1、Media Consumer Survey 2022Australian media and digital entertainment insightsContents|Media Consumer Survey 2022ContentsIntroduction 03About this survey 042022 in brief 05 Mind over matter 05 Subscriptions 08 Advertising 10 Social 11 News 12 Sport 13Managing the subscription juggling act:Consumers t

2、ake control 14 The subscription stack grows 15 Subscription saturation 16 Would you like some free trials with that?19Scrimping,saving,streaming:Managing the cost of media consumption 21 Bingeing on a budget 22 Subscriptions stacks with a side of ads 23 Exploring alternative models 25Medias next hor

3、izon:The evolving role of social,UGC and the metaverse 26 The push-pull effects of social media 27 Creator or consumer?28 Welcome to the metaverse:Cutting-edge tech 29Balancing media content:The trust and influence equation 30 What influences us?31 What news do we value?32 What and who do we trust?3

4、3Sport:More than just a game 34 Sports post-pandemic recovery 35 Sport (still)a mans world?36Contacts 3702When it comes to digital entertainment,consumer choice has exploded over the past decade.The unbundling of content propositions to individual studios,broadcasters,publishers and other players ha

5、s scattered content far and wide.While growth in digital subscription penetration across subscription video on demand(SVOD),music,gaming,news and sport is slowing,we continue to stack more and more services in each of these categories.Consumers are learning to navigate this complex environment thoug

6、h and were seeing more savvy,proactive and frequent switching behaviours as consumers self-curate the perfect media bundle.Media players have responded rapidly to these increasingly sophisticated behaviours,seeking to retain share of mind and attention as subscribers feel the pinch when it comes to

7、the cumulative cost of media.This has heralded the launch of new ad-funded propositions,re-shuffling of features across paid tiers and greater flexibility in bite-sized paid access options.Audiences are becoming more comfortable with trade-offs between experience and cost,and this is spurning greate

8、r innovation in the ways organisations monetise their content.Amid competition between digital media subscription providers,the broader battle for consumers time and attention is intensifying.Social media and user generated content(UGC)is consuming a greater share of our entertainment time;acting as

9、 a single destination for content in all its forms video reels,live streams,articles,photos,music,games and even shopping.Though older generations are still more engaged with longer-form content,dedicated video platforms like TikTok continue to rise,and its becoming increasingly important to sate ap

10、petites for short-form content and lean-back experiences.Our eleventh Media Consumer Survey focuses on audience behaviours,attitudes and trends in digital media and entertainment services.We delve into the opportunities and challenges for audiences and the industry,including:The proactive approach c

11、onsumers are adopting to manage their digital media relationships in the battleground for audience attention.How increasing pressure on entertainment budgets are compelling media providers to rethink the way they attract and retain subscribers.The impact of social media and UGC on generational consu

12、mption habits.The generational differences in how news is defined and consumed,and what drives trustworthiness in information sources across providers.How engagement with sport is evolving across a much broader and more varied content experience.IntroductionIntroduction|Media Consumer Survey 2022Thi

13、s years survey provides a broad snapshot of audience behaviour during a period of changing market dynamics in a post-pandemic setting,with new perspectives and insights,and vigorous conversation relevant for your organisation.03About this survey|Media Consumer Survey 2022The 2022 edition of the Medi

14、a Consumer Survey provides insight into how Australians across five generations(from Gen Z to Matures)consume media and entertainment,particularly through digital channels.We investigate how this has changed over time;examine the behaviours,preferences and trends impacting the industry;and infer how

15、 they may change in the future.About this surveySurvey participant age groupsMillennials25-38In its eleventh consecutive year,our survey was again conducted by an independent research organisation using self-reported survey data gathered from more than 2,000 consumers across Australia.As in all prev

16、ious years,there have been amendments to the list of questions to ensure all data collected is relevant.This allows us to explore new and emerging behaviours and trends in media and entertainment consumption.This year,alongside general updates,we have revitalised our questions related to trust and i

17、nfluence of news as well as the next horizon of media given the relevance at both a global level as well as for Australia.Will CastlesPartner Consulting National Tech,Media&Telco Industry L.auPeter CorbettPartner Consulting National Telco L.auJeremy Smith Director Consulting National Media&Entertain

18、ment L.auGen Z16-24Gen X39-55Boomers56-74Matures75+042022 in brief|Media Consumer Survey 2022GEN ZAGE:16-24Are exceeding their target monthly entertainment budgetHave at least onepaid entertainment subscriptionHave three or morepaid entertainment subscriptionsHave cancelled oneor more subscriptionsi

19、n the last six monthsAverage number ofpaid entertainment subscriptions in the householdWeekly hours spent watching catch up free-to-air TVWeekly hours spent watching paid movie/video streaming Weekly hours spent watching video on social media 9.32.8Weekly hours spent watching live free-to-air TV 113

20、.33.151%84%Have added oneor more subscriptionsin the last six months31%31%Browsing the internetBrowsing social mediaWatching paidTV/movie servicesWatching paidTV/movie servicesAre exceeding their target monthly entertainment budgetHave at least onepaid entertainment subscriptionHave three or morepai

21、d entertainment subscriptionsHave added oneor more subscriptionsin the last six monthsHave cancelled oneor more subscriptionsin the last six monthsSpend most of their social media time on:Get their news most frequently from:Social media|Digital news aggregators|TelevisionTOP 3 HOME ENTERTAINMENT ACT

22、IVITIESAverage number ofpaid entertainment subscriptions in the householdWeekly hours spent watching catch up free-to-air TVWeekly hours spent watching paid movie/video streaming Weekly hours spent watching video on social media 11.45.1Weekly hours spent watching live free-to-air TV 6.58.14.5Watchin

23、g live free-to-air TVBrowsing the internetTOP 3 HOME ENTERTAINMENT ACTIVITIES95%73%56%63%43%OVERALLMind over matterA generational snapshot:age,not just a numberSection title goes here33%#1#2#3#1#2#3Spend most of their social media time on:Get their news most frequently from:Television|Newspaper|Radi

24、oAverage monthly spend on digital entertainment subscriptions$62Average monthly spend on digital entertainment subscriptions$82052022 in brief|Media Consumer Survey 2022Average monthly spend on digital entertainment subscriptions$84Average monthly spend on digital entertainment subscriptions$56Brows

25、ing social mediaBrowsing the internetWatching paidTV/movie servicesAre exceeding their target monthly entertainment budgetHave at least onepaid entertainment subscriptionHave three or morepaid entertainment subscriptionsHave added oneor more subscriptionsin the last six monthsHave cancelled oneor mo

26、re subscriptionsin the last six monthsTOP 3 HOME ENTERTAINMENT ACTIVITIESAverage number ofpaid entertainment subscriptions in the householdWeekly hours spent watching catch up free-to-air TVWeekly hours spent watching paid movie/video streaming Weekly hours spent watching video on social media 9.73.

