Netflix is the original video streaming service, and it retains its top ranking today. It’s the most popular streaming service for Americans in every generation (except Gen Zers, who rank YouTube higher). Among these top platforms, there is a mix of free and paid options, which begs the question: How much are Americans spending on their streaming services?

76% of Americans spend money each month on video content — only 1 in 4 don’t pay a cent. Interestingly, despite a higher disposable income, baby boomers are the most reluctant to buy subscriptions, as 1 in 3 stick entirely to free platforms. By comparison, only 17% of millennials and 21% of Gen Zers don’t pay for video streaming services

For younger and budget viewers, rotating monthly or annual subscriptions has become a savvy way to cut costs while keeping content fresh.

Another go-to money-saving tactic: sharing accounts. Despite efforts by streaming companies to shut it down, 37% of Americans still use someone else’s login information or share their own.

With endless content at their fingertips, many Americans are embracing binge-watching. About 30% admit to bingeing entire series or multiple movies in one go. 35% prefer to pace themselves, watching just one episode or movie segment at a time.

Binge-watching is especially popular among younger viewers: 36% of Gen Zers and 35% of millennials indulge in marathon sessions, compared to 1 in 5 baby boomers.

While bingeing a favorite series or movie trilogy might be an occasional indulgence, watching short-form, user-generated content is a daily ritual for more than half (54%) of Americans. Another 1 in 4 watch TikTok videos or Instagram Reels a few times a week.

The habit is most ingrained in Gen Z, as 79% consume short-form videos every day. Two-thirds of millennials and 55% of Gen Xers do the same. Among baby boomers, daily use is lower at 28%, but another 28% check in a few times per week.

With so many options in both long and short-form content, 89% of people tend to get restless looking for the next “bingeable” show or watchable influencer. Here’s how long Americans will keep something on if they don’t find it interesting:

Gen Zers are the first to react. 22% will stop watching something within 10 seconds if it doesn’t inspire interest. This is more than triple the rate of baby boomers (7%) and ahead of 17% of millennials who do the same.

Americans aren’t just aimlessly scrolling through streaming menus. They’re guided by clear preferences when choosing what to watch. Here’s what influences their decisions, ranked from most to least important:

Across all generations, mood tops the list; viewers want content that matches how they’re feeling. Personal recommendations and availability consistently take the second or third spot for each age group.

Americans are divided on the mental health effects of constant access to video content. Over a third (35%) don’t think having an endless library of content at their fingertips day and night has any effect on their mental health. Another one-third feel empowered or inspired by being connected to different information and viewpoints from all over the world.

However, the remaining 32% think the constant stream of media has a negative impact. They say it leaves them feeling anxious, drained, overwhelmed, or simply disconnected from real life.

Different generations have different opinions on the mental health effects of media access.

The data suggests that younger Americans are more emotionally sensitive to the effects of constant content access.

The source of stress varies, but some patterns stand out. A third of Americans point to doomscrolling (reading about war, disasters, and political conflicts) as a source of anxiety. Others cite graphic violence (27%) and social media drama or arguments (26%).

Here are the biggest triggers for each generation:

Only 1 in 4 Americans (27%) say video content doesn’t affect them. Again, Gen Z stands out as the most sensitive to troubling content, with just 15% saying they’re unaffected by the content they consume.

Americans have always embraced new entertainment options, from Netflix to TikTok. As we’ve seen, people are even willing to watch things they don’t necessarily enjoy just to keep up with the latest trends. At the same time, when it comes to technology itself, people are a bit more skeptical.

While AI-generated videos are starting to appear on screens, viewers remain hesitant. For most, this emerging tech still can’t replace the storytelling, polish, or emotional pull of traditional productions.

Still, many, especially filmmakers, writers, and other creatives, remain unconvinced.

28% of baby boomers and 35% of Gen Xers are willing to give AI a chance, saying they’re open-minded about AI and would watch it if the quality matched human-produced content. 29% of millennials and 25% of Gen Zers say the same.

At the same time, older generations express more caution. A quarter of baby boomers refuse to watch AI at all. That figure drops to 17% and 15% for Gen X and millennials, respectively, but only 7% of Gen Zers have a totally negative view of AI.

Though younger viewers are more likely to embrace AI, they don’t necessarily want to see it replace traditional storytelling. Remember when asked what types of content they’d like to see more of, every generation ranked AI-generated and experimental storytelling last or next to last — far behind authentic human stories, blockbuster films, and user-generated content.

