Media Industry Still Facing Wave of Layoffs

As the middle of 2026 approaches mergers, acquisitions, and aggressive cost-reduction efforts are triggering significant job losses across the U.S. media and journalism sectors, with major companies targeting workforce reductions to achieve billions in savings.

Paramount Skydance has initiated the most substantial cuts so far. Following its merger, the company began laying off roughly 1,000 employees in late October 2025, with another 1,000 expected soon, for a total of about 2,000 jobs — roughly 10% of its combined workforce. 

A potential Paramount-Warner Bros. Discovery integration is projected to deliver up to $6 billion in annual synergies, raising concerns about thousands of additional job losses through overlapping operations, though executives have emphasized non-labor efficiencies. 

CBS News executed multiple rounds of cuts, most recently in March 2026, laying off about 6% of its workforce (around 60 employees) while fully shutting down its historic CBS News Radio division. 

Nexstar-owned local TV stations have seen targeted reductions, including roughly a dozen on-air staff cuts across major markets like KTLA (Los Angeles), WPIX (New York), and WGN (Chicago) in early 2026, with broader creative services and station-level eliminations ongoing. 

The Associated Press offered buyouts to more than 120 U.S.-based journalists and followed with 20 layoffs in May 2026 as part of a restructuring that includes buyouts of about 40 staffers. 

Journalism and media jobs continue to decline sector-wide. The broader entertainment and media industries announced over 17,000 job cuts in 2025, while U.S. newspaper employment alone fell by an estimated 6,900 positions (about 8%). 

This pattern of consolidation-driven layoffs underscores ongoing challenges in traditional media, from broadcast networks to local stations and wire services, as firms adapt to changing audience habits and tightening budgets.

Where Things Stand: Radio News Networks

WWNN (Worldwide News Network) is a newly launched 24/7 national audio news service from Red Apple Audio Networks (owned by John Catsimatidis, parent of WABC New York). It debuted on May 23, 2026, immediately following the shutdown of CBS News Radio, positioning itself as a direct replacement option for affiliates.

It offers top-of-the-hour and bottom-of-the-hour newscasts every hour, 24/7, emphasizing hard news, breaking headlines, fact-driven reporting, speed, credibility, and authority. Leadership includes National Radio Hall of Fame inductee Lee Harris (former longtime WINS New York anchor) as VP/News, plus several former CBS News Radio voices and other established broadcasters.

Key Competitors in National Radio News Networks for Affiliates

Major players include services from large radio groups and wire services that provide newscasts, headlines, and features to local stations.

• ABC News Radio:  The country’s largest commercial broadcaster with a network of more than 1,400 radio stations and digital distributors. ABC News is committed to serving radio stations and the millions of Americans who get their news there every single day.
• iHeartMedia’s 24/7 News Network and NBC News Radio: A major established option with broad reach. It delivers unbranded national news updates, breaking news, and features (business, tech, health, etc.). Strong infrastructure and integration with iHeart stations, but often seen as more corporate and less personality-driven in pure news delivery.
• Associated Press (AP) Radio Network: Long-standing wire-service style provider of hourly newscasts and audio. Reliable for straightforward, fact-based reporting, but many note it is not a full 24/7 staffed operation like WWNN (more limited hours in some cases). Frequently used as a fallback or supplement.
• Fox News Radio / Other Talk-Oriented Services (e.g., Salem Radio Network): Strong in conservative-leaning markets with commentary-heavy options. Provide news but often bundled with opinion/talk programming. Less focused on pure, neutral hard-news newscasts compared to WWNN’s stated mission.

Former CBS News Radio (now defunct): WWNN directly targets its former affiliates (~700 stations) by hiring some former CBS talent and launching right after the May 2026 shutdown. CBS was a historic, high-credibility brand with long-form reporting; WWNN aims to replicate the 24/7 structure and journalistic tone.

Comparison Summary Format & Availability:

WWNN matches the aggressive 24/7 top/bottom-of-hour model that CBS offered and that stations crave for music/talk hybrids. Most competitors provide hourly newscasts but vary in depth and round-the-clock staffing.

