Here's What's Ahead For Radio Broadcasting in 2026

Radio broadcasting in 2026 is poised for a hybrid evolution, blending traditional over-the-air (OTA) AM/FM signals with digital extensions, streaming, and emerging technologies. While traditional linear radio remains resilient—especially for local content and in-car listening—the industry is accelerating its shift toward digital to compete with podcasts, streaming services, and on-demand audio.

Key Trends and Predictions

Digital Integration and Hybrid Models
Radio stations are increasingly bundling OTA broadcasts with streaming, podcasts, and programmatic digital ads. This "digital extension" approach is highlighted as a top trend for 2026, enabling better targeting, geotargeting, and cross-platform campaigns. Expect more FM zone targeting, interactive voice ads, and in-car digital listening to drive growth.

AI and Personalization
AI will play a larger role in content curation, automated voiceovers, mood-based playlists, and ad personalization. Broadcasters are adopting AI tools to enhance production and listener engagement, with some predicting AI-driven value addition to the audio market.

Advertising and Revenue Outlook
Forecasts vary, but radio shows relative stability amid broader media challenges. Local radio ad revenue is projected to see modest growth or minimal decline:OTA radio revenue could rise around 1.8–2.2% (reversing 2025 declines).

• Digital radio/streaming ad revenue is expected to grow 5%+.
• Overall U.S. local ad market grows 3%, with radio benefiting from political spending in the midterm election year (potentially $7–9 billion across local media) and events like the FIFA World Cup.
• Streaming audio ads could grow 9%+, outpacing some video formats.

Audience and Listening Shifts
AM/FM radio is projected to overtake linear TV in key demographics (e.g., 25–54) by 2026. Listening remains strong, especially on weekends and in vehicles, with digital platforms boosting reach.

Technological Advances
Adoption of HD Radio (U.S.) and DAB+ (Europe and beyond) continues, with better sound quality and additional channels. Hybrid systems (e.g., ATSC 3.0 integration) and 5G broadcast will enable seamless access across devices. Some regions may see further analog-to-digital transitions, though full switch-offs remain gradual.

Challenges
Competition from streaming and podcasts persists, with some forecasts showing slight declines in core spot ads. Regulatory changes, economic factors, and shifts in auto tech (e.g., Tesla phasing out AM/FM in entry models) could impact traditional access.

Overall, 2026 looks like a year of resilience and adaptation for radio—traditional signals endure for their reach and trust, while digital strategies fuel growth and relevance in a multi-platform world. Broadcasters who invest in hybrid content and targeted ads are best positioned to thrive.

Key Radio Broadcasting Trends in 2025

In 2025, the radio broadcasting industry demonstrated resilience amid ongoing digital disruption, with traditional AM/FM maintaining dominance in key areas like in-car and local listening while accelerating hybrid strategies, digital integration, and efficiency measures. Global market growth was modest (around 3–5% CAGR projections through the decade), driven by digital radio adoption, podcast crossovers, and regulatory easing, though traditional spot ad revenue faced declines (e.g., U.S. national spot down ~5%).

📻Key Trends

Dominance in In-Car and Mass Reach
AM/FM radio remained the top in-car audio source (56–85% share across vehicles), with Edison Research showing 85% of 18+ in-car listening on broadcast radio. It overtook TV in key demographics (e.g., 13% lead in 25–54, 47% in 18–49), boosted by Nielsen's PPM changes crediting shorter listening sessions, increasing reported audiences by ~10–24%.

Digital and Hybrid Expansion

Broadcasters shifted toward hybrid models combining AM/FM with streaming, podcasts, and apps. Digital radio (e.g., DAB+, HD Radio) grew, with 60%+ of broadcasters adopting hybrid platforms and smart devices up 55%. Internet radio revenue reached ~$3.6B in the U.S., though growth slowed due to competition from Spotify/Apple Music.