27、1Weekly hours spent watching live free-to-air TV 5.64.74.267%94%50%38%53%Browsing the internetWatching paidTV/movie servicesWatching live free-to-air TVAre exceeding their target monthly entertainment budgetHave at least onepaid entertainment subscriptionGEN XAGE:39-55Have three or morepaid entertai

28、nment subscriptionsHave added oneor more subscriptionsin the last six monthsHave cancelled oneor more subscriptionsin the last six monthsSpend most of their social media time on:Get their news most frequently from:Television|Printed newspapers|Social mediaTOP 3 HOME ENTERTAINMENT ACTIVITIESAverage n

29、umber ofpaid entertainment subscriptions in the householdWeekly hours spent watching catch up free-to-air TVWeekly hours spent watching paid movie/video streaming Weekly hours spent watching video on social media 9.52.1Weekly hours spent watching live free-to-air TV 10.12.62.849%84%28%27%32%MILLENIA

30、LSAGE:25-38Spend most of their social media time on:Get their news most frequently from:Social media|Television|Printed newspapersSection title goes here#1#2#3#1#2#3Mind over matterA generational snapshot:age,not just a number062022 in brief|Media Consumer Survey 2022Watching paidTV/movie servicesWa

31、tching live free-to-air TVAverage monthly spend on digital entertainment subscriptions$43Average monthly spend on digital entertainment subscriptions$47Are exceeding their target monthly entertainment budgetHave at least onepaid entertainment subscriptionHave three or morepaid entertainment subscrip

32、tionsHave added oneor more subscriptionsin the last six monthsHave cancelled oneor more subscriptionsin the last six monthsTOP 3 HOME ENTERTAINMENT ACTIVITIESAverage number ofpaid entertainment subscriptions in the householdWeekly hours spent watching catch up free-to-air TVWeekly hours spent watchi

33、ng paid movie/video streaming Weekly hours spent watching video on social media 8.22.3Weekly hours spent watching live free-to-air TV 17.61.11.932%73%11%19%10%Browsing the internetWatching live free-to-air TVWatching pay TV(live or on-demand)Are exceeding their target monthly entertainment budgetHav

34、e at least onepaid entertainment subscriptionMATURESAGE:75+Have three or morepaid entertainment subscriptionsHave added oneor more subscriptionsin the last six monthsHave cancelled oneor more subscriptionsin the last six monthsSpend most of their social media time on:TOP 3 HOME ENTERTAINMENT ACTIVIT

35、IESAverage number ofpaid entertainment subscriptions in the householdWeekly hours spent watching catch up free-to-air TVWeekly hours spent watching paid movie/video streaming Weekly hours spent watching video on social media 5.22.8Weekly hours spent watching live free-to-air TV 21.60.51.632%64%6%8%1

36、6%BOOMERSAGE:56-74Spend most of their social media time on:Get their news most frequently from:Television|Printed newspapers|RadioSection title goes here#1#2#3#1#2#3Mind over matterA generational snapshot:age,not just a numberBrowsing the internetGet their news most frequently from:Television|Printe

37、d newspapers|Radio072022 in brief|Media Consumer Survey 2022Section title goes hereSVOD(TV&movies)beats all others combinedbut many have subscriptions they barely use(under one hour per month):64%TV&movies 44%Music 44%Gaming 34%News31%Sport Subscriptions Sometimes,more is more2.3Australians are stac

38、king digital entertainment subscriptions,climbing from:per household in 2021,to3.1per household in 20221.7 per household 74%TV&movies 44%Music30%Sports5%Gaming4%News0.6 per household 0.4 per household 0.1 per household 0.1 per household 082022 in brief|Media Consumer Survey 2022Every category is fee

39、ling it:but most consumers dont plan on cutting back:Monthly spend on digital entertainment is rising When facing budget cuts,digital entertainment is the 4th category:Gen Z are the biggest overspendersand only Boomers are staying close to their budget spend:and most households are overspending:$62p

40、er month in 2022($55 in 2021,up 13%)#1 Reduce overall spending on video subscriptions#2 Rather watch free-to-air TV#3 Prices increased and there were similar cheaper alternatives Sport48%added,35%cancelledSVOD33%added,29%cancelledGaming28%added,21%cancelledMusic30%added,24%cancelledNews15%added,7%ca

41、ncelledwill have the same number of SVOD subscriptions in 12 months timeare concerned about the cost of multiple subscriptions61%64%average target monthly budget$55Average spend of$82,target budget of$67Average spend of$44,target budget of$43#1Eating out#2Alcohol&tobacco#3Groceries#4Digital entertai

42、nment Section title goes hereSubscriptions Churn concerns,cost upturns 33%31%Switch on,switch off:cancelled a subscription in the last six monthsadded a subscription in the last six monthsCost tops the biggest drivers of SVOD(TV&movies)cancellations 18%will have more5%will have fewer092022 in brief|

43、Media Consumer Survey 2022Section title goes hereWere hungry for ad-free content Were most willing to engage with ads on and some channels have more influence on buying decisions than others:but for SVOD,we can stomach a compromise:58%would pay for ad-free TV and movies 48%would pay for ad-free musi

44、c39%would pay for ad-free sports36%would pay for ad-free news34%would pay for ad-free gamesAdvertisingA love-hate relationship43%Television 27%Smartphones 12%Laptop computers 7%Desktop computers 46%are interested in 12 minutes of ads per hour for a free subscription 44%are interested in six minutes

45、of ads per hour for$5 a month 42%are influenced by ads on free-to-air TV 35%are influenced by ads on shopping websites34%are influenced by ads on social media 102022 in brief|Media Consumer Survey 2022Section title goes hereDaily social media consumption continues to rise:The lines between virtual a

46、nd physical reality continue to blur:Social media is a springboard:UGC is increasingly popular Our favourite social media activities are:68%49%use socials to discover content on other platformsThe crowd of creators continues to grow:39%create and share content6%spend 6-10 hours(5%in 2021)35%spend le

47、ss than one hour(42%in 2021)23%spend 2-5 hours(21%in 2021)36%spend 1-2 hours(28%in 2021)Browsing feeds(23%)Messagingfriends(22%)Watchingvideos(18%)64%spend more time watching UGC than planned and it proves to be very sticky:watch more than two hours of UGC daily15%watch up to two hours daily48%watch

48、 more UGC now than six months ago59%SocialFeeling the need for feedsfind engaging with friends and family on social media as rewarding as engaging in real life112022 in brief|Media Consumer Survey 202275%small and regional news publishers 71%major news publishers Consumers find these providers most

