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1、An introduction to Deloittes2024 Digital Media TrendsAs streaming,social,and gaming converge,companies should consider comprehensivestrategies to de?ne media and entertainmentsfutureor they could risk living in someoneelses vision.ARTICLE7 MINUTE READThis years Digital Media Trends report points to

2、continued disruption for media and entertainmentnotjust from streaming,social,and gaming,but also from the ways these media and their technologies areweaving together and enabling new combinations.From so much change and disruption,however,the newlandscape is becoming clearand it may demand that pro

3、viders move beyond their core businesses.Todrive discovery,engagement,and monetization of their intellectual property and services,media,andentertainment(M&E)companies may need holistic strategies that operate across TV and?lm,social mediaand user-generated content,and interactive and immersive gami

4、ng.In 2024,our study shows that the map of M&E appears exponentially larger than it did just a decade ago,and the lands are no longer divided by clear borders.Consumer expectations of media and entertainmentmay now be shaped more by social media,content creators,and video games than by TV and?lms.Ho

5、wpeople weigh the value of entertainment options appears to be changing shape as well.Our survey data shows that US consumers are questioning the value of streaming media while alsodeclaring their unwillingness to ever pay for social media.Just as streaming video providers are rebuildingthe ad model

6、s that buoyed pay TV,fewer people surveyed are moved by commercial advertising and,instead,seek recommendations from trusted creators and in?uencers to help them navigate and?nd value.More are turning to online multiplayer video games for virtual friendship,content discovery,and brand andfranchise i

7、nteractions.Although technology has enabled much of the change we see,its the needs,behaviors,and expectations ofyounger generations that are demanding the change.Millennials and Gen Zs(and the Alphas that followthem)show both how diverse America has become,and how people increasingly live and socia

8、lize beyondphysical geography,tugging at an early metaverse.Together,those Americans 41 years and youngerrepresent more than half the population of the United States.1Theyre the collective faces of a growingdiversity in ethnicity,race,gender identity,sexual orientation,and neurodiversity.Our study s

9、hows howpeople expect media and entertainment to re?ect this reality,and how some key demographicslikewomen gamersremain underserved and underutilized by providers.1Despite so much change and disruption,M&E companies can leverage tools and talent to their advantage.Social media creators and in?uence

10、rs can be tour guides and tastemakers,facilitating discovery,hype,andtrust.Fans and fan communities can o?er stalwart companionship to artists,personalities,stories,andfranchises,helping to make it easier for studios and providers to expand their intellectual property andcross into new media.Many pe

11、ople spend idle time in a handful of social media services that haveaggregated billions of users.On social media,people discover new and old content,gatherrecommendations for what to watch and listen to and buy,and get caught in the updrafts of hype andvirality.For all M&E providers,social media sho

12、uld be a primary destination to reach and engageaudiences.It should be considered instrumental to customer acquisition and retention.Technologies are there to help,ready to do more heavy lifting than ever.Data,algorithms,and arti?cialintelligence can help enable providers and creators to develop mor

13、e compelling content and experiences andmatch them to the best audiences,fans,and tastemakers.Our study shows that US consumers want thekinds of personalization and customization of content experiences that they have come to expect fromsocial media services.When they discover content and products,wh

14、ether on streaming,social,or games,they want to be able to easily and immediately make purchases and add to libraries.And more want tofollow their favorite stories across TV shows,movies,and video games.Generative AI could drive additional change on all these fronts,while potentially unlocking entir

15、ely newtools and experiences.Its already empowering content creators and disrupting industrystandards.2Although 70%of our respondents say they would rather watch a TV show or movie written bya human than one written by generative AI,42%feel that generative AI and humans can each deliverentertaining

16、content.And 22%feel that generative AI could even write TV shows and movies that are moreinteresting than humans.Gen Zs and millennials are leading the way in experimenting with these tools:Eighteen percent of these generations have used generative AI to create images,and 25%surveyed haveused it to

17、create text.Older generations are further behind on these counts.2Although the size of the metaverse is di?cult to realize and the technology of blockchain has been di?cultto scale,generative AI appears to be expanding quickly.Savvy creators and studios should considerexperimenting with how these to

18、ols can augment human creativity and enable teams to be more productive.Generative AI could make it easier for companies and creators to improve the quality of content creationbut it could also lead to a?ood of cheap and novel content that further dissolves the boundaries between“real”and synthetic,

19、commodity and premium.Empowered by generative AI,media and entertainmentcompaniesand society at largemay be about to confront a much larger volume of novelty,content,andcreative output.Amid the disruption that has characterized the?rst quarter of the 21st century,there appears to be growingdemand fr

20、om audiences,subscribers,and gamers for more focused and intentional change to older businessmodels.Its unclear if investors agree with catching up or would rather continue“squeezing the lemon”forthe last drops of revenue from 20th century business models.Nevertheless,the assumptions and strategicbe

21、ts based on an evolution of earlier business models are running into the reality of a much broader anddeeper revolution in digital media.Companies leveraging traditional business models within their ownhistoric de?nitions may face insurmountable challenges in the new environment of connected andinte

22、rdependent digital media.They should be thinking more about the world ahead than the one theyrebeing forced to leave behind.In this years Digital Media Trends,we dig deeper into the details of how people use and value digitalmedia,o?ering M&E companies more data and insights to gain a deeper underst

23、anding of consumers andhow their interests,attitudes,and identities have changed.With this understanding,media andentertainment companies will likely be better positioned to build pro?table businesses and operate withcon?dence in a landscape that keeps shifting.Study highlights:Streaming video servi

24、ces still su?er from high costs,high churn,and competition from many quarters.Streaming providers are now rebuilding the business models that buoyed pay TV:advertising,bundles,and contracts.But can these models work well enough in the modern media landscape that seems to giveless attention to advert

25、ising and more to creators,in?uencers,and communities?Learn moreIn the United States,around 60%of our respondents identify as gamers,almost equally between menand women.Yet,women gamers continue to face challenges with harassment,bullying,and stereotypesin games and game communities.At a time when m

26、orelive service games and multiplayer experiencesare driving investments(and costs),many women prefer solo mobile games and story-driven adventures.For gaming to continue growing,the gaming industry should consider ways to serve women gamersbetter.Learn moreOnline creators and in?uencers are media s

27、tars,tastemakers,and tour guides,directing their fans toproducts,brands,experiences,and media content.Traditional media companies may need to developsymbiosis with creators and platforms,while acknowledging the tension inherent in competition forviewers and ad dollars.Learn moreFor many people,being

28、 a fan is core to their identity.Whether its video games,TV and moviefranchises,musical acts,or sports teams,fans are willing to spend and follow their favorites acrossentertainment platforms.Identifying fan-worthy franchises early on,fostering fandom,and providingmore ways for customers to engage(a

29、nd spend)could be essential for M&E companies looking for morerevenue and loyalty.Learn moreGeneration Z and millennials(and Generation Alpha that follow them)are the most diverse generationsin American historyin terms of ethnicity,race,gender identity,sexual orientation,and neurodiversity.3They wan

30、t media and entertainment that re?ects the world they see,and the lives they live.Learn moreMethodologyThese insights are based on an online survey of 3,517 US consumers that was conducted in October 2023.Throughout thisreport,we reference generations.Our generational de?nitions are as follows:Gener

31、ation Z(1997-2009),millennial(1983-1996),Generation X(1966-1982),boomers(1947-1965),and matures(1946 and prior).The survey was?elded by an independentresearch?rm and all data is weighted back to the most recent Census to give a representative view of US consumers.Endnotes1.William H.Frey,“Now,more t

