This study examines what drives loyalty among 18-34 age streaming consumers. The problem we looked to solve through our study is how Roku can better reach older Gen Z (18-24) and younger millennials (25-34) and retain them, beyond an initial one-time acquisition. This is especially relevant in an age where streamers are continually competing with each other and other media companies for the consumer's attention. Part I analyzes the conceptual groundwork for our research, tracing the evolution of the streaming market, reviewing prior literature on Gen Z and millennial viewing habits, and introducing our mixed-methods research approach. Part II of this research will present the empirical findings, industry interview insights, and final analysis and recommendations for Roku.
Artificial Intelligence (AI) is already reshaping how children learn — in private schools, public classrooms, homeschool environments, and museum galleries. The question is no longer whether it will arrive, but who controls it and who benefits.
Immersive technology is not new in the slightest, with immersive tricks like ‘Pepper’s Ghost’ and projectors being used for decades. Nor is animation new, with animated shorts dating back to the early 1900s. Animation is a constantly evolving medium that lends well to immersive and Extended Reality (XR), and has been combined with XR to create well-known products, such as Pokémon Go. By combining two growing fields with a strong IP as the baseline, there are exponential growth opportunities for both fields. However, the combination of immersive technology and narrative-led animation continues to fall short of its potential in the entertainment market. Most combinations of animation and immersive technology often end up as avatar creators, video games, or VR experiences. The goal of this research project is to find an approach to combining animation and immersive technology that is marketable, accessible, and creates immersive storytelling.
This article examines the shifting domain of audience engagement within the arts, tracing a trajectory from ephemeral street painting performances to the high-stakes spectacle of the Super Bowl halftime show and the emergent "postdigital" museum. By synthesizing the institutional critiques of Stephen E. Weil, the "Third Space" theories of Ray Oldenburg, and the "Experience Economy" framework by Pine and Gilmore, the future of cultural meaning lies in the transition from institutional authority to communal "polyphony." Through a series of case studies—including street painting festivals and the "Benito Bowl"—this paper explores how the quality of "presence" and the "Arc of Engagement" serve as the definitive mechanisms for meaning-making in an increasingly mediated, technosocial world.
International theatre festivals have long served as sites of cultural exchange, political expression, and artistic innovation. This article traces their evolution from post–World War II cultural diplomacy to their role in today’s “creative city” economy, examining how festivals reflect shifting geopolitical forces, neoliberal policies, and ongoing tensions between global prestige and local representation.
While institutional philanthropy is in a boom-time, foundations have not monopolized such growth. The renewed interest in donor advised funds (DAF) since the pandemic has triggered meteoric growth in the amount of assets stored in DAFs, with recent figures showing over $229 billion stored across 2 million DAF accounts, receiving roughly $86 billion in annual contributions, and granting nearly $52 billion in 2022.