49、trustworthy but some remain doubtful:Most have access to news with somewhat diverse tone,coverage,opinions and cultural representation:News consumption is fragmented:Australians most value 17%38%moderate diversity18%high or extremely high diversity TV news programsSection title goes hereNewsRegainin

50、g trust and influencethe most frequent source of news for 34%of respondentsSocial media platforms(14%)Newspapers(13%)Perceived trustworthiness of content(82%)!(Perceived quality of content(79%)Ease of accessing content(75%)Radio(10%)Digital news aggregators(8%)a unique voice and perspective that can

51、t be found elsewhere(62%).ahead of:unsure which news sources they can trust122022 in brief|Media Consumer Survey 2022Section title goes hereEsports are taking off.43%11%Womens sport continues its meteoric rise.of sports fans watched esports in the last 12 monthswatch at least weeklyare willing to pa

52、y at least$20 monthlySportMore than a gameSport is still a major drawcard Sport fans have deep pockets and it features strongly in their subscription stack:but less so for women:55%watch sport more than one hour per week 40%of women do not watch sport at all27%have an aggregated sports subscription4

53、%have a direct single sport subscription51%engage with womens sport 37%would watch more if it were advertised more broadly and more men than women are tuning in:47%of men engage regularly44%of women engage regularly13Managing the subscription juggling act:Consumers take control14Managing the subscri

54、ption juggling act:Consumers take control|Media Consumer Survey 2022When it comes to digital entertainment,consumer choice has exploded over the past decade.The globalisation of content offerings has brought Australians more options than ever before,and seamless availability across a growing number

55、of screens and devices has made everything accessible everywhere.Subscription models enabled by on-demand digital content distribution provide access to enormous content libraries.The unbundling of content propositions to individual studios,broadcasters,publishers and other players has scattered con

56、tent far and wide.In addition,lines are blurring between free and paid content,as content providers experiment with tiered models to balance commercial outcomes and audience reach,further complicating cost and access trade-off decisions.These decisions are also impacted by the increasing consumption

57、 of UGC and social platforms enabling more immersive content experiences,which puts further pressure on audience reach,commercial outcomes and trade-off decisions for media players.SVOD(TV and movies)has been a major catalyst for trends towards paid digital subscriptions,increasing competition and m

58、ore fragmented offerings.But recent consumer and market behaviours may signal theres change coming.Netflix reported its global subscriber base had fallen during the first six months of 20221 after more than 10 years of growth,and locally,Netflix Australias growth stagnated for the first time since i

59、ts launch in 2015.2 While no single player defines the market,Netflix has been a substantial driver of disruption to date,and its rapid responses to saturation are already prompting competitors to respond with more innovative propositions within SVOD and more broadly.In addition,Netflix has announce

60、d its introducing a new tier that includes ads from November 2022,which would likely be in high demand in Australia 44%of consumers say theyd watch six minutes of ads per hour for a$5-per-month SVOD subscription.The subscription stack grows1 Sarah Whitten,Netflix shares crater 25%after company repor

61、ts it lost subscribers for the first time in more than 10 years,CNBC,19 April 20222 Roy Morgan,Foxtel,Disney+and Amazon Prime Video are the big improvers for Subscription TV during 2021,but Netflix still the largest,15 February 2022The average number of paid digital entertainment subscriptions per h

62、ousehold grew from.toin 2021in 20222.33.1Gen Z 4.5 subscriptionsBoomers 1.9 subscriptionsMillennials 4.2 subscriptionsMatures 1.6 subscriptionsGen X 2.8 subscriptionsThe average number of paid digital entertainment subscriptions by generation.15Managing the subscription juggling act:Consumers take c

63、ontrol|Media Consumer Survey 20222022 has seen a modest rise in the number of households with at least one paid digital media subscription,growing to 84%in 2022 from 80%in 2021.While 2021 saw Gen Z and Millennials driving growth in digital subscription penetration,growth in 2022 has been entirely dr

64、iven by the older lagging cohorts(Gen X,Boomers and Matures)with younger consumers appearing to have reached peak adoption of up to 95%.Digital subscription penetration may be slowing,but an average of 3.1 paid digital subscriptions per household in 2022(versus 2.3 in 2021)shows theres still impress

65、ive growth in the breadth and total number of subscriptions.This is unsurprisingly led by Gen Z and Millennials(averaging 4.5 and 4.2 subscriptions respectively)followed by the more concentrated digital media relationships of Gen X(2.8),Boomers(1.9)and Matures(1.6).This paints a positive picture of

66、growth for media providers,but it comes with a catch:adding subscriptions inevitably reduces the time consumers spend on each service,which has detrimental effects on relationship strength and perceived value of the service.The threat of losing customer stickiness grows as dedicated super-users beco

67、me casual subscribers,challenging companies to retain contended audiences for an extended period of time.3 If ad-based tiers do go mainstream and become a material revenue stream for SVOD providers in the future,theyll need to rethink their engagement strategy with consumers given those tiers would

68、likely further diminish their relationship strength.Subscription saturation3 Tamsin Timpson,Appetite for streaming content is stronger in Australia,KANTAR,10 May 2022Graph 1 Paid digital entertainment subscription(%by generation)0%2021202220%40%60%80%100%95%95%93%94%Gen ZMillennialsGen X%who have at

69、 least one digital entertainment subscription BoomersMatures80%84%64%64%73%59%16SVOD continues to lead the way in paid digital subscriptions with 74%of all respondents having at least one SVOD subscription in their household,compared with 70%in 2021.This is followed by music(44%in 2022,26%in 2021)an

70、d sport subscriptions(30%in 2022,18%in 2021),which recorded strong growth.Pay TV (21%in 2022,18%in 2021),gaming(5%in 2022,6%in 2021)and news(4%in 2022 and 2021)are less prevalent.While digital subscriptions in gaming and news remain low relative to other service types,both markets are seeing continu

71、ed investment to refine the value proposition and grow the customer base.Globally,publishers continue to see subscription and membership offerings as an avenue for growth:79%of publishers surveyed by Reuters say this is a major priority,even ahead of display and native advertising.This is somewhat i

72、n contradiction to the static news subscription trend in Australia,where penetration has remained at 4%since 2021.There may be an opportunity for news providers to cross-promote SVOD services alongside their news offering in Australia,however,lessons should be learned from recent launches such as CN

73、N+that failed to gain traction in market.Gaming subscriptions are expected to grow in the longer term on the back of social innovation,new market entrants,the rise of cloud gaming and redesigned subscription offerings that better meet unique segment needs such as Sonys 2022 relaunch of PlayStation P

74、lus with a range of tiers to suit casual to more dedicated gamers.In addition,technologies like VR are also enabling more immersive gaming experiences,which in turn is expected to positively impact future demand.Managing the subscription juggling act:Consumers take control|Media Consumer Survey 2022