32、han half of Americans are millennials or younger,”The BrookingsInstitution,July 30,2020.2.Chris Arkenberg,“Generative AI is already disrupting media and entertainment,”Deloitte Insights,June29,2023;Chris Arkenberg,“Will generative AI challenge authenticity in social media?,”Deloitte Centerfor Techno

33、logy,Media and Telecommunications,accessed February 2024.Continue the conversationMeet the industry leaderKevin Westco?Vice chairperson|Deloi?e USTechnology,Media&Telecommunications leader|Deloi?eLLPJana ArbanasDeloi?e US Telecommunications,Media&Entertainment sector leader|Deloi?e&Touche LLPJe?Louc

34、ksExecutive director|Deloi?e Center forTechnology,Media&Telecommunications|Deloi?e ServicesLPByJana ArbanasUnited StatesKevin Westco?United StatesJe?LoucksUnited StatesChris ArkenbergUnited StatesBrooke AuxierUnited StatesBree MathesonUnited States4AcknowledgementsThe authors would like to thankAkas

35、h Rawatfor his work in analyzing survey data and highlighting insights,as well as hiscontributions to shaping the direction of the overall study.They would also like to thank Sathiya S.and Ankit Dhameja fortheir contributions to survey development and secondary research support,and Gautham Du?for hi

36、s design andvisualization support.The authors would like to recognize Andy Bayiates and Molly Piersol for their partnership,alongwith their editorial and design contributions.The authors also want to sincerely thank Kevin Downs and Amy Booth fortheir support and guidance throughout the process.Data

37、science and survey advisory by:David LevinCover art by:Manya Kuzemchenko5Streaming video at a crossroads:Redesign yesterdays models orreinvent for tomorrow?With 36%of Americans surveyed believingcontent on SVOD isnt worth the money,providers shouldnt assume that advertising,bundles,and contracts are

38、 enough to help theirbusiness.ARTICLE7 MINUTE READIn the past few years,leading TV and movie companies have responded to the disruption of streaming videoby launching their own streaming services.To attract subscribers,they invested more in content for theirservicesand sold it to subscribers for les

39、s than what they charged consumers for pay TV and theatricalreleases.1 This strategy,combined with minimal friction for consumers to cancel streaming subscriptions,has led to underperforming services.2 Now,in hopes of making their streaming video on demand(SVOD)services pro?table,theyre trying to re

40、build pay TV business models like advertising,contracts,andbundling.But is this path enough to meet the larger changes in media and entertainment that have toppledthe dominance of TV and movies?For SVOD providers,acquiring customers,reducing SVOD churn,and deepening retention on their servicesare st

41、ill some of the most important challenges.Costs of acquiring subscribers are high,and the costs ofreacquiring subscribers that have already churned can be even higher.3 In the competitive and fragmentedenvironment of modern media,delivering engaging TV and?lms may not be enough to meet thesechalleng

42、es.This years Digital Media Trends study further underlines how the once-distinct categories of media andentertainment continue to converge and interconnect,while audiences are becoming more fragmented andspecialized.The value that consumers expect from digital media and entertainment is being incre

43、asinglyshaped by their experiences with social media and gaming.This is a generational shift,as shown by ourstudy.However,given that the eldest millennials are headed into their forties in 2024,its no longer merely“younger generations”who are giving their time equally to TV and movies,social media a

44、nd user-generatedcontent,and immersive and social gaming.Its in this broader environment that SVOD providers should consider competing for attention andengagementand working hard to better monetize their intellectual property.How should their servicesevolve to reinforce content discovery and unlock

45、monetization opportunities?How should SVOD providersuse social media,gaming,and fandoms to help drive acquisition and retention for their services?If theyfocus too much on rebuilding the past of pay TV,SVOD providers may miss out on the opportunity toreimagine the streaming video experience and de?n

46、e a more compelling and enduring tomorrow.6US consumers may be reaching their limits on SVOD pricehikesThis years Digital Media Trends shows that US households are spending more on streaming videosubscriptions,but they may be reaching their limits.On average,US subscribing households spend US$61per

47、month on four SVOD services.Additionally,68%of consumers surveyed pay for either a TVsubscription or live streaming TV to not only access content not available on streaming video,but alsostreamline billing for both broadband and TV and access SVOD through their pay TV service.For many UShouseholds,i

48、t may be getting more expensive to watch TV and?lms at home.Cheaper,ad-supported tiers may o?er some relief for SVOD subscribers:Around 46%of householdssubscribe to at least one ad-supported tier of a paid service as part of their lineup,and 57%use a free,ad-supported service.The overall percentage

49、of respondents who have cancelled any paid SVOD service in thepast six months has softened a bit,to 40%from 44%last year.This suggests that tiering and even bundlingmay be helping with retention,though churn remains considerably higher for younger generationsaround53%for Gen Zs and millennials surve

50、yed,who also subscribe to and pay for more services.Over half of USconsumers say they would agree to a year-long SVOD subscription if it o?ered a discounted rate.However,SVOD providers may still need to work hard to show their value:Thirty-six percent of consumersacross generations surveyed say that

51、 the content available on streaming video services isnt worth the price.This suggests that subscription price hikes may be approaching their peak:Forty-eight percent say theywould cancel their favorite paid SVOD service if monthly prices went up by US$5.For US consumerssurveyed,price is still the do

52、minant factor in how they value a paid SVOD subscription.7Is commercial advertising the right bet for SVODproviders?To help enable more a?ordable subscription tiers,SVOD providers are working to unlock advertisingrevenues.Theres a bit of a gambit here:Cheaper,ad-supported tiers can lower subscriptio

53、n revenues whileputting more weight on ad revenues,which,in turn,requires streamers to show more value to advertisers.This may put them in competition for ad budgets that advertisers increasingly spend on more targetedsocial media campaigns.4Providers may hope that migrating audiences from pay TV on

54、to ad-supportedstreaming services could rebuild the historic pro?tability of pay TV.This hope,however,may be based moreon past successes than on modern media and entertainment behaviors.People arent being moved by the kinds of commercial advertising typical to TV and streaming video,especially young

55、er generations:Eighteen percent of those surveyed under 41 years old say ads on SVODservices in?uence their purchasing decisions,compared to 54%who say ads on social media in?uence theirpurchasing decision the most.Part of this is that ads on streaming services tend to be repetitive and notrelevant

56、to speci?c viewers.5Younger generations are also savvier to persuasion and are more inclined totrust creators and in?uencers on social media than brand advertisements.Based on how they allocate theirad dollars,advertisers and agencies seem to understand this realitybut do SVOD providers?In their hop

57、es to retain subscribers with lower prices,SVOD providers are taking on a new kind ofcustomer:advertisers.Will SVOD providers be able to show enough value to advertisers?Maybe.But theymay need to build stronger relationships with agencies and better ways to measure impressions andconversions.They wi

58、ll likely have to invest more in modeling and matching algorithms.Still,many SVODproviders dont have the audience size to drive the same economics for advertisers that pay TV has.6People expect customization and personalizationSVOD providers may want to rebuild pay TV,but do consumers?US consumers m

59、ay be willing to enduremore ads and be corralled into bundles,but they may not be willing to give up the degree of customizationthey gained from unbundling pay TV,or the personalization they enjoy from social media.78This highlights the competitive challenges that streamers face from social video se

60、rvices whose very DNA isdata-driven and algorithmic.Social media usersbillions of us,it should be notedcan select the accountsthey follow la carte,and these selections inform the algorithms that recommend related accounts andcontent.SVOD providers have been challenged to show similar capabilities.De