Podcast Integration and Crossover
Major groups (iHeartMedia, Audacy, Cumulus) deepened podcast ties, with collaborations, video podcasts, and AI personalization. Podcasts claimed ~20% of ad-supported spoken-word audio, blurring lines with radio—many stations simulcast or produced podcasts for on-demand access.

Ad Revenue Challenges and Diversification
Traditional spot ads declined (U.S. national ~$1.76B, down 5%), but digital revenue grew (e.g., local digital up 4.2%). Overall U.S. radio ad spending stabilized or grew modestly, with emphasis on targeted audio and events.

Regulatory and Operational Shifts
FCC deregulation eased ownership rules and burdens, enabling consolidation and efficiency. AI tools aided production (e.g., playlisting, voiceovers), while stations focused on localism, emergencies (e.g., wildfires), and community engagement.

Audience Stability and Shifts
Weekly reach held steady (~85–92% of U.S. adults), with strong Gen Z engagement in cars and growth in smart speakers. However, younger audiences favored on-demand formats, pushing broadcasters toward multi-platform content.

Overall, 2025 positioned radio as a foundational medium adapting to digital realities—leveraging its unmatched local reach, in-car loyalty, and emergency role while embracing podcasts, streaming, and AI to stay relevant. Traditional strengths endured, but success increasingly depended on hybrid innovation and audience trust.

Key Trends Affecting Connoisseur Media in 2025

2025 was a transformative year for Connoisseur Media, a mid-sized radio broadcaster led by CEO Jeff Warshaw. The company aggressively expanded through major acquisitions while strategically divesting underperforming assets, adapting to industry-wide challenges like digital disruption, uneven ad revenue, and regulatory shifts. 

Connoisseur positioned itself as a "powerful nationwide local media platform" reaching ~20% of the U.S. radio audience, with a focus on scale, digital upgrades, and local dominance.

Major Acquisition and Portfolio Expansion

• Alpha Media Acquisition (announced May, FCC-approved August, closed September): Connoisseur acquired Alpha Media's 205-207 stations, boosting its total to ~216 stations across 47 markets. This vaulted Connoisseur into the top 10 U.S. radio groups by station count and revenue, adding key markets like San Antonio, Portland, Salt Lake City, Palm Springs, Louisville, and San Jose. The deal involved assuming Alpha's debt ($115M+) rather than a large cash payment, with Alpha shareholders receiving equity and warrants.

• Bonneville Bay Area Cluster (announced October, $10M deal): Added heritage San Francisco stations (KOIT, KBLX, KMVQ, KUFX), strengthening presence in a top-10 market. Required FCC waiver for ownership limits.

Strategic Divestitures and Optimization

• Connoisseur actively trimmed smaller or non-core markets from the Alpha portfolio to focus on larger, high-growth areas where it could apply its "successful playbook" (strong sales teams, digital operations, local talent).Sold Bakersfield, CA cluster (performance-based earn-out deal).
• Divested 15 Missouri stations to Carter Media ($400K).
• Exited small Midwest stations (e.g., Luverne, MN; Madison, SD).
• This "portfolio designed to evolve" approach aimed to concentrate on markets with dominant shares and advanced digital capabilities.

Digital and Operational Integration

• Integrated Alpha Digital with Connoisseur's Ferocious Digital agency to enhance targeted advertising and analytics.
• Upgraded digital operations across acquired stations, emphasizing hybrid models (AM/FM + streaming/podcasts) to combat cord-cutting and compete with platforms like Spotify.

Regulatory and Industry Environment

• Benefited from FCC deregulation (e.g., ownership rule reviews), enabling consolidation without major divestitures in most markets.
• Joined industry push to lift local ownership caps, arguing radio competes with digital giants and needs scale for viability.
• Navigated uneven revenue (legacy markets outperformed industry trends via digital/local sales; Alpha markets aligned with peers).