The takeaway? Americans are open to innovation, but not at the cost of emotional connection or quality.

Americans haven’t given up on traditional entertainment, but they aren’t rushing to movie theaters either. 2 in 3 say their ideal setup for watching content is a big-screen TV in their home connected to a streaming service.

Only 13% prefer a smaller device like their phone or laptop, and 16% would rather go to a traditional cinema experience.

While around 63-69% of baby boomers, Gen Xers, and millennials prefer the home theater experience, only 47% of Gen Zers feel the same. Instead, 31% of Gen Z favor small-screen viewing — phones, tablets, or laptops — compared to about 1 in 10 for older generations.

Yet Gen Z doesn’t completely reject tradition. In fact, 1 in 5 Gen Zers prefer watching movies in a theater, higher than the 15% average across other age groups.

Cost also plays a role in screen choice. 1 of 4 high-income earners ($150,000+) prefer a movie theater experience, with 64% watching at home on a big-screen TV, and only 2% watching on their phone. Only 12% of those earning less than $50,000 opt for the theater, with 62% choosing TV at home and 11% watching on their phone.

Even with the dominance of streaming, 40% of Americans still buy physical media (DVDs, Blu-rays, or video cassettes). The motivation for doing this ranges from preferring physical copies to wanting copies of their favorite shows and movies in case streaming platforms remove them.

Who is most likely to buy physical media? It’s not who you might expect:

Despite their embrace of streaming and short-form video, younger viewers still value traditional formats — whether it’s playing a DVD on a home theater screen or catching a blockbuster in theaters.

Streaming offers unprecedented variety and convenience, but Americans are increasingly caught in its double-edged nature. From choosing between screen time and sleep, to filtering out content that impacts mental health, to questioning whether AI belongs in entertainment, audiences are bombarded with decisions — and it’s wearing them down. To break through the noise, viewers should take back control, moving beyond algorithms and hype, and choosing content that is meaningful, authentic, and that builds connection.

Do you see how those mediums can become redundant when it’s just reading pages from a book? This way, they’re now able to collaborate better and think more critically and creatively, and it also happens to just be incredibly enjoyable and interactive as far as a group of young students is concerned – let’s dive a bit deeper into this:

We’re naturally going to be making a lot of comparisons to creative writing in short stories throughout this article as a reference point to why filmmaking is so educational, so keep this in mind if you think I’m repeating myself a bit.

Going back to that earlier point of technology being far more advanced nowadays and how we’re living in an increasingly digital world, you’re going to need to be tech-savvy to get anywhere.

Aside from this, though, creating and subsequently presenting films can help improve their communication abilities, too, since it necessitates conveying a message in a clear and persuasive manner – both visually and verbally.

It goes without saying that this kind of thing can do wonders for the confidence of a shy student, which makes a lot of these transferable to other areas of study and future careers, only further underscoring why filmmaking is a versatile tool for education.

As touched on in the previous examples, filmmaking in schools definitely became a bit more popular throughout the pandemic a few years ago as there was a general need to make learning more engaging than just attending an hour-long Zoom meeting.

Now, it goes without saying that these aren’t the most ideal options as people would always rather be chatting about this sort of stuff face-to-face, but as far as it being the next best thing goes, those tools I just mentioned are genuinely excellent alternatives.

It’s also worth mentioning here how ensuring equity and inclusion in digital media production is also important – no more so than when the students are working in a remote learning setting.

The tools I’ve been mentioning are all good and well in theory, but the reality is that it’s ludicrous to make the students pay for some of the more expensive ones – the Adobe Premiere Pro subscriptions, for instance. That’s not even considering how not every student is going to have equal access to technology and high-speed internet.

Lastly, in order to make digital storytelling accessible for every student, there are also a few inclusive practices that can be employed, whether it’s using subtitles for those who are hard of hearing or ensuring accessibility to digital content.

We’ve touched on how filmmaking in school is still a relatively new thing, but the kinds of technologies and digital tools that have been referenced throughout this article are generally becoming more and more advanced. As a result, there’s a lot of new resources and tasks that educators are going to need to implement into their filmmaking curriculum.

Though fairly similar in their overall outcome, misinformation and disinformation both pose fairly significant challenges in the digital age.

If the educators themselves aren’t properly equipped to handle media literacy training, this whole thing is obviously a bit pointless. As such, by continuously enhancing their skills and knowledge, teachers and lecturers will be far better prepared to support their students.