How Millennials get news: Paying for content

Despite growing up amid abundant free online entertainment and news, today’s young adults still use significant amounts of paid content. Selling news to young people remains difficult, but the data from a new study finds reasons for optimism and suggests new ways to think about the challenge. The vast majority of the Millennial Generation, those Americans age 18 to 34, regularly use paid content for entertainment or news, whether they personally pay for the subscriptions and other forms of paid content themselves or someone else pays the bill, according to a new report on Millennials’ news habits. While use of paid entertainment content, including music, movies, television, and video games, is most common among Millennials, 53 percent report regularly using paid news content — in print, digital, or combined formats — in the last year. Furthermore, 40 percent of Millennials personally paid for news products or services out of their own pockets. Millennials over age 21, those most likely to be on their own or out of school, are twice as likely as those age 18-21 to personally pay for news (more than 4 in 10 vs. 2 in 10). A younger adult’s willingness to pay for news is correlated with his or her broader beliefs about the value of news. The people who want to stay connected with the world, who are interested in news, and who are more engaged with news on social networks are the most likely to be willing to personally pay for news. That “news orientation” is the biggest driver of a person’s willingness to pay for news, more so than a person’s age or socioeconomic status

Teaching Queer Cinema With Independent Media

In lieu of an abstract, this is the article\u27s introductory paragraph: One of the most exciting dimensions of teaching film (and popular culture) is learning what students already know and then generating an informed and critical epistemology from the familiar. Teaching LGBT (lesbian, gay, bisexual, and transgender) representation in film and media presents rich opportunities to build on student familiarity — with such mainstream breakthroughs as Ang Lee’s Brokeback Mountain (2006) and Queer Eye for the Straight Guy (2003-07) — and to formalize the knowledge and challenge the assumptions that students have about LGBT history, lives, and struggles for representation. With the commercial success of gay-themed work and the acceptance of such out celebrities as Ellen Degeneres, the recent past is a teachable moment of both social transformation and market logic, and students of diverse backgrounds have illuminating perspectives on and important stakes in making sense of it. By focusing on film and media by and about LGBT producers, teachers can connect questions of political and aesthetic representation and expose students to independent media sources