Overall, 2025 marked Connoisseur's shift from a regional player to a national force through opportunistic growth, debt-financed deals, and portfolio refinement. Challenges like ad revenue pressures persisted, but the company's focus on scale, digital enhancement, and localism positioned it for long-term resilience in a hybrid audio landscape.

Major Stories Affecting Radio Companies In 2025

2025 was a year of strategic partnerships, digital expansion, financial stabilization, and regulatory shifts in the radio sector. The three major groups—iHeartMedia, Audacy, and Cumulus—focused on content distribution deals, podcast growth, live events, and cost efficiencies amid ongoing ad challenges and FCC deregulation efforts that eased burdens but sparked debate over consolidation.

January

• iHeartMedia: Announced lineup for iHeartCountry Festival (May) and preparations for major events.
• Industry: FCC began broad deregulation review ("Delete, Delete, Delete" initiative), targeting obsolete rules and ownership caps.
• Cumulus: Westwood One secured English-language audio rights for U.S. Soccer.

February

• iHeartMedia: Continued event planning; financial pressures from prior years lingered.
• Cumulus: Westwood One announced exclusive multiplatform coverage for NCAA events.

March

• Industry: FCC officially launched mass deregulation proceeding, inviting comments on eliminating unnecessary rules.
• Audacy: Named finalist for 21 NAB Marconi Radio Awards.

April

• iHeartMedia: Released Q1 earnings; focused on digital growth.
• Cumulus: Reported Q1 results with digital revenue up 6.1% (20% excluding prior losses).

May

• iHeartMedia: Hosted iHeartCountry Festival; announced more event details.
• Cumulus: Promoted leadership in key markets (e.g., Atlanta VP/Market Manager).

June

• iHeartMedia & Audacy: Major partnership announced—Audacy's 240+ stations and podcasts added to iHeartRadio app, expanding reach across devices.
• Cumulus: Debuted new podcast episodes and promotions.

July

• Audacy: Unveiled 2025 We Can Survive Concert lineup (September event with Ed Sheeran, etc.).
• iHeartMedia: Reported Q2 earnings with digital audio revenue up 13.4% and podcast growth.
• Cumulus: Promoted Des Moines VP/Market Manager.

August

• iHeartMedia: Released Q2 results; ongoing modernization for $150M savings.
• Industry: FCC advanced deregulation, eliminating 98 obsolete rules.

September

• iHeartMedia: Hosted iHeartRadio Music Festival (September 19-20); announced lineup.
• Audacy: Held We Can Survive Concert; released State of Audio Fall report.
• Cumulus: Reported Q3 results; announced new podcast additions.

October

• iHeartMedia: Released Q3 earnings with digital growth (13.5%) and new partnerships (e.g., Amazon Ads, TikTok).
• Cumulus & Audacy: Announced rebranding of Infinity Sports Network to Westwood One Sports (effective December); Cumulus assumed programming for syndicated lineup.

November

• iHeartMedia: Q3 results highlighted efficiency gains and $50M additional savings planned for 2026.
• Audacy: Announced WFAN (New York) programming revamp for 2026.

December

• iHeartMedia: Inked major video podcast deal with Netflix (15+ shows, launching 2026); partnered with Viant for addressable audio; announced video podcast support in iHeartRadio app (2026 launch).
• Cumulus: Launched Westwood One Sports 24/7; new syndicated shows (e.g., America at Night host change).
• Industry: FCC's deregulation continued, easing burdens but raising concerns about consolidation.

Overall, 2025 emphasized collaboration (e.g., iHeart-Audacy deal, Cumulus-Audacy sports partnership) and digital/podcast growth to offset traditional radio challenges. FCC deregulation reduced operational hurdles, but debates persisted on ownership caps and localism. The groups stabilized finances through efficiency and new revenue streams, positioning for further digital evolution.

