Gen Z viewers are one of the key demographics that streaming services are chasing down as they curate and produce more content for their platforms. In the Roku Variety…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Gen Z viewers are one of the key demographics that streaming services are chasing down as they curate and produce more content for their platforms.
In the Roku Variety Streaming Room panel, Variety digital editor Todd Spangler spoke with Severine Cukierman, senior director, CTV Paid Media, Vix; Jonathan Goodstadt, senior director of global ad sales for media and entertainment at Roku; and Regina Sommese, group VP of subscriber growth and media at Warner Bros. Discovery.
The panelists discussed the characteristics of their Gen Z audiences, as well as how their services can meet the demands of this critical cohort of younger consumers.
According to Roku’s research, 71% of 18- to-24-year-olds said that they’re interested or somewhat interested in actually sticking with a service “that does offer a cheap or free ad-supported tier,” Goodstadt explained. “As the streaming space evolves, this is going to be important for a lot of our channel partners to keep in mind to reach this audience.”
“ViX has learned that the Gen Z Hispanic and Latinx audience was beyond ready to embrace the streaming service that caters to their multicultural backgrounds and identities and represents them in a holistic way,” Cukierman said. The streamer’s Gen Z audience has proven to be “nostalgic,” she added, bingeing legacy novellas like “La Rosa de Guadalupe” and “Teresa,” while also actively engaging with newer original series like “María Félix” and “La Mujer del Diablo.”
The panelists unpacked the expansive and diverse media and entertainment diet of Gen Z audiences, which spans user-generated content to premium TV shows and movies.
For younger consumers, prequels, sequels and reboots have done really well, Sommese said, calling out HBO Max shows “Gossip Girl” and “Pretty Little Liars.” In addition to that, “we also have the element of the big tentpole content that the masses want to watch, such as ‘House of the Dragon,’ but also does really well against these audiences,” she said. “So what this tells us is we shouldn’t try to overfit content against this audience, but rather ensure that we’re really exposing them to the breadth and depth of what’s available and then letting them select, because it is that content variety that is driving them to subscribe.”
Watch the full conversation above.