75、WERE WITH YOU THROUGH THESE UNPRECENTED AND UNCERTAIN TIMES.FLATTENING THE CURVE TO SLOWSubscription saturation(continued)17Managing the subscription juggling act:Consumers take control|Media Consumer Survey 2022Managing subscriptions is increasingly complex for consumers as content fragments across

76、 a growing number of providers.This,alongside the growing financial burden of subscription stacking and the rise in the cost of living,are indicators the future may be precarious.Despite some of these signals,consumer demand appears favourable.Sixty-one percent of SVOD subscribers believe they will

77、maintain at least the same number of subscriptions over the next 12 months,and a further 18%indicate they will add more.Zooming in on a generational breakdown,Gen Z the generation with the largest number of subscriptions are even more bullish on their future holdings,with 38%of respondents believing

78、 theyll have more subscriptions in 12 months time.Interestingly,63%of Gen Z said they had an inactive SVOD subscription used for less than one-hour per month over the past six months.These inactive viewers are evidence of the difficulty consumers face holding multiple subscriptions in this ever-evol

79、ving media landscape and confirms customer stickiness is indeed declining.In summary,the good news is SVOD subscribers in particular the younger demographic are already engaged,but further strategies are required to convert passive SVOD users into more active and engaged audiences.The high occurrenc

80、e of inactive SVOD subscriptions does indicate consumer friction is growing,which could result in increased switching behaviour and churn if this isnt managed appropriately.added a subscription in the last six monthscancelled at least one subscription in the last six months33%31%have made changes to

81、 subscriptions two or more times in the last 12 months47%Subscription saturation(continued)18Managing the subscription juggling act:Consumers take control|Media Consumer Survey 2022Switching behaviours across subscription types demonstrate consumers increasingly active approach.For SVOD,47%of respon

82、dents either added(18%),cancelled(14%)or both cancelled and added(15%)subscriptions in the last six months.But this trend is not limited to SVOD:while subscription uptake in categories such as music and gaming have been significant year-over-year,rates of switching behaviours are even higher.A signi

83、ficant proportion of subscribers across sport(61%),music(41%),gaming(42%)and news(18%)added and/or cancelled a service in the last six months.High churn rates may indicate customers either perceive available subscriptions as interchangeable,or secure one-off offers from different providers throughou

84、t the year to manage budgets.Across all entertainment categories,the proportion of subscribers who added subscriptions in the last six months exceeds the proportion who cancelled.The difference is most profound in music,where 35%of respondents added subscriptions compared to 27%who cancelled.Would y

85、ou like some free trials with that?0%Added and cancelledOnly cancelled20%40%60%80%SportsMusic%of subscribers NewsGaming22%15%25%61%15%12%19%47%22%18%24%64%23%19%26%69%SVOD14%15%17%46%Only addedChangedGraph 2 Breakdown of consumer behaviour by media type(%of respondents)19Managing the subscription ju

86、ggling act:Consumers take control|Media Consumer Survey 2022Though reasons for churn range from content selection to user interface,cost appears to be the leading factor.Of those who cancelled in the last six months,reducing overall SVOD spend was the most common primary motivation(37%)followed by a

87、 switch back to free-to-air TV(26%).Consumers are clearly price sensitive,with 42%indicating a price increase(including the end of an introductory offer)as one of their top three reasons for cancelling.This is problematic for the SVOD services that are offering loss-leader pricing to attract custome

88、rs and are now unable to lift prices to a profitable level without losing subscribers.In addition,as societies re-emerge post-lockdowns,consumers have far more options in how to spend their time.Combined with an uncertain macro-economic outlook,this situation might be enough to disrupt the SVOD indu

89、strys historic growth.While cancellation rates to date still appear limited,its clear consumers are making more active choices about their subscription stacks.Although pricing drives cancellations,content is the main reason consumers stay.Getting access to first-run movies is most likely to convince

90、 people to keep a video subscription(ranked the number-one factor by 29%of respondents),while other factors such as bundled services,loyalty programs,greater personalisation and ad-free access have less impact on cancellation decisions.Evidently,when it comes to content,a fear of missing out remains

91、 a strong behavioural driver.It could explain why plenty of subscribers across SVOD(64%),music(44%),gaming(44%),news(34%)and sport(31%)still hold one or more subscriptions they barely use.Streaming companies are clearly aware of this,heavily advertising new releases not only to attract new customers

92、,but also to retain those who may be on the verge of cancelling.Theres also a move back to drip-feed release schedules for new shows to prevent binge and cancel behaviour.Seeding content snippets from these shows on social media(by both studios and fans)alongside rich and engaging conversations has

93、also proven an effective lever to both attract and retain subscribers.Subscribing to an entertainment service is no longer a set-and-forget decision.More consumers are moving from ad hoc subscription cancellations(undertaken by 22%of SVOD subscribers)to periodically reviewing and adjusting their cho

94、ices(46%).Consequently,while most respondents(61%)expect to maintain the same total number of SVOD subscriptions over the next 12 months,the actual subscriptions in that bundle are likely to be chopped and changed several times throughout the year.In fact,53%of those who cancelled an SVOD subscripti

95、on have changed their holdings just once,41%make changes two to three times a year,and 6%have mastered the subscription juggle with four or more changes annually.These behaviours are expected to increase as media aggregators and subscription-managed services bring greater visibility of total subscri

96、ptions and spend.While the value trade-off when adding or rolling over a subscription is becoming a more involved and frequent decision,the act of switching becomes easier for consumers which highlights the need for providers to rethink how they retain consumers in the long term.Would you like some

97、free trials with that?(continued)20Scrimping,saving,streaming:Managing the cost of media consumption21Content unbundling,and the shift towards on-demand consumption,has left consumers with a near-limitless set of choices of where to spend their entertainment time.A growing number of media organisati

98、ons are investing heavily in content,product innovation and marketing to grow their subscriber bases,this continues to prove effective in convincing audiences to pay for access to the latest content.This consistent growth in subscription holdings is having a predictable impact on consumers wallets,a

99、nd early signs suggest theyre increasingly feeling the pinch with 64%concerned about the cumulative cost of multiple subscriptions.The average household now spends$62 per month on digital entertainment services,a substantial 13%increase from$55 in 2021.Theres real pressure to reduce expenses as the

100、average consumer now spends 13%above their target budget,which is sure to drive greater scrutiny on paid subscriptions going forward.This budget gap rises as high as 23%for Gen Z,whose households represent the largest monthly spenders of any generation at$82.Its possible this spend growth has been b

101、uoyed by subscribers wilful ignorance of the aggregate cost of seemingly budget-friendly$10 subscriptions,but this appears to be changing as individuals get savvier with managing entertainment budgets.Nearly half(46%)of SVOD users now periodically review subscriptions to decide whether to keep,add t