Recap: FCC Trends During 2025

2025 marked a dramatic shift at the FCC under Chairman Brendan Carr, who took office following President Trump's inauguration. The year emphasized deregulation, infrastructure acceleration, national security, and innovation in broadcasting, wireless, and space sectors. 

Key initiatives included the "Delete, Delete, Delete" proceeding, which eliminated over 1,100 obsolete rules, and the Build America Agenda, focused on high-speed infrastructure and spectrum expansion.

Major Deregulatory Push

• Launched the largest deregulation effort in FCC history ("In Re: Delete, Delete, Delete"), eliminating or proposing to eliminate 1,108 rules, 134,928 words, and 312 pages of the Code of Federal Regulations.
• Terminated a record 2,048 inactive dockets, rescinded Biden-era initiatives, and ended DEI-related programs (e.g., advisory groups, equity plans).
• Cut over $567 million in contract spending and streamlined operations for efficiency.

Broadcasting and Media Ownership Reforms

• Vacated the Top-4 TV ownership prohibition (via court ruling), enabling more local TV mergers.
• Advanced the 2022 Quadrennial Review of ownership rules, seeking comments on relaxing local radio/TV limits and dual network restrictions amid digital competition.
• Liberalized NextGen TV (ATSC 3.0) rules to accelerate deployment, including flexible simulcasting and lighthouse signals.
• Approved mergers like Paramount-Skydance with conditions on viewpoint diversity and launched investigations into network-affiliate relations.

Spectrum and Wireless Leadership

• Restored auction authority via legislation, planning auctions like AWS-3 (June 2026) and Upper C-band (by July 2027).
• Proposed auctioning 100-180 MHz in Upper C-band for 5G/6G and broadband.
• Advanced 6G through TAC reports and spectrum pipeline goals (800 MHz by 2034).

National Security and Other Priorities

• Added foreign-made drones/components to the Covered List.
• Strengthened satellite processing (cut backlogs by half) and streamlined rules.
• Focused on consumer protections (e.g., robocall rules) and public safety.

Overall, 2025 positioned the FCC as a pro-innovation, deregulatory force, prioritizing U.S. leadership in wireless, space, and broadcasting while reducing burdens. Challenges included ongoing debates over consolidation's impact on localism and diversity.

Comcast Extends Mike Cavanaugh Until 2029

Mike Cavanagh will become Comcast's co-CEO alongside Brian Roberts starting January 2026, with a contract committing him to the role through at least January 1, 2029.

A new SEC filing reveals Cavanagh's base salary will rise to $2.75 million annually (from $2.5 million in 2024), effective Jan. 2, 2026. He will also receive $35 million in performance-based stock awards.

In 2024, Cavanagh's total compensation included:

• $2.5 million base salary
• $13.63 million in stock awards
• $4.38 million in option awards
• $7.5 million in non-equity incentive compensation
• $255,162 in other compensation (including $10,000 in 401(k) contributions and $245,162 for personal use of company aircraft)

Mike Cavanagh

Cavanagh, who joined Comcast in 2015 as CFO after a long career in financial services, assumed oversight of NBCUniversal following Jeff Shell's departure in 2023.

“Comcast is a special company with exceptional businesses and an incredible team,” Cavanagh said in September. “It is an honor to work with Brian and the entire Comcast NBCUniversal leadership team during this exciting and transformative time in our industry.”

Brian Roberts praised Cavanagh as a “trusted and collaborative leader” and the “ideal person” to help guide Comcast's growth strategy.

For comparison, Roberts' 2024 compensation included:

• $2.5 million base salary
• $17.9 million in stock awards
• $5.75 million in option awards
• $7.5 million in non-equity incentive compensation
• $200,483 in other compensation (including $10,000 in 401(k) contributions and $190,483 for personal aircraft use)

The Battle for Control of WBD: A Timeline of Key Developments

Warner Bros. Discovery (WBD) remains is at the center of a high-stakes corporate battle. The company, formed in 2022 from the merger of Discovery and WarnerMedia, has faced ongoing challenges, including massive debt, declining linear TV revenue, and strategic shifts. This culminated in a planned split into two entities — a streaming/studios-focused "Warner Bros." and a networks-focused "Discovery Global" — but unsolicited bids turned it into an auction.