61、loittes study found that afull 60%of Gen Zs surveyed prefer watching user-generated content videos because they dont have tospend time searching for what to watch,and 54%of Gen Zs and millennials believe they get betterrecommendations for TV shows and movies to watch from social media than from stre

62、aming video services.Its a reminder that those surveyed under 41 years old prefer social media videos to any other form of videocontent,and why so many ad dollars?ow to social media.With the arrival of generative AI contentcreation tools in social media services,the volume of competitive contentand

63、its qualitycould risedramatically.8It should also be a reminder to SVOD providers and TV and?lm studios that engineeringdiscovery and buzz for their o?erings requires more than just targeted recommendations on their services.To reach the masses,many of whom may spend more of their entertainment time

64、 on social media services,SVOD providers should also have a strong social media strategy.This may be critical to customeracquisition and retention of existing subscribers.Disruption of media and entertainment is the new normalThis data may be sobering to SVOD providers,but it can o?er a path forward

65、,albeit a costly one.Peoplewant more choice over what they see,better content recommendations from services,and innovations inadvertising.Almost 50%of respondents say they would spend more time on streaming video services if itwas easier to?nd content,and around 75%of Gen Zs and millennials would li

66、ke a bundle that lets themsearch for content across all their streaming video services.Forty-two percent of consumers surveyed wouldbe willing to watch ads on SVOD if they were more personalized to their interests.Nearly 40%of thosesurveyed under 41 years old would like the ability to click on the a

67、dvertisements they watch on SVOD toget more info about a product and have the option to purchase it directly.9Recent advances in generativeAI for visual recognition could make it easier for audiences to quickly identify goods on the screen,but sofar,this opportunity is being captured by mobile devic

68、es,not SVOD providers.10This points to yet another likely revolution ahead for digital and streaming TV:getting the right contentand products in front of the right eyes,with an interface that makes it simple to quickly identify andpurchase embedded content and products.Streaming providersand all med

69、ia and entertainmentcompaniescould learn from social media and content creators.9The biggest challenge for SVOD providers and studios may be philosophical:They no longer address amass culture,but rather a fragmented landscape of competing digital entertainment options.Trying torebuild pay TV busines

70、s models around streaming services could help reduce SVOD churn and slowattrition in the near term,but the long game for success will likely involve reinventing the medium to bemore personalized,more shoppable,and more social.Providers will also likely need to widen their scopebeyond TV and?lms to r

71、each modern audiences and make their intellectual property work across socialand video games.The industry has had 20 years to understand the size and shape of the streamingdisruption.Now they should come together to work to build something truly contemporary.Key takeawaysPeople will likely balance c

72、osts and content with ad-supported tiers,contracts,and more bundles,butthese may be short-term solutions to preserving pro?tability.Social media and unbundling pay TV havetrained consumers to expect more customized and personalized content and advertising.These are leversto build greater consumer en

73、gagement and value.For example,around half of consumers surveyedwould spend more time on SVOD services if content discovery was easier.SVOD providers should see social media as a model for delivering engaging content to users andenduring value to advertisers.SVOD providers should also see social med

74、ia as the nexus of discoveryand buzz to drive support for their own content o?erings.The TV and?lm industry should consider that going direct-to-consumer with SVOD services demandsmore than just repackaging the pay TV experience.SVOD providers now operate in a very di?erentworld,and how consumers va

75、lue media and entertainment has evolved.MethodologyThese insights are based on an online survey of 3,517 US consumers that was conducted in October 2023.Throughout thisreport,we reference generations.Our generational de?nitions are as follows:Generation Z(1997-2009),millennial(1983-1996),Generation

76、X(1966-1982),boomers(1947-1965),and matures(1946 and prior).The survey was?elded by an independentresearch?rm and all data is weighted back to the most recent Census to give a representative view of US consumers.ByKevin Westco?United StatesJana ArbanasUnited StatesChris ArkenbergUnited StatesJe?Louc

77、ksUnited States10Endnotes1.Jana Arbanas,Je?Loucks,and Chris Arkenberg,Can SVOD survive the future of media?,Deloitte,2023.2.Doug Shapiro,“One clear casualty of the streaming wars:Pro?t,”Medium,October 28,2020.3.Chris Arkenberg,Paul Lee,et al,“As the world churns:The streaming wars go global,”Deloitt

78、e,December 1,2021.4.Beth Kindig,“Ad spending growth to accelerate in 2024,”Forbes,December 27,2023.5.Kevin Westcott,Jana Arbanas,Chris Arkenberg,Brooke Auxier,Je?Loucks,and Kevin Downs,“2023Digital media trends:Immersed and connected,”Deloitte Insights,April 14,2023.6.Parker Herren,“Why advertisers

79、arent moving to streaming TV as quickly as viewers,”Ad Age,August31,2023.7.Arbanas,Loucks,and Arkenberg,Can SVOD survive the future of media?.8.Chris Arkenberg,“Will generative AI challenge authenticity in social media?,”Deloitte Insights,October,2023.9.Brooke Auxier and Dennis Ortiz,“The future of

80、shoppable media can build on the success of socialshopping,”Deloitte Insights,September 2023.10.Jared Newman,“Google has some new AI search tricks,”Fast Company,January 17,2024.AcknowledgementsThe authors would like to thankAkash Rawatfor his work in analyzing survey data and highlighting insights,a

81、s well as hiscontributions to shaping the direction of the overall study.They would also like to thank Sathiya S.and Ankit Dhameja fortheir contributions to survey development and secondary research support,and Gautham Du?for his design andvisualization support.The authors would like to recognize An

82、dy Bayiates and Molly Piersol for their partnership,alongwith their editorial and design contributions.The authors also want to sincerely thank Kevin Downs and Amy Booth fortheir support and guidance throughout the process.Data science and survey advisory by:David LevinCover image by:Manya Kuzemchen

83、ko11For women playing video games,its(still)a mans worldIs the video game industry leaving half thepopulation underserved?ARTICLE8 MINUTE READThere are just as many women playing video games as men and boys.In this years Digital Media Trendsstudy,approximately 60%of Americans surveyed,across genders

84、,spend an average of nine hours per weekplaying video games.However,there are distinct gender di?erences that may be fragmenting gamers andlimiting growth of key segments,like live service games(online multiplayer games).1Despite the popularity of gaming,women still seem to be looking for their plac

85、e in the video gamecommunity.Online games have been conducive to bullying and there is still a perception that gameexperiences and imagery skew toward the interests of men.2 This appears to be impacting how and wherewomen spend their gaming time.Our survey?nds that while nearly half of gamers who ar

86、e men say they spend most of their gaming timeplaying one or two live service games,just 29%of women gamers do so.3 Indeed,half of women gamerssurveyed are not interested in multiplayer games,and 69%prefer simple mobile games.With so muchemphasis on brand and franchise opportunities in live service

87、games,and so much money being spent todevelop game experiences,are providers leaving half the population out?4 We also see that 25%of surveyedwomen gamers and 16%of men gamers(one in?ve U.S.gamers overall)started playing video games in thepast four yearsafter a supposed pandemic bump.How can game co

88、mpanies work to ensure these gamerskeep playing?For the more casual gamers(who our survey indicates are more likely to be women),how cancompanies draw them to engage with big,story-driven games and live service games?The video game industry has become very successful but is also under pressure to co

89、ntrol the growing costsof developing blockbuster titles and operating live service games.5 Cost cutting may help but gamecompanies also seek more players that are paying for games,digital goods,and game experiences.Cultivating more women gamers may help but to do so,game companies should contemplate