102、o or cancel existing services.With budgets already stretched,rising inflation and cost of living will further challenge media companies ambitious growth aspirations and market forecasts as consumers face tough choices on entertainment.However,digital entertainment isnt first on the chopping block wh

103、en consumers look to cut spend.Nine percent of respondents placed digital media subscriptions at the top of their list when asked which categories to chop if cost cutting-well behind eating out(30%),alcohol and tobacco(27%)and groceries(12%).Interestingly,the impact of growing up in different ages o

104、f media consumption has produced clear generational divides when it comes to devices versus content.Gen Z and Millennials would more readily cut spending on electronics than their digital entertainment bundles,while all older generations would cut entertainment subscription costs before reducing the

105、ir phone,laptop and TV budgets.Scrimping,saving,streaming:Managing the cost of media consumption|Media Consumer Survey 2022Bingeing on a budgetare concerned about the cumulative cost of having multiple subscription services64%22As entertainment costs rise,free alternative offerings are increasingly

106、attractive and theres no shortage of them across all media categories.While providers are exploring an expanding range of commercial models,free still typically means ad-funded,a trade-off consumers are accustomed to making.But escaping ads is not enough of a value proposition on its own to attract

107、audiences.Willingness to pay is more likely to be driven by exclusivity of content,user experience and universal access across devices.The concept of paying to remove ads is borne of a digital world.Clearing ad clutter from YouTube queues or Spotify playback with the click of a premium subscription

108、button makes this a clear choice.But jumping between apps from SVOD to broadcaster video-on-demand(BVOD)presents a less tangible trade-off,and this flexibility of choice has seeded a generational divide.Gen Z are most comfortable paying for entertainment to avoid ads(64%),followed by Millennials(61%

109、).Older generations are more receptive to ads if its kinder on the wallet,with only 38%of Gen X and 25%of Boomers preferring to pay.What holds true across all generations is that consumers are most willing to pay for TV and movies to avoid ads well above music,games and news.Consumption behaviours a

110、re heavily influenced by market offerings and,for much of the past decade,the continued rise of compelling SVOD products has clearly had an impact.But change may be looming.In response to stalling growth,Netflix has announced the upcoming launch of ad-supported tiers,a move quickly followed by Disne

111、y+and one likely to be replicated more broadly by other providers.Scrimping,saving,streaming:Managing the cost of media consumption|Media Consumer Survey 2022Subscription stacks with a side of adsConsumers are most willing to engage with ads on.TelevisionSmartphones43%27%are influenced by ads while

112、watching video content31%23This move to ad-supported tiers makes sense as providers look to stay relevant in a sea of platforms and reduced audience stickiness.It relies on consumers willingness to accept the proposition for the right price:44%of respondents would be interested in watching six minut

113、es of ads per hour for a discounted$5 monthly subscription(roughly half the average SVOD basic subscription cost).Further,46%would consider a free subscription with 12 minutes of ads per hour,an option that would mirror the levels of advertising seen on linear free-to-air TV.In such a fragmented mar

114、ket with few truly segment-focused offerings,scale is critical.Ad-supported tiers are an effective means to counter cost-driven churn and shore up the growing number of users with dormant subscriptions.It wont,however,solve the split in audience attention across platforms nor the rising complexity i

115、n choosing what content to engage with.In fact,its likely to do the opposite as lower prices encourage consumers to grow their subscription stack even further.This move will also narrow the distinction in audience experience between BVOD and SVOD as the core differentiation of ad-free content erodes

116、.While the battle to retain audiences rages,theres still little in the way of unified experiences across discovery or consumption.Scrimping,saving,streaming:Managing the cost of media consumption|Media Consumer Survey 2022Graph 3 Ad-interest for TV and movies subscriptions(%of respondents)Very/somew

117、hat interested12 mins of ads per hour for$06 mins of adsper hour for$50 mins of adsper hour for$10NeutralNot interested46%8%20%21%50%20%34%44%20%36%55%23%22%Subscription stacks with a side of ads(continued)24Exploring alternative models4 Grand View Research,Live Streaming Pay-Per-View Market Size,Sh

118、are&Trends Analysis Report By Vertical(Sports,Media&Entertainment,Education),By Region(North America,Europe,APAC,South America,MEA),And Segment Forecasts,2020-20275 Statista,Pay-per-View(TVoD)-Australia,Video Streaming(SVoD)-Australia6 Research and Markets,Australia Social Commerce Market and Future

119、 Growth Databook 2022,April 2022Ad-based services arent the only SVOD alternative available to money-conscious consumers.The scene is set for pay-per-view(PPV)to make a resurgence in the near future,with the market forecast to grow 15%annually through to 2027.4As consumers are bombarded with well-fu

120、nded marketing campaigns and enticing snippets of trending shows on social media,PPV could be a solution to the fear of missing out driven by the subscription barrier.In Australia,PPV is currently only half the penetration of SVOD(17%compared to 33%)5 but its a segment to watch going forward.Provide

121、rs continue experimenting with more fluid availability windows and purchasing options across both PPV and ad-based subscriptions,such as Disneys ever-evolving movie release windowing approach.Platforms could help retain users and reduce churn by helping consumers navigate these trade-offs with conte

122、nt recommendations,contextual offers and passive notifications.Consumers are also embracing a wider range of channels and platforms for shopping,infusing purchase decisions into content consumption experiences.Media players are capitalising on this shift,using their privileged access to audiences an

123、d influential consumer networks to grow new revenue streams related to content-driven commerce.Social commerce has accelerated this transition with nearly six million Australians aged 14 or over making a purchase through social media platforms in 2021,6 but the opportunity to profit from this behavi

124、our shift extends to all media organisations,particularly for publishers and digital broadcasters.Both YouTube(YouTube Shopping partnership with Shopify)and Twitter(Twitter Shops)have launched new commerce offerings in 2022,following similar e-commerce forays by TikTok and other platforms earlier in

125、 2021.Audiences are becoming increasingly accustomed to making purchases within content streams expanding a new realm of revenue opportunities beyond subscription and ads without diminishing the consumption experience for audiences.Nearly six million Australians aged 14 or over made an online purcha

126、se through social media in 2021Scrimping,saving,streaming:Managing the cost of media consumption|Media Consumer Survey 202225Medias next horizon:The evolving role of social,UGC and the metaverse26Medias next horizon:The evolution of social,UGC and the metaverse|Media Consumer Survey 2022The push-pul

127、l effects of social mediaSocial media platforms have become entertainment destinations that bring content and consumer experiences to life in all its forms video reels,live streams,articles,photos,music,games and shopping.They curate highly personalised streams of bite-sized snippets to fill a minut