The current fight pits a friendly deal with Netflix (acquiring the studios, HBO, and streaming assets) against a hostile takeover bid from Paramount Skydance (backed by Larry Ellison), aiming to buy the entire company. 

Here's a chronological timeline of the major developments:

• December 2024 – Early 2025 — WBD restructures into two divisions (Streaming & Studios, Global Linear Networks) to enable flexibility and future options.
• June 9, 2025 — WBD officially announces plans to split into two independent public companies by mid-2026: "Warner Bros." (studios, HBO, Max) led by CEO David Zaslav, and "Discovery Global" (cable networks like CNN, TNT) led by CFO Gunnar Wiedenfels. The move aims to separate high-growth streaming from declining linear TV.
• July 2025 — WBD names the post-split entities and confirms leadership.
• 
  Late 2025 (September–November) — WBD opens a strategic review after unsolicited interest. Bidders include Netflix, Paramount Skydance, and Comcast. Paramount (led by David Ellison) makes multiple private offers (starting at $19/share), which WBD rejects in favor of its split plan.
• December 5, 2025 — WBD announces a definitive agreement to sell its Streaming & Studios business (Warner Bros. studios, HBO, Max) to Netflix for $72 billion equity value ($82.7 billion enterprise value). The deal requires spinning off the networks into Discovery Global by Q3 2026. Netflix gains control of HBO and major franchises (e.g., DC, Harry Potter).
• December 8, 2025 — Paramount Skydance launches a hostile all-cash bid for the entire WBD at $30/share (~$108.4 billion enterprise value), refusing to accept the Netflix deal. David Ellison claims WBD favored Netflix and ignored Paramount's offers.
• December 10–17, 2025 — Bidding intensifies. Netflix raises its offer slightly to $27.75/share. Paramount boosts its bid to $30/share, dropping Chinese investor Tencent but retaining Middle Eastern funds. WBD's board rejects Paramount's offer, calling it riskier and less financed.
• December 22, 2025 — Larry Ellison personally guarantees $40.4 billion in equity for Paramount's bid, addressing financing concerns. Paramount amends its offer and urges shareholders to tender by January 21, 2026.
• December 23, 2025 — WBD board blasts Paramount's bid as "opaque" and urges shareholders to reject it. Netflix executives defend their deal as a "win" for growth.

The battle remains unresolved. WBD favors Netflix's deal for its cleaner structure and strategic fit, but Paramount's higher all-cash offer could sway shareholders. Both face antitrust scrutiny (Netflix gaining dominance in streaming; Paramount combining studios and news). The outcome could reshape Hollywood, with Netflix potentially absorbing HBO and Warner Bros. assets, or Paramount creating a new media powerhouse.

This saga underscores the industry's consolidation pressures, driven by streaming dominance and declining cable TV.

NYC, Atlanta Radio: Hot97 Extending Brand To Video

MediaCo Holding Inc., the parent company of iconic hip-hop radio station WQHT HOT 97, has announced the launch of HOT 97 News—a daily live national television program debuting in January 2026. 

This marks HOT 97's first entry into the news space, blending journalism, hip-hop culture, music, entertainment, and unfiltered conversation in a raw, authentic format.

The show will broadcast and stream nationally on HOT 97 TV and across the brand's digital platforms, targeting modern audiences seeking context and deeper discussion through the lens of hip-hop.

A companion local version, HOT 97 News – Atlanta, will air as a daily one-hour live program focused on Atlanta metro-area news, music, entertainment, and community stories. It will broadcast on WHOT-TV Channel 66 in Atlanta and stream digitally.