• Credibility & Talent: WWNN leans heavily on veteran broadcast journalists (Harris + ex-CBS staff) and positions itself as “real journalism” focused on facts and trust. This gives it an edge in perceived authority for stations seeking a credible replacement.
• Michael Wallace: Award-winning anchor/reporter with 35+ years of experience. Longtime anchor at WCBS 880 (New York). Briefly joined CBS News Radio before moving to WWNN. Strong writing, editing, and on-air presence.
• Cooper Lawrence: Multi-Gracie Award winner and versatile radio personality. News anchoring experience at 1010 WINS and WCBS 880 (New York). Background includes syndicated hosting, entertainment/pop culture, health/wellness features, and TV. Adds a dynamic, recognizable voice with broad appeal.
• Bill Rehkopf: 40-year broadcasting veteran and former CBS News Radio correspondent/anchor. Experience at KDKA (Pittsburgh), WCBS, and extensive field reporting. Also background in public safety/crisis communications, education, and firefighting — bringing specialized expertise to breaking news.
• Matt Pieper: CBS News Radio anchor/correspondent (joined 2015). Emmy Award-winning TV anchor/reporter (News 12 New York). Covered major stories including politics, trials, and weather events. Strong writing and anchoring skills; began career in high school broadcasting.
• Brandon Ison: News anchor/reporter with experience at WBBM Newsradio (Chicago) and earlier at KXL (Portland). Adds Midwest market perspective and solid reporting credentials to the national team.
• Target Audience & Affiliates: WWNN is independent and aggressive in courting smaller-to-mid-market stations (especially former CBS affiliates and conservative/talk outlets). Red Apple already has hundreds of affiliates for its talk shows. Larger networks (iHeart, Westwood One) dominate through owned stations and massive reach but may feel less flexible for independents.

In summary, WWNN’s talent strategy leverages high-caliber, battle-tested broadcasters to establish quick trust and operational excellence. Led by a Hall of Famer and stocked with ex-CBS pros, the lineup strongly supports its "real journalism" mission.

In short, WWNN enters as a nimble, journalism-focused challenger aimed squarely at stations needing reliable 24/7 hard news without the baggage (or ownership ties) of bigger corporate networks.

Where Things Stand: Gen Z In Today's Audio World

Gen Z (roughly ages 13–28) leads all generations in daily audio consumption, averaging around 4 hours and 10 minutes to 4 hours and 30 minutes per day depending on the exact cohort and survey. 

Music dominates this time, delivered primarily through on-demand streaming services, YouTube, and social platforms, while traditional AM/FM radio retains a meaningful — and sometimes surprising — foothold, especially among younger teens.

This blend of hyper-personalized digital access and lingering linear habits reflects a generation that grew up with unlimited catalogs, algorithmic curation, TikTok virality, economic caution, and a need for audio as emotional support amid multitasking lives.

Daily Breakdown: Where the Time Goes

According to Edison Research’s Gen Z Audio Report (ages 13–24):

• Streaming music (Spotify, Apple Music, YouTube Music, etc.): 42% of daily audio time.
• YouTube (music videos and tracks): 20%.
• AM/FM radio and streams: 16% — still ahead of podcasts (8%) and other sources.
• Total daily audio: 4 hours and 10 minutes.

Broader 13–34 data from Edison’s Share of Ear (Q1 2026) shows even higher consumption at 4 hours and 30 minutes daily, outpacing older groups.

Gen Z listens mostly on smartphones (57% of audio time), often while commuting, studying, working out, gaming, or scrolling. Audio serves practical and emotional roles: 86% use it to boost mood, 63% say it helps them cope with difficult times, and many treat it as a “coping toolkit.”

Music Streaming: Personalized, Algorithmic, and Ubiquitous

Nearly all Gen Z uses music streaming services weekly — 99% in the U.S. in recent data. Spotify leads thanks to its powerful algorithms (Discover Weekly, mood/ activity playlists), collaborative features like Jam, and robust free tier. YouTube doubles as both discovery and consumption platform.

Key behaviors:

• Playlists over albums: Gen Z builds, shares, and follows mood-, activity-, or vibe-based playlists rather than full artist discographies.
• Algorithm + social hybrid discovery: 30% cite social media (especially TikTok) as the top music discovery source; 18% rely on streaming recommendations. TikTok drives 51% of discovery for many 16–24-year-olds, though virality often leads to short-term engagement rather than deep fandom.
• Multitasking and flexibility: Short hooks from TikTok/Reels frequently lead to full tracks on streaming. Many use ad-supported tiers or bundles to manage costs.
• Emerging openness: 55–60% of younger Gen Z listen to AI-generated music, averaging several hours weekly. Genres skew toward hip-hop/rap (63%), pop (48%), and R&B, with rising eclectic indie and nostalgia pulls from older catalogs resurfacing via social trends.
• Traditional Radio: Not Dead, Especially for Younger Teens.  Despite streaming’s dominance, 55% of Gen Z listen to AM/FM radio daily, with 78% tuning in weekly. Radio claims 16% of total audio time and serves as background companionship in cars, at school/work, or for live energy that algorithms sometimes miss.
• Notable nuance: Younger teens (13–17) show stronger radio affinity, with 10% naming it their top discovery source — more than double the rate for 18–24s. Radio offers serendipity, local relevance, and communal vibes (sports, events, DJ curation) that feel authentic. Many stations adapt by integrating social clips and shorter segments.