128、e waiting for the bus or an hour lazing on the couch.This unique form of passive discovery,paired with active conversation and interaction,is fuelled by consumers and creators that stitch,duet,edit and augment content trends and memes that take on a life of their own.In terms of consumption time,thi

129、s evolution has positioned social as a genuine competitor to other media forms.But its also become the ultimate complement,helping users discover,engage and sustain relationships with other content and media brands.We spend a lot of time on socials 40%of respondents use it for more than two hours ea

130、ch day.Again,the younger demographic is taking the lead with 59%of Gen Z spending two hours or more.And the way consumers spend time on social media is shifting.More traditional activities browsing feeds and messaging friends still reign supreme overall,but preferences have diversified and watching

131、video,viewing photos and reading news are nearly as popular.Twenty-eight percent of Gen Z have video watching as their top social media activity,trailed by messaging friends(16%)and browsing feeds(12%).Gen Z also have a more diverse set of favourite activities that includes shopping,gaming and follo

132、wing influencers.This is no doubt driven by consumption preference,and the shift has been accelerated by the rising influence of video-based platforms like TikTok and Instagram Reels that have a strong skew towards younger generations.Importantly,social has also educated users to both value and trus

133、t passive curation.The innovation of TikToks For You page,or FYP,has entrenched an appetite for a lean-back content recommendation experience.In doing so,its also highlighted the friction of overwhelming choice and deliberation.Consumers actively engage with likes,follows and comments in an attempt

134、to surface and consume ever more relevant content.Social media has its pros and cons,but its become an undeniably pivotal player in driving content interest and discovery across the wider media ecosystem.Its likely a major reason why 34%use social media as their primary source for news and current a

135、ffairs(11%of Gen Z)and 49%use it to discover content on other platforms (74%of Gen Z).of respondents believe engaging with friends and family on social media is as rewarding as engaging in real life68%27Medias next horizon:The evolution of social,UGC and the metaverse|Media Consumer Survey 2022The c

136、ontinued surge in social media consumption is partly driven by UGCs popularity as it increasingly commands audiences viewing and creation time.More than a third of respondents watch an hour or more of UGC per day,and this is even more common for Gen Z(84%)and Millennials(60%).By democratising conten

137、t creation,platforms have unlocked a near limitless stream of content,fuelled by increasingly sophisticated and intuitive production apps that keep the content flywheel spinning.Consumption continues to evolve into a highly interactive experience as the distinction between creator and audience shrin

138、ks.More of us than ever are creating and sharing content on social media 39%across all generations and 64%of Gen Z.The ability to comment on,stitch and re-configure content has become a core part of the entertainment experience for many people,and its proving very effective at attracting audiences.S

139、ixty-four percent of respondents(79%of Gen Z and 73%of Millennials)agree they spend more time watching UGC than planned,and Gen Z and Millennial users are primarily finding their content through algorithm-driven recommendations.TikTok has become especially effective at surfacing content to maintain

140、engagement.Average weekly time spent on the platform is reportedly almost double that of all other major social platforms combined,7 helping drive its popularity despite the relative fragmentation of preferred social apps.TikTok is the favourite social media platform for Gen Z,followed by YouTube in

141、 second place and Instagram in third.But UGC popularity is set to continue even among older generations,with a large proportion of respondents(59%)saying theyre watching more UGC than six months ago.The short-form style and lean-back experience of social media platforms and their content algorithms

142、caters to the consumption preferences of younger demographics,with 66%of Gen Z and 57%of Millennials preferring to engage with bite-sized videos over the longer-form content offered by SVOD and free-to-air services.This preference has affected behaviour,with 73%of Gen Z and 63%of Millennials spendin

143、g more time on social media platforms than streamed TV and movies.This gap between the preference for short-form UGC and longer-form scripted content is one we expect to see widen in the future,and it may also disrupt or dictate SVODs ability to grow subscribers,audience attention and share of consu

144、mption time.Creator or consumer?7 Stephanie Chan,Nearly One-Third of TikToks Installed Base Uses the App Every Day,Sensor Tower,July 2022of respondents create and share contentof respondents spend more time watching UGC than planned39%64%28Medias next horizon:The evolution of social,UGC and the meta

145、verse|Media Consumer Survey 2022When it comes to emerging media developments like the metaverse,blockchain,non-fungible tokens(NFTs)and cryptocurrency,interest is high but adoption,and understanding,remain low.These technologies present enormous potential for brand new entertainment experiences and

146、innovation in the ways we find,distribute,share,own and consume media content.Media players have begun to experiment with all these capabilities,but the timeline for mass adoption is far from clear.Shifting consumption habits towards a drastically new media type will take time,especially when consid

147、ering the wider set of dependencies on technologies like artificial intelligence,quantum computing,augmented reality(AR)and virtual reality(VR)required to power the metaverse.Interest in the metaverse is unsurprisingly driven by younger generations.Fifty-eight percent of Gen Z and 49%of Millennials

148、know what it is and are interested in it,compared to just 10%of Boomers and 8%of Matures.Facebooks re-brand to Meta elevated the concept of the metaverse to the public,but early forays into this new age of engagement are still embryonic and early adopters are all too aware of current limitations imp

149、acting the richness of the experience.Only 26%of people report theyve actually engaged with the metaverse in some capacity,13%with a VR or AR device and 13%without.Even so,theres no lack of interest in the concepts and technology surrounding the metaverse,particularly for the prospect of truly immer

150、sive digital entertainment events.For instance,33%of Gen Z and 30%of Millennials reported theyve attended a live entertainment event in virtual reality,presenting interesting implications for the way consumers will interact with media and entertainment in the future.The development of virtual enviro

151、nments such as concert venues,theme parks,sporting arenas or casinos will truly integrate the breadth of entertainment experiences in a similar vein to the role social media platforms played in integrating music,video,stories and shopping into a single stream.Decentralised technologies underpinning

152、the metaverse,including but not limited to blockchain,NFTs and Web 3.0,could also redefine the ways audiences and media organisations interact.This transition could enable micropayments for content,open access to distributed content without the need for aggregators,integrated global intellectual pro

153、perty and rights management,and advanced monetisation of person-to-person content sharing.Media players are in the early stages of experimentation,particularly in the transition of NFTs from content to utility:many artists and musicians are minting tokens as tickets to events and experiences in the

154、metaverse and beyond.Were in the early days of this evolution,but the media landscape is poised to rapidly accelerate the democratisation of content creation,distribution and monetisation in the age of the metaverse.Welcome to the metaverse:Cutting-edge tech of respondents have engaged with the meta

155、verse in some capacityOnly 26%29Balancing media content:The trust and influence equation30Balancing media content:The trust and influence equation|Media Consumer Survey 2022Social media engagement has significantly amplified the medias influence on the public.But as this influence grows,so too does