The programs will be anchored by:Lana Harris, a metro Atlanta native with extensive broadcast and digital news experience.

Ronndell Smith, an Atlanta-based comedian, host, and entrepreneur with TV and film credits.
Million Connally-Cooper, a producer and content creator known for street-level interviews and cultural commentary.

This expansion builds on MediaCo's recent TV growth, including the launch of HOT 97 TV as a free ad-supported streaming channel and its over-the-air presence in Atlanta via WHOT-TV, reaching over 20 million monthly viewers across radio, TV, digital, and streaming.

Radio History: Dec 27

➦In 1932...Radio City Music Hall, at 1260 Avenue of the Americas in New York City, opened to the public.  Nicknamed the Showplace of the Nation, it is the headquarters for the Rockettes, the precision dance company.

The name "Radio City Music Hall" derives from one of the complex's first tenants, the Radio Corporation of America (RCA), who planned a mass media complex called Radio City on the west side of Rockefeller Center.

Radio City Music Hall was built on a plot of land that was originally intended for a Metropolitan Opera House. The opera house plans were canceled in 1929, leading to the construction of Rockefeller Center.

One of the more notable parts of the Music Hall is its large auditorium, which was the world's largest when the Hall first opened. The new complex included two theaters, the "International Music Hall" and the Center Theater, as part of the "Radio City" portion of Rockefeller Center. The 5,960-seat Music Hall was the larger of the two venues. It was largely successful until the 1970s, when declining patronage nearly drove the Music Hall to bankruptcy. Radio City Music Hall was designated a New York City Landmark in May 1978, and the Music Hall was restored and allowed to remain open. The hall was extensively renovated in 1999.

Although Radio City Music Hall was initially intended to host stage shows, it hosted performances in a film-and-stage-spectacle format through the 1970s, and was the site of several movie premieres. It now primarily hosts concerts, including by leading pop and rock musicians, and live stage shows such as the Radio City Christmas Spectacular. The Music Hall has also hosted televised events including the Grammy Awards, the Tony Awards, the Daytime Emmy Awards, the MTV Video Music Awards, and the NFL Draft.

➦In 1939...“The Glenn Miller Show”, also known as “Music that Satisfies”, started on CBS radio. The 15-minute, three-a-week big band show was sponsored by Chesterfield cigarettes and was heard for nearly three years.

➦In 1943...Broadcast journalist Cokie Roberts was born in New Orleans.  The child of two members of the U-S Congress she joined an upstart National Public Radio in 1978 and left an indelible imprint on the growing network with her coverage of Washington politics before later going to ABC News.  She was still on the ABC payroll at age 75 when she died Sept. 17th 2019 due to complications from breast cancer.

Howdy Doody

➦In 1947...The children's TV program Howdy Doody program first aired on NBC. It continued until September 24, 1960. It was a pioneer in children's television programming and set the pattern for many similar shows. One of the first television series produced at NBC in Rockefeller Center, in Studio 3A, it was also a pioneer in early color production as NBC (at the time owned by TV maker RCA) used the show in part to sell color television sets in the 1950s.

Bob Smith created Howdy Doody during his days as a radio announcer on WNBC 660 AM. At that time, Howdy Doody was only a voice Smith performed on the radio. When Smith made an appearance on NBC's television program Puppet Playhouse on December 27, 1947, the reception for the character was great enough to begin a demand for a visual character for television. Frank Paris, a puppeteer whose puppets appeared on the program, was asked to create a Howdy Doody puppet.

➦In 1947...Bell Labs invented the transistor.

➦In 1958...Buddy Holly made his first appearance in his hometown of Lubbock, Texas since becoming a major recording star. Along with broadcasting live over KLLL radio from a fruit and vegetable store, he returned to the station's studios to record "You're The One," a song that station management challenged him to write in half an hour.

➦In 1968...Don McNeil's "The Breakfast Club" signed off the ABC Radio network, after 35 years.