90、 how they cancreate an environment that attracts more women to boost engagement and revenues.612Cultivating a more welcoming environment in live servicegamesOne way that could bring more women into live service games is by addressing issues of bullying andharassment.Although almost half of both men

91、and women gamers surveyed believe online multiplayergames have too much bullying and harassment,they may be impacted by it di?erently.About 30%ofsurveyed men who play games consider bullying to be part of the experience,but only 19%of womengamers surveyed feel this way.Game companies could help by d

92、riving stronger moderation of player chatter and better socialization ofnorms.Among gamers surveyed,57%of women and 53%of men agree that video game publishers shoulddo more to combat bullying and harassment in their games.Many live services have tools to monitor andmoderate text and audio chat,but t

93、he integration of generative arti?cial intelligence could make it morepowerful,adaptive,and nuanced.Early research suggests that large language models may be more capableof identifying actor intentions,moderating toxic comments,and rewarding positive contributions.7 To beclear,this isnt about making

94、 games less competitive but,rather,helping to ensure more positive experiencesfor more people.13Producing more non-gaming experiences held in live service games,like larger-than-life concerts andpromotional events,could be another way to attract more women into live service games.So far,womengamers

95、overall are not as engaged with these live,social,and non-gaming entertainment elements ofgaming:Among surveyed gamers,only 26%of women would like more non-gaming experiences inside oftheir favorite online games,compared to 40%of men.This may not be surprising given that more womensurveyed prefer so

96、lo games over multiplayer.Is this a marketing challenge for live service games to attractmore women,or a broader challenge to the industry to reset the perception that gaming is an experienceoriented toward men?8Game companies that are running live service games should also consider bringing in more

97、 brands andfranchises that lean toward womens interests,and they should work to empower the women creatingonline games-related content,like livestreams and videos.The growth of gaming over the past decade hasgone together with the rise of social live streaming services and streamers,but women creato

98、rs are facingchallenges in growing their pro?les.9Game companies should work to not only promote women creatorsand facilitate more brand partnerships with them,but to also support them against potential backlash.Inthis way,game companies could leverage creators and brands to help further normalize w

99、omen in gamingand encourage game experiences to become as diverse as the generations that enjoy them.Read articleAudiences are becoming increasingly diverse,and they expect content that re?ects the world around themSolo,story-driven adventures have the broadest appealAnother approach may be in reinf

100、orcing investment in the kinds of games that already have broader appeal.About half of gamers surveyed,(both men and women,)prefer playing solo,story-driven games.Suchgames are typically not solely based on combat and have increasingly featured strong women characters,and development of some of the

101、biggest recent titles have been led by women.10There is still work to do.A2023 analysis of 13,000 video game characters showed that these?ctional men speak twice as much as the?ctional women.11And yet,bringing more gender diversity into solo story-driven games may be helping:Among women whostarted g

102、aming in the past two years,43%surveyed prefer solo adventures in rich story-driven games.Suchgames could attract more women to gaming.Delivering these games to next generation mobile devicescould also help.While these games can be very expensive to develop and market(“AAA”titles can costover US$200

103、 million12),they may be poised to reach larger audiences,including TV and?lm executives.1314Our data shows that gamers may be especially drawn to crossovers:Forty percent of gamers surveyed wishmore of their favorite movies/TV shows had video game experiences,41%wish more of their favorite videogame

104、s had movie/TV show adaptations,and nearly half of Generation Z and millennial gamers want to seemore celebrity actors featured in video games.In 2023,the top-selling video game was a story-drivenadventure based on a popular?lm franchise.14Crossovers can create more novel experiences for fans,bringv

105、ideo fans into gaming and vice versa,and create more monetization opportunities by bringing gaming andvideo companies closer together.However,our study shows that there is more interest in crossovers amongmen,which could further indicate that this demographic is more engaged with gaming and game-rel

106、atedcontent as part of the broader media landscape.The largest game companies not only deliver experiences to massive global audiences,but they can also playa role in shaping culture through the immersive stories and social experiences they deliver.More gamecompanies should consider playing a strong

107、er role in supporting and empowering women:as gamers,streamers,employees,and innovators.Gaming companies in general should also be working to reinforceschool programs that encourage more girls to pursue careers as game developers and producers,enablingthem to further diversify their workforce.15Cult

108、ivating greater goodwill with women could go a long wayin engendering trust and creating a more welcoming environment within the industry.16In 2024,gaming is big and there are just as many women playing video games as men,showing how muchprogress there has been.But they still tend to occupy di?erent

109、 worlds.At the same time,the costs ofdeveloping and operating games are larger than ever.17Engaging and supporting more women in gamingcould drive greater revenues and innovation across the industry.Key takeaways:In the United States,just as many women play video games as men,but they tend to play i

110、n di?erentgaming categories,fragmenting the opportunities for monetization and expansion.In general,men thatgame are more engaged with,and better represented by,the games industry.This could be a missedopportunity.Live service games are dominated by men.How can services bring more women in?With bett

111、ermoderation in live service social games,more representation of women from studios and brands,moresupport for women game streamers,and more non-gaming live events that reach broader demographics.To expand gaming audiencesand expand intellectual propertystudios should also continue to deliverrich,st

112、ory-driven solo adventures that have more universal appeal.Unlike with mobile games and liveservice games,women gamers are just as likely to engage with these games as male gamers.Althoughthese games can be very expensive to produce,developers and publishers may be able to recoup morecosts if more w

113、omen are playing.MethodologyThese insights are based on an online survey of 3,517 US consumers that was conducted in October 2023.Throughout thisreport,we reference generations.Our generational de?nitions are as follows:Generation Z(1997-2009),millennial(1983-1996),Generation X(1966-1982),boomers(19

114、47-1965),and matures(1946 and prior).The survey was?elded by an independentresearch?rm and all data is weighted back to the most recent Census to give a representative view of US consumers.15Continue the conversationMeet the industry leaderKevin Westco?Vice chairperson|Deloi?e USTechnology,Media&Tel

115、ecommunications leader|Deloi?eLLPJana ArbanasDeloi?e US Telecommunications,Media&Entertainment sector leader|Deloi?e&Touche LLPJe?LoucksExecutive director|Deloi?e Center forTechnology,Media&Telecommunications|Deloi?e ServicesLPByJana ArbanasUnited StatesKevin Westco?United StatesChris ArkenbergUnite

116、d StatesJe?LoucksUnited States16Endnotes1.Our survey asked respondents about the gender identity they most closely align with.Only respondentswho identify as“women”or“men”are analyzed in this chapter.Those who identi?ed as nonbinary,transgender,agender,or another gender category were not included in

117、 the analysis due to a low samplesize.2.Andrew Fishman,“Women in gaming:A di?cult intersection,”Psychology Today,January 8,2022;Daria J.Kuss,Anne Marie Kristensen,A.Jess Williams,and Olatz Lopez-Fernandez,“To be or not to bea female gamer:A qualitative exploration of female gamer identity,”Internati

118、onal Journal ofEnvironmental Research and Public Health 19,no.3(2022):p.1169.3.To determine the percentage of“gamers”we asked,“During a typical week,approximately how manyhours do you spend playing video games of any kind across all devices?”Anyone answering between“2hours or less per week”and“more

119、than 30 hours per week”versus“I dont ever play video games,”quali?ed as a“gamer.”4.Je?rey Rousseau,“95%of studios are working on or aim to release a live service game,”GamesIndustry.biz,February 2,2024.5.Matthew Ball,“The tremendous yet troubled state of gaming in 2024,”MatthewBall.co,January 23,202