Gen Z’s habits accelerate the shift toward playlist culture, AI recommendations, short-to-long funnel (TikTok clip → Spotify stream), and authentic branding. Radio survives by leaning into personality and community. Streaming platforms compete fiercely on personalization and value while battling churn.

Overall, Gen Z hasn’t rejected traditional radio — they’ve layered it into a rich, mobile-first ecosystem where streaming provides control and endless choice, social platforms spark discovery, and radio offers comforting familiarity. Audio remains central to their identity, mood regulation, and daily rhythm, giving creators, platforms, and advertisers a large, engaged window — if they meet Gen Z on their terms: relevant, flexible, and real.

Gen Zers In No Hurry To Start Driving

Gen Z on Long Island is increasingly saying “no thanks” to driver’s licenses, bucking a generations-old American rite of passage and signaling a broader shift in how young people navigate independence, mobility, and responsibility.

According to Newsday, fewer teens everywhere are rushing to take road tests at age 16, and many who eventually get licensed are using their cars far less than their parents or grandparents did. The trend stands in sharp contrast to the cultural touchstone of Olivia Rodrigo’s 2021 megahit “Driver’s License,” which turned the laminated card into a symbol of teenage freedom, heartbreak, and coming of age. For many members of Gen Z (born 1997–2012, now ages 14–29), that freedom feels more like a burden.

According to the latest New York State Department of Motor Vehicles figures from May, only about one-third of 16- and 17-year-olds on Long Island hold a junior driver’s license. The state DMV does not track year-over-year comparisons, but the numbers align with a clear national decline. 

Federal Highway Administration data shows the share of 16-year-olds with a driver’s license dropped from roughly 50% in 1983 to just 25% in 2022.

Why the U-turn?

• Safety fears top the list. Many Gen Zers describe Long Island’s congested parkways, aggressive drivers, and complex intersections as intimidating rather than exciting. Instead of jumping behind the wheel, they rely on bicycles, Long Island Rail Road trains, Uber rides, scooters, and even skateboards to get to school, jobs, or friends’ houses.
• Cost is another major deterrent. Car insurance, gas, maintenance, and parking add up quickly for young people already facing high living expenses, student debt concerns, and uncertain job markets.
• Environmental awareness also plays a role. Growing up with constant messaging about climate change, many in this generation prefer lower-carbon alternatives to driving alone.

These personal anecdotes are backed by hard numbers. The postponement of driving is not unique to Long Island—it shows up in metropolitan areas nationwide as ride-sharing apps, improved transit options, and shifting priorities make car ownership less essential for daily life.

The change marks a quiet but significant departure from decades of American car culture. For previous generations, passing the road test was a non-negotiable milestone of adulthood. Today’s teens are redefining that milestone on their own terms—opting for flexibility, lower costs, and reduced stress over the traditional symbol of freedom once celebrated in songs like Rodrigo’s.

Screen Stars Matter Less; “Content and Concept” Rule With Gen Z

Young Americans—particularly teens—have specific, practical complaints about the movie business: endless franchise fatigue, repetitive “corporate” storytelling that feels manufactured by algorithm rather than artists, perceived heavy-handed ideological tweaks, over-reliance on the same stars in similar roles, and marketing that fails to reach them where they actually discover content (TikTok, YouTube, memes, and friend recs rather than trailers or billboards).

A national study of 17- and 18-year-olds, highlighted in Puck News alongside Matthew Belloni’s annual L.A. teen focus groups, reveals franchise fatigue as a top issue. Teens are tired of reboots, remakes, and spin-offs that feel like “soulless corporate filmmaking” designed by committee.

 
Celebrity power has diminished. Stars matter less; “content and concept” rule. Teens reject idolization and note actor oversaturation—examples include avoiding films with Chris Hemsworth or Pedro Pascal because “they’re in too many movies,” or criticizing Zendaya, Dwayne Johnson, and Kevin Hart for repetitive roles. Directors barely register for many.

 
Messaging feels forced. There is pushback against what teens describe as “woke algorithmic content modifications”—stories altered to fit corporate social trends, identity checkboxes, or activist points rather than serving organic narratives. This undercuts the narrative that only older audiences resist such changes; younger viewers increasingly see it as inauthentic and preachy.