156、the importance of trust.The intersection of UGC and traditional media on social platforms has created trends in consumer thought that have a tangible impact on behaviour.More than ever,media publishers impact expands well beyond their own ecosystems,creating highly engaged fan communities across a d

157、iverse range of platforms,often owned by other commercial organisations.The stratospheric rise of Kate Bushs Running Up that Hill is a clear example.The song rocketed to number one on the Billboard Global 200 chart this year,a full 28 years after its release,8 after being featured in an episode of t

158、he Netflix series Stranger Things.This amplified impact on consumer behaviour goes well beyond music streaming.C reported that after the release of The Queens Gambit in October 2021,new players surged from an average of 6,000 a day in the month prior,to 30,000 on the days following.9 The sale of che

159、ss sets and accessories also increased 215%on eBay in the month following the shows release.10The intersection of traditional media and UGC raises interesting questions about media ownership,particularly around intellectual property rights.UGC is typically seen as fan tribute,but when fans monetise

160、these tributes,it starts to look like an infringement of the media publishers intellectual property rights.Recently,Netflix drew the line regarding the fan-produced work The Unofficial Bridgerton Musical,suing creators Barlow and Bear for copyright infringement when they embarked on a live world tou

161、r.The pair rose to viral fame on TikTok by creating a series of songs inspired by the TV series Bridgerton.The proposed world tour came a year after the creators released a Grammy award-winning album featuring all fifteen songs originally published on TikTok.The matter was settled in September 2022.

162、11 While social media engagement can be a great source of publicity for a media organisations projects,theres clearly much to be defined in the relationship between these companies and the content creators on social platforms.Its evident media organisations have significant influence on society,but

163、how do Australians perceive that influence?One-third of our respondents indicated they felt media companies have an overwhelmingly positive impact on society.Older respondents are more sceptical overall:TV broadcasters and major publishers are the only media organisations perceived as having a large

164、ly positive influence by more than 20%of Boomers and Matures.Younger respondents are much more supportive of social medias impact,with 56%of Gen Z indicating it has a largely positive impact.This support is extended to individual content creators,such as podcast producers,who are seen as having a po

165、sitive impact by 55%of Gen Z.This more positive view of social media and content creators is reflected in Gen Zs news preferences and their perceptions of the trustworthiness of different sources.What influences us?8 Gary Trust,Kate Bushs Running Up That Hill tops both billboard global charts,Billbo

166、ard,11 July 20229 Miranda Bryant,Its electrifying:chess world hails Queens Gambit-fuelled boom,The Guardian,29 November 202010 IBID11 Gene Maddaus,Netflix settles copyright lawsuit over Unofficial Bridgerton Musical,Variety,23 September 2022WERE WITH YOU THROUGH THESE UNPRECENTED AND UNCERTAIN TIMES

167、.FLATTENING THE CURVE TO SLOW31Balancing media content:The trust and influence equation|Media Consumer Survey 2022Theres a clear generational divide in the way Australians define and consume news.Overall,were choosing to stay informed about news and current affairs with only 6%of survey respondents

168、indicating they dont follow the news.TV news is by far the most popular:64%of respondents ranked it as one of their top three most frequently used news sources.Despite the overall preference for TV news,a different story is emerging with younger audiences.New media entrants are successfully capturin

169、g their attention by engaging with them on social platforms,the preferred source of news for respondents under 40.Seventy-six percent of Gen Z indicated they use social media as their main source for news and current affairs.Instagram-based publisher The Daily Aus has grown its audience from 100,000

170、 followers to 390,000 over the past year by creating posts and reels that deliver independent journalism on the issues young people care about.12 While the idea of posting news content on social media isnt revolutionary,social-first publishers are unlocking exponential growth through their use of tr

171、uly multimedia content and their understanding that a one-size-fits-all content strategy does not function in todays social media landscape one defined by the unique formats,audiences and content types that users connect with.Traditional publishers have also used social media effectively to reach yo

172、unger audiences.The Washington Post has been growing its audience on TikTok,the most popular social platform among Gen Z respondents.The company has amassed 1.4 million followers and more than 60 million likes across its channel by publishing news content in satirical or comedic skits inspired by to

173、pical trends on the platform.Effectively harnessing trends before they pass is key to their success,but a challenge given the condensed trend cycles on the app.Publishers that continue to post static content thats not tailored to the unique format and audience of each platform will limit their abili

174、ty to capitalise on the unique opportunities of these channels.Social medias popularity as a platform for news is undeniable,but whether followers can be translated into paying subscribers is another story.When it comes to paying for news,older Australians are significantly more open to the idea.Thi

175、rteen percent of Matures have a paid news subscription,and their churn rate is comparatively low with 91%reporting they had neither added nor cancelled news subscriptions in the last six months.Aside from Gen Z,all generations ranked the perceived trustworthiness of content as the primary reason the

176、yd pay for news,closely followed by the perceived quality of content.For Gen Z,ease of access reigns with 89%indicating this is an important factor for them.What news do we value?12 Laura Schofield,The startup delivering news that matters to young people,Newsworthy,10 November 2021 Australians most

177、value the perceived trustworthiness of content82%32Balancing media content:The trust and influence equation|Media Consumer Survey 2022Australians are largely aligned in the value they place on finding trustworthy news sources.How we verify the trustworthiness of the news we consume is where generati

178、onal divides begin to reappear.Older Australians see traditional news publishers (covering established major news producers,regional publications,and industry or expert bodies)as inherently more trustworthy than UGC or news published on social media.Younger Australians are significantly more trustin

179、g of UGC,with 46%of Gen Z and 45%of Millennials rating this content as moderately trustworthy compared to 27%of Boomers.Respondents would prefer to engage with a news ecosystem made up of a diverse range of reputable media outlets willing to engage with each other to back up the validity of their re

180、porting.When asked what would increase their perception of a news sources trustworthiness,respondents are again divided by age.Forty-six percent of Gen Z placed links to other reputable journals or articles among the five top factors;Gen X looks for in-depth reporting(11%)or trust in the publishers

181、brand(11%)as their primary factor for increasing trust.While 13%of Gen Z felt links to fact-checking websites make them more confident in a sources trustworthiness,this was capped to 6%across other generations.13Diversity of reporting is another clear priority for respondents.Forty-three percent ind

182、icated they felt the diversity of a publishers reporting reflected on its trustworthiness,with an increase in diversity suggesting a publisher is more trustworthy.Further,diversity of perspectives was the third most selected factor driving willingness to pay for news.While Australians are clearly lo

183、oking for diversity of opinion and thought,they dont feel theyre finding it.Only 5%of respondents felt the publishers they have access to offer a wide range of perspectives,with the majority(38%)believing they see a moderate range of perspectives across the news publishers they frequented.What and w

