actionable approach to news, addressing their desire, evidently grown post-pandemic for community connection. Today, there is a noticeable disconnect between Gen Z and traditional media which often fails to meet the needs and preferences of younger audiences who seek in-depth analysis, positive outlooks, and practical actionable information.
Another way hyper-local content outperforms traditional media is that it is able to better address issues that directly impact local communities. It is better in addressing economic and social concerns of the community, such as healthcare, housing, job availability, and environmental issues.
Hyper-local news outlets, such as Narcity serve as leaders, focusing on providing news and information specific to a particular neighbourhood, city, or community throughout Canada. They include local breaking news events, travel guides, profile local celebrities and give tips and tricks relevant to their audience. This allows Gen Z to stay informed about local issues and events that directly impact their lives. By featuring relatable content and local voices, these outlets foster a sense of community and belonging.
The following graph shows that throughout the world many markets have shown interest in local news content, highlighting that demand is especially high in markets where a robust local news presence already exists.
The power of sound amongst Gen Z can be summed up by the exponential growth of TikTok. Unlike platforms like Facebook or Linkedin that cater to ‘silent feeds’, Tik Tok thrives on its ‘sound on’ experience. Tik Tok reports that half of its users believe music makes content more engaging and energetic, with 88% stating that sound is essential to their overall experience.
- Enhanced Storytelling: sound adds depth to content, making it more engaging and relatable. It helps convey emotions and personal stories more effectively.
- Achieve Virality: most popular content amongst Gen-Z are usually through content with sound, this is either music or a sound bite (from a film or creator). To sum this up, one in three TikTok users discover new videos through sound on their For You Page (FYP).
‘I think that nowadays, the sound is a very essential component of how you create an engaging narrative’
Victor Marcello - QoT, Brazil
In news content creation, leveraging sound- whether through ambient background audio, strategic edits, or even audio only formats such as podcasts, create a richer, more compelling narrative for a generation attuned to both the visual and auditory aspects of content.
Gen Z's parasocial relationships are deep and personal. They form strong connections with public figures, seeking personalised engagement and community, reflecting their desire for deeper connections with those they follow and engage with online.
Research from Cumbria University has shown that parasocial relationships have a notable impact among Gen Zers, as they provide positive self-perception, act as a coping mechanism, give a sense of purpose, invoke strong emotional responses, and foster social engagement and friendships. In sports, around 80% of Gen Z fans follow a professional athlete online, which strengthens their engagement and loyalty to both the athletes and the sports they participate in.
Deutsche Welle, in Germany, serves as a successful example of attaching familiar faces to their TikTok presence can foster parasocial relationships.
‘All of our accounts feature one or more hosts, who are quite different from traditional news anchors - not just in age, but in personality too. Instead of delivering the news in a preachy or instructive way, our hosts engage the audience in a peer-to-peer conversation. It’s not about telling viewers how or what to think; it’s more about creating a dialogue.’
Erika Marzano, Deutsche Welle