Local TV Stations Are Killing Syndicated Daytime Content

The slow death of daytime syndicated TV accelerated dramatically in 2025, with multiple high-profile cancellations and a sharp decline in new launches, driven by shrinking audiences, high production costs, and competition from streaming.

Key developments include the cancellation of five major syndicated shows for the 2025-26 season: 

Dish Nation (after 13 seasons), Matter of Fact with Soledad O'Brien (after 10 seasons), Person, Place or Thing (after two seasons), Pictionary (after three seasons), and True Crime News (after one season). These cuts reflect broader industry challenges, as viewers shift to on-demand platforms, and producers like Warner Bros. and Paramount scale back investments. Iconic game shows Jeopardy! and Wheel of Fortune also expanded streaming access via next-day deals with Hulu and Peacock, signaling a pivot away from exclusive broadcast syndication.

In response, broadcast stations are undergoing a renaissance in local content, prioritizing community-focused programming to boost ad revenue and relevance.

As first reported by Cord Cutters News, major groups like Nexstar, Gray, Scripps, and Sinclair are leading the shift, expanding local news, lifestyle shows, and regional hubs. Nexstar, the largest station owner, has reduced syndicated daytime slots in favor of hyper-local content, with stations like WOOD-TV 8 in Grand Rapids slashing national programming to just two hours daily while adding extended local news and community segments. This approach delivers stronger regional ad sales from local businesses and meets viewer demand for trusted, community-specific information in a streaming-dominated era.

Overall, the decline of traditional syndicated daytime TV highlights evolving media consumption, while the rise of local programming offers stations a viable, sustainable future.

More Skinny Streaming Bundles Coming In 2026

Streaming platforms are increasingly offering budget-friendly bundles to combat rising costs, subscription fatigue, and churn. These packages target niche audiences—such as anime fans, arthouse cinephiles, sports enthusiasts, or LGBTQ+ viewers—by combining mainstream services with specialized ones. Bundles often include ad-supported tiers, saving users 30-50% compared to separate subscriptions, and focus on value for underserved interests.

Major Bundles for Niche Audiences

• Disney+, Hulu, and Max (formerly HBO Max) Bundle — $19.99/month with ads ($32.99 ad-free). Appeals to superhero, drama, and documentary fans with Marvel/DC, FX originals, HBO prestige series, and National Geographic. Savings: ~42% vs. individual plans.
• Apple TV+ and Peacock Bundle — Starts at $14.99/month (with ads on Peacock; $19.99 ad-free). Ideal for sci-fi enthusiasts (Apple's Severance, Silo) and reality/sports viewers (Peacock's The Office, Real Housewives, NFL/Premier League). Launched in October 2025, it saves over 30%.
• Xfinity StreamSaver — $15/month (rising to $18 in late December) for Xfinity subscribers. Includes Netflix (with ads), Apple TV+, and Peacock. Targets binge-watchers of post-apocalyptic shows, comedies, and gaming tie-ins. Saves ~40% vs. separate subscriptions.
• Crunchyroll Premium — From $7.99/month (Fan tier) to $15.99 (Ultimate). Anime-focused, with ad-free viewing, offline downloads, and game access in higher tiers. Annual deals (e.g., $20 off Mega Fan) make it budget-friendly for otaku audiences.

Emerging Niche Options

Lower-cost add-ons or standalone services often integrate into broader bundles (e.g., via Prime Video):

• Mubi — $14.99/month for curated arthouse and international films; appeals to cinephiles.
• WOW Presents Plus — $5.99/month for drag and LGBTQ+ content like RuPaul's Drag Race.
• Shout! Factory TV — Premium at $3.99/month for cult classics and B-movies.
• MagellanTV — $5.99/month for documentaries.Industry Trends Driving BundlesRising standalone prices (e.g., Netflix, Disney+) and consumer demand for affordability push bundling. Ad-supported options keep entry low ($10-20/month), while carriers like Xfinity and Walmart+ add perks. 