120、4.6.Tomoko Yokoi,“Female gamers are on the rise:Can the gaming industry catch up?,”Forbes,March 4,2021;Vickie Chen,“Leveling up the gaming gender gap,”Forbes,August 24,2023.7.Henrik Axelsen,Johannes Rude Jensen,Sebastian Axelsen,Valdemar Licht,and Omri Ross,Can AImoderate online communities?,ArXiv.o

121、rg,2023.8.Alyssa Mercante,“Dear video game industry,please name a woman,”Kotaku,November 14,2023.9.Katie Mather,“Pokimane speaks out about the double standards female streamers deal with,”In TheKnow,June 27,2023.10.Alexandria Dale,“15 of the best video games made by women,for women,”Glamour,February

122、 11,2022.11.University of Glasgow,“Largest study of video games reveals men say twice as much as women,”May24,2023.12.Amelia Zollner,“Major publishers report AAA franchises can cost over a billion to make,”IGN,May 1,2023.13.Chris Arkenberg,Je?Loucks,Kevin Westcott,and Hanish Patel,“Cinematic and int

123、eractive universes:Games and studios come together to bring the biggest stories to life,”Deloitte Center for Technology,Media&Communications,accessed February 2024.1714.Eddie Makuch,“The 20 best-selling games of 2023 in the US,”GameSpot,January 19,2024.15.Patricia Karounus,“5 women share how they ma

124、de your favorite video games,”Re?nery29,March 23,2023.16.Cristina Criddle,“How long before gaming sheds sexist attitudes?,”Financial Times,October 17,2023.17.MatthewBall.co,“The tremendous yet troubled state of gaming in 2024.”AcknowledgementsThe authors would like to thankAkash Rawatfor his work in

125、 analyzing survey data and highlighting insights,as well as hiscontributions to shaping the direction of the overall study.They would also like to thank Sathiya S.and Ankit Dhameja fortheir contributions to survey development and secondary research support,and Gautham Du?for his design andvisualizat

126、ion support.The authors would like to recognize Andy Bayiates and Molly Piersol for their partnership,alongwith their editorial and design contributions.The authors also want to sincerely thank Kevin Downs and Amy Booth fortheir support and guidance throughout the process.Data science and survey adv

127、isory by:David LevinCover image by:Manya Kuzemchenko18Social media and creators driveviewers to TV shows,movies,and gamesMore people turn to social media to discoverwhats new and exciting.Media companiesshould look to creators to help driveengagement with their own o?erings.ARTICLE6 MINUTE READMedia

128、 providers and social media platforms cling to an uneasy alliance.With abundant digitalentertainment options,social platforms now directly compete for consumer attention,further straining thisrelationship.Deloittes 2023 edition of Digital Media Trends showed that Generation Zs and millennials arelea

129、ning into social,user-generated video content because its free and convenient and they can endlesslyscroll through new content that is algorithmically targeted to their interests.1 Social media lives in theirpalms,?lled with the buzzing of billions of global peers continuously ri?ng on popular cultu

130、re.Foryounger Americans,a handful of services have become the default destination for social video andentertainment.It may not be surprising that Gen Zs and millennials have been cancelling streaming videoon demand(SVOD)subscriptions more than older consumers(?gure 1).2Our 2024 Digital Media Trends

131、report?nds an even stronger shift in young consumers video preferences.Almost half(47%)of Gen Zs and a third of millennials surveyed say their favorite form of video content issocial media videos and live streams.This doesnt mean that longer-form video entertainment is fadingaway,but it does highlig

132、ht the e?ectiveness of social media algorithms and the strength of content creatorsand in?uencers.Media companiesand SVOD providers,in particularcould bene?t from studying howsocial media services drive engagement and retention.19One factor is?nding content.Social media services help solve the probl

133、em of discovery that can causepeople to go elsewhere for entertainment.For example,60%of Gen Zs prefer user-generated contentvideos because they dont have to spend time searching for what to watch.3 Social media services haveinvested in reinforcing algorithms that match users with a seemingly endles

134、s stream of relevant andpersonalized content,but this isnt just another form of TV.Viewers can connect with communities oflikeminded users,gaining a sense of belonging alongside their entertainment.4In contrast,many people report di?culties and frustrations with content discovery on SVOD services.An

135、dits not for lack of trying:Nearly 50%of those surveyed say they spend too much time looking forstreaming content to watch.Subscriber retention is critical for SVOD providers,and they should work toshow their subscribers a reason to pay for the next month of service.Yet nearly half of respondents ov

136、erallreport they often abandon an entertainment experience because they cant?nd what theyre looking for.In2024,the top six SVOD providers alone will likely spend more than US$100 billion on content.5 Viewerscant watch what they cant?nd,so much of that investment may not be maximized.SVOD providers,f

137、or their part,have been investing more in content recommendations systems,6 but theyshould also consider the importance of leveraging social media for discovery and recommendations.Creators of user-generated content often point viewers toward traditional mediaas interested observers,genuine fans,and

138、 paid ambassadors.More than half(54%)of Gen Zs and millennials believe they getbetter recommendations for TV shows and movies from social media than from SVOD services.Around athird of consumersand 59%of Gen Zssurveyed often watch TV shows or movies on SVOD servicesafter hearing about them from crea

139、tors online.A similar share say they saw a movie in a theater becausethey kept seeing conversations about it on social media.This may be due in part to algorithmic targeting,but its also likely buoyed by the buzz and virality that cansweep through social media communities.Engineering buzz is becomin

140、g more of a science,and savvybrands are learning to program for hype.720Social media platforms may be competing for time and attention,but they also o?er media andentertainment businesses valuable capabilities to promote their own o?erings and drive people back to theirservices.Social platforms and

141、content creators can be a critical marketing channel for streaming servicesand other media providers:Creators often build viewership with their fans across multiple digital services.8They can help brands and companies access larger and more speci?c audiences that aggregate aroundcreator channels,and

142、 some are even expanding into more traditional media.Some SVOD providers,forexample,are now hiring leading online creators as talent for television shows and movies.9 SVOD providersaiming to attract and retain more younger subscribers should be thinking about the many ways they cancollaborate with p

143、opular creators.Media and entertainment companies should pay attention to video games to understand and leverage socialmedia and creators.Gaming creators and the services they use can help to drive discovery and purchases.Sixty-three percent of Gen Z gamers surveyed?nd out about new games from live-

144、streamers and contentcreators on social media,and 56%report theyre more likely to trust a video game publisher if theirfavorite gaming content creator has promoted a game by that publisher(?gure 2).Gaming creators and live streamers can help brands and companies better understand gamer demographicsa

145、nd the nuances of modern video games.Accessing and engaging these demographics may be di?erent fromother media,but media and entertainment companies should not dismiss them:Fifty-seven percent of GenZ and millennial gamer respondents discover new music in video games;nearly half dont mind seeingbran

146、ded content in live service games,and more than half wish more of their favorite games had movie andTV show adaptations.Live streaming services,social video game services,and story-driven adventure gamescan all be considered part of the broader social media landscape.Social media has become a digita

147、l“connective tissue”between people,brands,and media.It supportsfandoms and communities of interest and can drive demand across other forms of media and entertainment.Media and entertainment companies can embrace social mediaespecially the content creators that fosterdiscovery and trustto help drive

148、audiences to their own o?erings.SVOD providers could evolve theirservices to better enhance personalization,nurture collaborations with creators and social media platforms,and prioritize compelling social video campaigns.21To better capitalize on creators ability to guide people toward other media e