184、ho do we trust?see major publishers driving positive social changeconsider major news publishers trustworthyfor social mediavs51%75%43%13 See publications including The Washington Posts Fact Checker,The ABC and RMITs Fact Check,and The Poynter Institutes Politifact33Sport:More than just a game34Spor

185、t:More than just a game|Media Consumer Survey 2022The post-pandemic return of sport in 2021,marked by a return to live games and the delayed Tokyo Olympics,saw it compete for audience attention with entertainment alternatives flourishing in its absence.Despite this competition,30%of households have

186、a sport subscription in 2022,a significant increase from 2021(18%)largely driven by aggregated subscriptions,such as Optus Sport and Kayo.However,two-thirds of respondents now spend 10%or less of their total viewing time on sports and a significant share(27%)dont watch sports at all,which is partly

187、the result of social media platforms stickiness.In terms of consumption hours,sport has stayed largely consistent across generations.That said,older fans are the most committed with 18%of Boomers and 26%of Matures watching six-plus hours of sport per week,compared to less than 13%across the younger

188、generations.Live sport is primarily consumed on TV(77%)and at home(91%),and mostly with friends and family(57%).Sport appears to be the category where the traditional viewing experience gathering around a TV and watching live remains the same,which could explain some of the declining viewership and

189、reflect under-exploited opportunities for more innovative sports experiences.While live sports viewing looks similar to ten years ago,engagement is now far broader than live games.Audiences are increasingly tuning in to on-demand viewing,highlights clips,panel shows,online commentary,documentaries a

190、nd athletes social media,and the adjacent industries of sports wagering,fantasy and esports are flourishing.A third of sports watchers ranked these other content types as the sports content they prefer engaging with,ahead of live coverage.These drivers of audience engagement are consistent between s

191、ports and broader media trends,at least for younger generations.Gen Z and Millennials are engaging with new sports and spending more time with existing favourites because of the media they consume beyond matches themselves,such as documentaries,panel shows and,most significantly,social media.Eightee

192、n percent of sports watchers(39%of Gen Z)now engage with new sports they didnt previously follow thanks to sports/athletes social media content and 17%(31%for Gen Z)because of sport documentaries.Documentaries such as Drive to Survive,Cheer and The Last Dance proving enormous hits for SVOD services

193、and creating new fans for the sports they follow.Sports post-pandemic recoveryof Matures watch six-plus hours of sport per week,compared to.across younger generations26%13%35Sport:More than just a game|Media Consumer Survey 2022The gender divide remains in place for sports consumption.For women,40%d

194、ont watch any sports content compared to only 14%of men.Interestingly,men are slightly more engaged in womens sport(47%of men regularly engage)than women(44%),to the point that two-thirds of womens sport viewers are male.14 A large group of respondents(37%)say they would watch more womens sport if a

195、dvertised more broadly,and an equal proportion would watch more if more content was available.Broadcasters are banking on this if you build it,they will come approach,pouring resources into coverage of big-ticket events such as AFLW,NRLW and WBBL finals.14 Mediaweek,Fox Sports research shows womens

196、sport gaining popularity in Australia,7 March 2022Sport (still)a mans world?Two-thirds of womens sports viewers are maleof respondents would watch more womens sports if advertised more broadly37%36Contacts|Media Consumer Survey 2022ContactsLeora NeveziePartner ConsultingNational Customer Strategy&De

197、sign L.auThom GrevingSenior Manager Consulting .auPeter CorbettPartner Consulting National Telecommunications L.auJeremy Smith Director Consulting National Media&Entertainment L.auJacob Herman Senior Consultant ConsultingKate Slater Consultant ConsultingDan Manolios-Reichert Consultant ConsultingAnd

198、rew Miller Editor Marketing&Business DevelopmentCaru Froneman Consultant Marketing&Business Development Sarah Lynch Senior Manager Marketing&Business DevelopmentThe Agency,Deloitte Australia DesignAuthorsContributors To view this report online and related insights from Deloitte,visit: Sector Leaders

199、Deloitte Telecommunications,Media and Entertainment Business ContactsWill CastlesPartner Consulting National Tech,Media&Telco Industry L.auPeter CorbettPartner C.auSandeep Chadha Partner Audit&Advisory .au Jeremy Smith Director Consulting National Media&Entertainment L.auKat McMasterPartner Financia

200、l A.auJoshua Tanchel Partner Deloitte Private .au Bec McConnochiePartner Consulting National Technology L.au John OMahony Partner Deloitte Access Economics .au Neil Pereira Partner Tax&L.au Mark Pedley Partner Risk Advisory .au Contacts|Media Consumer Survey 2022Contacts38This publication contains g

201、eneral information only,and none of Deloitte Touche Tohmatsu Limited,its member firms,or their related entities(collectively the“Deloitte Network”)is,by means of this publication,rendering professional advice or services.Before making any decision or taking any action that may affect your finances o

202、r your business,you should consult a qualified professional adviser.No entity in the Deloitte Network shall be responsible for any loss whatsoever sustained by any person who relies on this publication.Deloitte refers to one or more of Deloitte Touche Tohmatsu Limited(“DTTL”),its global network of m

203、ember firms,and their related entities.DTTL(also referred to as“Deloitte Global”)and each of its member firms and their affiliated entities are legally separate and independent entities.DTTL does not provide services to clients.Please see to learn more.About DeloitteDeloitte is a leading global prov

204、ider of audit and assurance,consulting,financial advisory,risk advisory,tax and related services.Our network of member firms in more than 150 countries and territories serves four out of five Fortune Global 500companies.Learn how Deloittes approximately 286,000 people make an impact that matters at

205、.About Deloitte Asia PacificDeloitte Asia Pacific Limited is a company limited by guarantee and a member firm of DTTL.Members of Deloitte Asia Pacific Limited and their related entities,each of which are separate and independent legal entities,provide services from more than 100 cities across the re

206、gion,including Auckland,Bangkok,Beijing,Hanoi,Hong Kong,Jakarta,Kuala Lumpur,Manila,Melbourne,Osaka,Shanghai,Singapore,Sydney,Taipei and Tokyo.About Deloitte AustraliaIn Australia,the Deloitte Network member is the Australian partnership of Deloitte Touche Tohmatsu.As one of Australias leading profe

207、ssional services firms.Deloitte Touche Tohmatsu and its affiliates provide audit,tax,consulting,and financial advisory services through approximately 10,000 people across the country.Focused on the creation of value and growth,and known as an employer of choice for innovative human resources program

208、s,we are dedicated to helping our clients and our people excel.For more information,please visit our web site at limited by a scheme approved under Professional Standards Legislation.Member of Deloitte Asia Pacific Limited and the Deloitte Network.2022 Deloitte Touche Tohmatsu908856058_Designed and produced by The Agency|Deloitte Australia_10/22