Expect more mergers and sports-focused packages in 2026.

FNC Outpaces NBC YTD with Weekday Primetime

FOX News Channel (FNC) finished the week of December 15 continuing to beat NBC with weekday primetime in 2025, according to Nielsen Big Data + Panel. Year-to-date in weekday primetime, FNC (3,153,000 viewers) leads NBC (3,113,000 viewers). In Monday-Sunday primetime, FNC nabbed 2.1 million viewers and 191,000 in the 25-54 demo. Across total day (6 AM-6 AM/ET), FNC posted 1.4 million viewers and 126,000 in the 25-54 demo. During the week, FNC commanded 84 of the top 100 telecasts in all of cable.

The Five averaged 3.5 million viewers and 281,000 in the 25-54 demo, leading cable news with viewers. At 6 PM/ET, Special Report with Bret Baier drew 2.6 million viewers and 233,000 in the 25-54 demo. The Ingraham Angle saw 2.4 million viewers and 217,000 in the 25-54 demo at 7 PM/ET. Jesse Watters Primetime commanded 2.9 million viewers and 251,000 in the 25-54 demo at 8 PM/ET. At 9 PM/ET, Hannity posted 2.8 million viewers and 300,000 with A25-54. At 11 PM/ET, FOX News @ Night with Trace Gallagher secured 1.6 million viewers and 163,000 A25-54.

FNC’s late-night hit Gutfeld! (weekdays, 10 PM/ET) averaged 2.5 million viewers and 249,000 in the 25-54 demo. Gutfeld! continued to outpace the broadcast competition including CBS’ The Late Show with Stephen Colbert (2 million viewers), ABC’s Jimmy Kimmel Live! (2 million viewers), NBC’s The Tonight Show with Jimmy Fallon (1.2 million viewers) and NBC’s Late Night with Seth Meyers (891,000 viewers).

FNC continued to see its daytime programs outpace the broadcast competition. The Will Cain Show (weekdays, 4 PM/ET; 2.1 million viewers) outranked CBS Mornings (2 million viewers). Outnumbered (weekdays, 12 PM/ET; 1.8 million viewers), America’s Newsroom (weekdays, 9-11 AM/ET; 1.8 million viewers), The Story (weekdays, 3 PM/ET; 1.8 million viewers), The Faulkner Focus (weekdays, 11 AM/ET; 1.8 million viewers) and America Reports (weekdays, 1-3 PM/ET; 1.7 million viewers) each led NBC’s Today with Jenna and Friends (1.5 million viewers), NBC News Daily (1.4 million viewers), and ABC’s GMA3 (1.4 million viewers).

Ratings Graphics courtesy of RoadMN

On Saturday: FOX & Friends Weekend (weekends, 6-10 AM/ET) was the most-watched cable news show of the day with 1.2 million viewers. Kayleigh McEnany’s Saturday in America (Saturday, 10 AM-12 PM/ET) followed with 1.1 million viewers. In primetime, My View with Lara Trump (Saturday, 9 PM/ET) was the top cable news show with 836,000 viewers.

On Sunday; Maria Bartiromo’s Sunday Morning Futures (Sunday, 10 AM/ET) was the number one cable news show of the weekend with 1.3 million viewers. The Sunday Briefing (Sunday, 11 AM/ET) hosted by Peter Doocy drew 1.1 million viewers. In primetime, Sunday Night in America with Trey Gowdy (Sunday, 9 PM/ET) led the way with 909,000 viewers.

Source: Nielsen. Big Data + Panel. Week of 12-15-25 ratings data. Average audience for cable news networks Monday-Sunday based on Total Day and Prime (6a-6a, 8P-11P), P2+, P25-54. Cable News/Broadcast Program averages exclude repeats and include the corresponding program name.