149、xperiences,media andentertainment organizations can work to develop strong relationships with creators and their audiences.Creators can help them nurture existing fan bases,build new ones,and direct fans to their shows,movies,and games.Key takeawaysSocial platforms:Social platforms are growing compe

150、titors to TV and movies with creators working asentertainment“talent.”Platforms should continue to build deep relationships with creators to helpretain their creators in the long term.Platforms can also look beyond competition to work with studiosto support the cross-promotion of content through cre

151、ator collaborations and integrated ad campaigns.Content creators:One way content creators can grow their businesses on social platforms is bycollaborating with media and entertainment companies.They can engage in partnerships for promotingnew content and may have increasingly more options to work as

152、 talent in traditional media.Streaming services:Streaming services should look to the engagement models of social media services toimprove their own content delivery strategies,making a more concerted e?ort to leverage user data andAI technologies to target content toward individual viewers.Such inv

153、estments can be a direct line toimprove subscriber retention,for example.Streaming providers should also build relationships withcreators to generate buzz,build audiences,and potentially source talent.This might require a patient,multiplatform strategy since pro?table fandoms can be small.These e?or

154、ts have the potential to pay o?with stronger audience engagement,improved content discovery,and more fans.Gaming companies:Creators have long been a channel for promoting gaming titles and generating newfans.Gaming companies are well-positioned to pioneer the way forward by working to understand the

155、nuances of video games and the creators that share and support gaming communities.MethodologyThese insights are based on an online survey of 3,517 US consumers that was conducted in October 2023.Throughout thisreport,we reference generations.Our generational de?nitions are as follows:Generation Z(19

156、97-2009),millennial(1983-1996),Generation X(1966-1982),boomers(1947-1965),and matures(1946 and prior).The survey was?elded by an independentresearch?rm and all data is weighted back to the most recent Census to give a representative view of US consumers.ByKevin Westco?United StatesJana ArbanasUnited

157、 StatesJe?LoucksUnited StatesBree MathesonUnited States22Endnotes1.Kevin Westcott,Je?Locuks,and Jana Arbanas,“2023 Digital media trends:Immersed and connected,”Deloitte Insights,April 14,2023.2.Ibid.3.Ibid.4.Monika Ilieva,“Building a community on social media,”Forbes,December 9,2022.5.Insider Intell

158、igence,“Subscription video-on-demand(SVOD)content spending worldwide by company,2020&2024,”?gure,accessed February 2023.6.Raviteja Dodda,“Driving growth for media streaming apps:Personalization is the way,”Forbes,April20,2022.7.Ellie Calnan,“How social media in?uencers are transforming?lm marketing:

159、“They reach audiencesthat traditional publications just dont”,”Screen Daily,November 2,2023.8.Bree Matheson and Connor Seidenschwarz,“Creator economy in 3D:The platforms place in a shiftingmedia landscape,”Deloitte,accessed March 2024.9.Cameron Frew,“MrBeast closing historic$100m deal for?rst stream

160、ing TV show,”Dexerto,January22,2024.AcknowledgementsThe authors would like to thankAkash Rawatfor his work in analyzing survey data and highlighting insights,as well as hiscontributions to shaping the direction of the overall study.They would also like to thank Sathiya S.and Ankit Dhameja fortheir c

161、ontributions to survey development and secondary research support,and Gautham Du?for his design andvisualization support.The authors would like to recognize Andy Bayiates and Molly Piersol for their partnership,alongwith their editorial and design contributions.The authors also want to sincerely tha

162、nk Kevin Downs and Amy Booth fortheir support and guidance throughout the process.Data science and survey advisory by:David LevinCover image by:Manya Kuzemchenko23Beyond mass appeal:Theuntapped potential of fandomFans of certain musicians,movies,video games,TV shows,or sports teamsthough segmentedau

163、diencesdrive substantial engagement andpresent big opportunities for cross-platformgrowth.ARTICLE8 MINUTE READMedia and entertainment(M&E)companies largely focus on dominating market share and appealing to themasses.But our data suggests that focusing on segmented,hyperengaged groups of fans could p

164、rove just asvaluable.Though di?erent fan groupsmusic fans,movie fans,video game fans,TV show fans,sportsfans,and what we call“M&E super fans”are segments of the broader population,these cohortsevangelize their fandoms,are willing to follow them across platforms and ventures,and often drive outsizede

165、ngagement.Strategically pursuing these audiences may not always override the boon of mass appeal,butM&E companies might consider how to best leverage their own fan communities and lean into their fervor.Maybe unsurprisingly,analysis of our2024 Digital Media Trendsdata suggests surveyed consumers who

166、consider themselves fans1(of a music artist,movie franchise or series,TV show,video game,or sports team)are more engaged with their preferred media format than more casual consumers.Simply put:The value ofthese fans is high.Self-identi?ed fanswho skew younger and are often more diverse than the aver

167、ageconsumerare driving the success of media experiences both online and o?ine.Where movie theater andlive performance attendance,for example,have struggled to climb back from pandemic lows,these fancommunities may be the key to driving digital and in-person ancillary entertainment experiences.2Think

168、 ofthe millions of Taylor Swift fans who attended her concert in 2023,the K-pop fans booking internationaltrips to South Korea,and theBarbiefans who dressed in pink to watch the movie in theaters.3For fans:Build it and they will come.And then theyll tell their friends,too.4M&E companies have an oppo

169、rtunityto deepen their relationship with these value-rich fan groups,drive chatter and hype among them,and thenexamine how they approach their monetization and intellectual property(IP)extension strategies.So,whoare M&E fans,and how do their behaviors di?er from more casual consumers?Music fandom is

170、 salient,with about 40%of consumers surveyed saying their fandom for their favoritemusic artist is important to their identity(these are our“music fans”)(?gure 1).Not only are these musicfans more likely to pay for a streaming music service and download music from their favorite artists,butthey are

171、also more likely to follow their favorite musician in various endeavors,including following thatmusician on social media,buying merchandise,and listening to their podcasts.A third of music fans havetaken their fandom o?ine,too,by attending a live music concert in the prior three months,compared with

172、a signi?cantly smaller share of more casual listeners.Most music fans say they primarily go to live musicconcerts for theexperience,suggesting theres an important socialand communalaspect to attendingsuch events.24Movie fandoms are also diverse communities,and around a quarter of respondents overall

173、 say fandom fortheir favorite movie franchise or series is important to their identity(these are our“movie fans”).Thesefans are theatergoers:Six-in-ten movie fans have gone to the movie theater to watch a movie in the previousthree months,compared to around 40%of casual movie viewers.Beyond the thea

174、ter,movie fans are moreinterested in attending fan conventions,visiting?lm locations,buying merchandise,and attending a themepark or a live,interactive experience than their more casual counterparts.But these movie fans are interested in following their fandom in digital spaces,like video game world

175、s,too:More than half of movie fans wish more of their favorite movies and TV shows had video gameexperiences,and 60%of movie fans who are also gamers would like to see more celebrity actors featured invideo games.The franchise can be viewed as a model for this type of cross-platform expansion that s

176、ervesto engage fans both old and newand proves the value of fandom for extending IP.Though the?ctionalworld originated in books,it gained substantial popularity after the release of the?rst movie in 2001,andhas since expanded to theme parks,merchandising,video games,spin-o?movies,and even a Broadway

177、show.This model has been successful in bringing in new fans,while keeping long-time fans coming back formore,decade after decade.5Those surveyed who say their fandom for their favorite video game is important to their identity(these areour“video game fans”)are diverse and are the youngest cohort of

178、the threewith the average fan being 33years old.Engagement with gaming is a given for this group:Theyre more likely than casual gamers tohave a paid video game subscription and spend more hours playing video games per week.For these fans,their gaming fandom also provides community,socialization,and

179、a sense of belongingwhich gives itstaying power beyond a passing fad:More than half say they mainly play online games to meet up withfriends,and 42%say they have more friends in game worlds than in real life.25Outside of video games,however,these fans want to follow their favorite worlds with adjace

180、nt mediao?erings.Nearly 70%of video game fans surveyed wish their favorite video games had TV show or movieadaptations.Some studios and game publishers are already embracing fandoms in this way,like HBO andthe series,The Last of Us(based o?the video game of the same name)and Nintendos The Super Mari

181、oBros.Movie.And despite being young and tech savvy,this group is also willing to take their fandom intothe real world:Roughly one-in-?ve gaming fans would like to attend a fan convention,or a live,interactiveexperience or theme park related to their favorite video game.We also asked consumers about

182、their sports team and TV series fandoms,and the trend follows:Peoplewho consider these fandoms important to their identity are more likely than casual TV viewers and casualsports consumers to engage with sports or TV content.Then,there are those we might consider“M&E super fans”or about one-in-ten c

183、onsumers surveyedwho say their fandom for their favorite music artist,sports team,TV series,movie franchise,and videogame are all important to their identities(?gure 2).These M&E super fans are engaged across the digitalmedia ecosystem:Theyre more likely to pay for subscription video on demand(SVOD)

184、,music,and gamingservices than the average consumer,and they use multiple social media platforms,too.This narrow cohortis spending an outsized amount of their time and money with entertainment content and should beconsidered a prized audience.Since their consumption patterns are widespread,this grou

185、p can provideinsights into cross-platform engagement and content diversi?cation.M&E companies might think aboutleveraging their own versions of“super fans”in various ways,such as leaning on them to support IPextensions or drive widespread buzz and hype on social media for new cross-platform content.

186、But whilethese fans may seem like the ideal customer,they have more SVOD services than the average consumer,andthus,have a signi?cantly higher churn rate for SVOD services than non-super fans.These respondents arealso twice as likely to say they have“too many”entertainment subscriptions in the house

187、hold.Capturingand retaining these valuable super fans means developing strategies to reduce churn,like o?ering“cantmiss”cross-platform experiences and attractive bundles to cut down on cost and subscription overwhelm.26Maybe M&E brands,products,services,and content dont have to appeal to everyone.Th

188、ey just may needto appeal to the right groups of passionate fans.Fandom is often a lifelong journey rather than a weekendgetaway.Since fandom can be deeply tied to identity,fans are likely to stick around and invest in thecontent and personalities they love.Brands should aim to be right there with t

189、hem,nurturing the fandom,for the long haul.Key takeawaysM&E companies should not simply skim the surface of fan communities,but rather seek more profoundengagement and understanding.Consider going beyond generalized viewership statistics to delve intoforum discussions,messaging groups and other gran

190、ular interactions among the most loyal followers.Focusing on passionate groups of fansand M&E super fansmay pay o?for media and entertainmentcompanies who are looking to develop cross-media franchises.These committed fans are likely to havean outsized impact in terms of spend and broader hype-buildi

191、ng.Developing sensing capabilities to discover burgeoning fandoms should be top-of-mind for M&Ecompanies.Once they spot these growing fan communities,M&E companies can use engagementstrategies to take advantage of these groups and learn from them as they evolve.M&E companies should consider the inte

192、nsity of their fan bases(not just the number of viewers)whenconsidering new investment and monetization strategies.A passionate fan base(regardless of size)mightbe worth more than an audience of average,casual fans.MethodologyThese insights are based on an online survey of 3,517 US consumers that wa

193、s conducted in October 2023.Throughout thisreport,we reference generations.Our generational de?nitions are as follows:Generation Z(1997-2009),millennial(1983-1996),Generation X(1966-1982),boomers(1947-1965),and matures(1946 and prior).The survey was?elded by an independentresearch?rm and all data is

194、 weighted back to the most recent Census to give a representative view of US consumers.Continue the conversationMeet the industry leaderKevin Westco?Vice chairperson|Deloi?e USTechnology,Media&Telecommunications leader|Deloi?eLLPJana ArbanasDeloi?e US Telecommunications,Media&Entertainment sector le

195、ader|Deloi?e&Touche LLPJe?LoucksExecutive director|Deloi?e Center forTechnology,Media&Telecommunications|Deloi?e ServicesLPByKevin Westco?United StatesJana ArbanasUnited StatesBrooke AuxierUnited StatesJe?LoucksUnited StatesWenny KatzensteinUnited States27Endnotes1.A“fan”is de?ned as any respondent

196、in our survey who said their fandom for their favorite(1)musicartist;(2)movie franchise/series/sequel;(3)TV show;(4)video game;or(5)sports team,is somewhat orextremely important to their identity.2.Sarah Whitten,“More movies,more variety,more money:The box o?ce is catching up to pre-Covidlevels,”CNB

197、C,April 5,2023;Michael Paulson and Javier C.Hernndez,“Live performance is back.But audiences have been slow to return,”The New York Times,August 21,2022.3.Suzanne Rowan Kelleher,“South Korea is launching a visa just for K-pop fans,”Forbes,January 2,2024;Melissa Ruggieri,“Its o?cial:Taylor Swifts Era

198、s Tour makes history as?rst to earn$1 billion,”USA Today,December 8,2023;Mike Sullivan,“Fans?ock to theaters to celebrate the premiere ofBarbie,”CBS News,July 21,2023.4.Twitch,“Fandom enters the mainstream,”AdWeek,accessed February 2024.5.Taylor Rains,“Ive visited every o?cial Harry Potter attractio

199、n in the world and saw how the franchiseballooned into an empire raking in billions,”Business Insider India,December 18,2021.AcknowledgementsThe authors would like to thankAkash Rawatfor his work in analyzing survey data and highlighting insights,as well as hiscontributions to shaping the direction

200、of the overall study.They would also like to thank Sathiya S.and Ankit Dhameja fortheir contributions to survey development and secondary research support,and Gautham Du?for his design andvisualization support.The authors would like to recognize Andy Bayiates and Molly Piersol for their partnership,

201、alongwith their editorial and design contributions.The authors also want to sincerely thank Kevin Downs and Amy Booth fortheir support and guidance throughout the process.Data science and survey advisory by:David LevinCover image by:Manya Kuzemchenko28Audiences are becomingincreasingly diverse,and t

202、heyexpect content that reflects theworld around themDiverse communities base media spend largelyon the inclusivity of content,and the UnitedStates is only getting more diverse.ARTICLE5 MINUTE READYounger generations get a lot of attention in the media and entertainment industry,often because theyree

203、arly adopters of innovations like social media,video games,and streaming video.But beyond their tech-savviness,these generations are also inherently di?erent demographically from preceding generations,andas such,theyre shifting the de?nition of the average American consumer.Media and entertainment(M

204、&E)companies should consider investing in meeting the expectations of an increasingly diverse population tohelp win market share and keep consumers engaged.Gen Zs(those born between 1997 and 2009)and millennials(those born between 1983 and 1996),whocollectively make up a signi?cant share of the US p

205、opulation,are more diverse than those in oldergenerations,a trend that will only continue with Gen Alphas(those born between roughly 2010 and 2024)and the cohorts that follow.1 Not only are younger generations more likely to be racially and ethnicallydiverse,but theyre also more likely to identify a

206、s members of the LGBTQIA+community or beneurodiverse(meaning they see the world around them in a di?erent way,and may have a diagnosis likeautism spectrum disorder,ADHD or a learning disability).2The pro?le of the average American audience is changing,and so too are consumer expectations for M&Econt

207、ent more broadly,including TV shows,movies,and social media videos.Data from our 2024 DigitalMedia Trends study suggests that consumers from diverse groups value inclusive representation inentertainment content,expect it,and actively seek it out.Given that younger generations are more diverse,its re

208、asonable to assume that such expectations will only increase in audiences over time.29Among those surveyed,more than half of Black consumers prefer to watch TV shows and movies thatfeature people who look like them.Around half of Black and multiracial people actively seek out TV showsand movies that

209、 tell stories about underrepresented groups.But the team behind the scenes matters,too:Nearly 70%of Black consumers(and more than half of Asian,multiracial,and Hispanic and Latinxconsumers)say its important to them that TV shows and movies are written and produced by diversecreative teams.LGBTQIA+re

210、spondents are also more likely than other consumers to expect the diversity ofthe real world to show up on screen(62%compared with 45%),to seek out shows and movies that tellstories about underrepresented groups(53%compared with 32%)and say its important that TV showsand movies have diverse creative

211、 teams behind them(66%compared with 45%).Appealing to the full diversity of consumers is important to business successand currently less than athird of consumers surveyed believe the M&E industry is inclusive.3 Deloitte research found that Black,Hispanic and Latinx consumers,and LGBTQIA+audiences,dr

212、ive more than a third of the US M&Emarket,and 71%of entertainment spend among these groups is driven by feelings of inclusivity.4 Investingin inclusivity could have real business implications for production companies and streaming video-on-demand(SVOD)providers.But its not just viewers from diverse

213、audiences who want to see,and?nd valuein,inclusivity and representation in their media and entertainment content,its also consumers overallacross race,ethnicity,gender identity,age,sexual orientation,and abilities.Our 2024 Digital Media Trendsdata suggests that nearly 70%of all consumers surveyed sa

214、y that they enjoy watching TV shows or moviesthat help them learn about cultures di?erent from their own,and nearly half of all respondents say theyexpect TV shows and movies to show the same racial and physical diversity they see in the real world.Investing in inclusion could pay o?for brands:Resea

215、rch has shown that across all groups,consumers willspend more money on media and entertainment if they feel more included.530But we know that shows and movies sometimes miss the mark in terms of inclusivity and representation,6and access to inclusive content may be limited.75%of consumers surveyed s

216、ay they dont currently feelrepresented in media and entertainment.7 This may be where the broad and diverse set of creators whogenerate social media videos hold a competitive advantage.More than 40%of consumers surveyed?ndvideos on social media to be much more diverse than TV shows and moviesa?gure

217、that increases to 60%among Gen Zs,and to over 50%for Black,multiracial,Hispanic and Latinx,and LGBTQIA+consumers.It may be noteworthy then that consumer churn on SVODor the percentage of consumers who havecanceled at least one paid SVOD service in a six-month periodis highest among these same groups

218、,according to our data.The perceived diversity of social media videos may be due to the algorithms that power these platforms,and their ability to connect content with speci?c audiences that,in turn,could help to build a sense ofcommunity and belonging.If consumers engage with and follow diverse con

219、tent and follow diversecreators,the platforms will likely continue to serve that up in the feed.And our data shows that followingcreators from similar backgrounds,and those who share their values,is important to people.For example,46%of Black consumers surveyed say they are more likely to follow cre

220、ators who look like them whencompared with 24%of consumers overall.Similarly,approximately 60%of Black,multiracial,Hispanicand Latinx,and LGBTQIA+people say they tend to follow creators who share their values(compared with47%of consumers overall).However,social media videos and content creatorslike

221、movies and TV showsalso allow people to discover new things and learn about di?erent communities.Nearly 40%of thosesurveyed say they follow content creators to learn about cultures di?erent from their own.This?gureincreases to about 50%or more for Black,multiracial,Hispanic and Latinx,and LGBTQIA+pe

222、ople.In todays media ecosystem,consumers have myriad options competing for their time,attention,andmoney.For M&E companies to remain successful,they should work to understand and meet theexpectations of young,and increasingly diverse,audiences.Key takeaways:Consumers across communities expect to see

223、 inclusivity in media and entertainment content;andproduction studios,streaming services,and other entertainment providers should be mindful of thestories they tell,the talent they hire,and the behind-the-scenes professionals they recruit.Theseexpectations will likely only grow stronger as generatio

224、ns continue to be more diverse.The very makeup of the U.S.population is shifting and evolving.Entertainment companies should haveall people in mind throughout the value chain and content development life cycle.31MethodologyThese insights are based on an online survey of 3,517 US consumers that was c

225、onducted in October 2023.Throughout thisreport,we reference generations.Our generational de?nitions are as follows:Generation Z(1997-2009),millennial(1983-1996),Generation X(1966-1982),boomers(1947-1965),and matures(1946 and prior).The survey was?elded by an independentresearch?rm and all data is we

226、ighted back to the most recent Census to give a representative view of US consumers.Continue the conversationMeet the industry leaderKevin Westco?Vice chairperson|Deloi?e USTechnology,Media&Telecommunications leader|Deloi?eLLPJana ArbanasDeloi?e US Telecommunications,Media&Entertainment sector leade

227、r|Deloi?e&Touche LLPJe?LoucksExecutive director|Deloi?e Center forTechnology,Media&Telecommunications|Deloi?e ServicesLPByKevin Westco?United StatesJana ArbanasUnited StatesWenny KatzensteinUnited StatesDennis OrtizUnited StatesBrooke AuxierUnited States32Endnotes1.William H.Frey,“Now,more than half

228、 of Americans are millennials or younger,”The BrookingsInstitute,July 30,2020;Sara Lebow,“Gen Z will account for 1 in 5 people in the US.What does thatmean for marketers?,”Insider Intelligence,January 24,2023;Sara Lebow,“Gen Alpha will be morediverse than the rest of the US population,”Insider Intel

229、ligence,February 7,2023.2.Je?rey M.Jones,“LGBTQ Identi?cation in U.S.Ticks Up to 7.1%,Gallup,February 17,2022;Centersfor Disease Control and Prevention,“Data&statistics on autism spectrum disorder,”April 4,2023;Nicole Baumer and Julia Frueh,“What is neurodiversity?,”Harvard Health Publishing,Novembe

230、r 23,2021.3.Susan Goldsmith,Wenny Katzenstein,Jasmin Jacks,and Brandon Parrott-She?er,Media reimagined:How making progress on equity could help establish tomorrows leaders,Deloitte Digital,March 2023.4.Deloitte Digital,“Media reimagined:Investing in inclusive representation is the right thing to do

231、onevery level,”May 23,2023.5.Ibid.6.Josh Wilson,“How is Hollywoods Performance In Diversity and Inclusion in 2022,”Forbes,April 22,2022.7.Goldsmith,Katzenstein,Jacks,and Parrott-She?er,Media reimagined.AcknowledgementsThe authors would like to thankAkash Rawatfor his work in analyzing survey data an

232、d highlighting insights,as well as hiscontributions to shaping the direction of the overall study.They would also like to thank Sathiya S.and Ankit Dhameja fortheir contributions to survey development and secondary research support and Gautham Du?for his design andvisualization support.The authors w

233、ould like to recognize Andy Bayiates and Molly Piersol for their partnership,and their editorial and designcontributions.They also want to sincerely thank Kevin Downs and Amy Booth for their support and guidance throughoutthe process.Data science and survey advisory by:David LevinCover image by:Many

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