 
Discovery and marketing mismatch. Traditional Hollywood campaigns barely reach them. Teens find movies via short clips, influencer reactions, Rotten Tomatoes scores, Letterboxd, and peer buzz. Many had low awareness of major summer releases even in May. Studios pour money into outdated tactics while social media fragments attention.

Gen Z spends more daily time on media (around 6.9 hours) than older generations but less on traditional long-form movies and TV, favoring creator content on social platforms that feels more relevant and personal. Deloitte data shows 56% of Gen Z view social media content as more relatable than premium TV or films.

Theatrical attendance tells a nuanced story. Gen Z values the communal, social experience—going with friends, pairing with dinner, planning ahead—and theaters as a “third space” amid digital fatigue. Yet overall box office struggles persist due to fewer compelling releases, high ticket prices for cash-strapped young people, and competition from short-form entertainment. Many prefer originals, video game adaptations, anime-inspired stories, or fresh IP over their parents’ franchises.

‘Great American State Fair’ Plans Undecided

President Trump called for the cancellation of the planned “Freedom 250” concert series in Washington, D.C., and suggested replacing it with a giant “Make America Great Again” rally.

Trump made the remarks on Truth Social late Saturday, just days after most announced performers dropped out of the event, which was scheduled for June 25 to July 10 on the National Mall.

“We should have a giant MAKE AMERICA GREAT AGAIN RALLY, for 250, instead of having overpriced singers, who nobody wants to hear, whose music is boring, and yet who do nothing but complain,” 

Trump wrote. He also proposed giving a speech instead of hosting concerts.

Trump linked the decision to his failed attempt to take over the Kennedy Center earlier this year. A federal judge ordered the removal of Trump’s name from the center’s facade on Friday.

“Cancel it, just like I canceled my involvement with the failing and unsafe to be in Kennedy Center,” Trump posted. He criticized U.S. District Judge James Cooper as “highly conflicted” and “crooked,” called for his impeachment, and blamed him and his wife for blocking the effort to revitalize the venue.

Artists who dropped out of the Freedom 250 event include Martina McBride, Bret Michaels, The Commodores, and Young MC.The concert series was intended to mark America’s 250th anniversary but has faced significant setbacks following the wave of performer withdrawals.

Two D-C Stars To Fight It Out In Court

The historic Washington Star newspaper, which ceased printing more than 40 years ago, has resumed publication under media executive Dovid Efune, owner of The New York Sun.

The revival comes just weeks after the politics website NOTUS announced it would rebrand as The Star and broaden its coverage to include Washington-area local news and sports. Both outlets intend to compete directly with The Washington Post, owned by Amazon founder Jeff Bezos, which recently cut one-third of its staff amid financial losses.

“We’re reviving one of the great and epic rivalries of American journalism,” Efune said in an interview. “For decades, The Star was The Washington Post’s fiercest competitor and an important editorial and ideological counterweight in the press in our nation’s capital.”

The competition has already escalated into legal action. On Thursday, Efune filed a trademark infringement lawsuit against NOTUS over its planned use of the “Star” name. The moves arrive during a difficult period for the media industry, marked by widespread layoffs, declining search traffic, and pressure to grow paid subscriptions. The Washington Post laid off more than 300 of its roughly 800 journalists in February after reporting annual losses exceeding $100 million and scaling back metro and sports coverage.

Efune said the revived Star has begun publishing on Substack. A custom website is expected to launch within two months, with a weekend print edition targeted for the end of the year. He is interviewing candidates and plans to hire up to 50 full-time journalists and contributors.Until an editor-in-chief is named, the new Star will operate under the oversight of The New York Sun’s newsroom. 

The original Washington Star was a conservative-leaning afternoon paper that published for 128 years before filing for bankruptcy and shutting down in 1981. The Washington Post acquired its former headquarters and printing presses in the bankruptcy sale.

Streaming Bundles Surge in Popularity

Bundles now account for 33% of all new major streaming service subscriptions in the United States and represent 28% of total subscriptions, according to data from research firm Antenna — a sharp rise from just 10% of new subscriptions in 2014.

The findings highlight how consumers and streamers are increasingly turning to discounted package deals combining services like Disney+, Hulu, Max, and others as the streaming market matures and cord-cutting households seek better value.

Antenna’s analysis shows bundles have roughly tripled their share of new sign-ups over the past decade, reflecting a major shift away from standalone subscriptions. This growth has accelerated in recent years amid widespread “bundle fatigue” and promotional partnerships among major platforms.

As of the latest reported period, bundles make up nearly 28% of the overall U.S. streaming subscription base. Industry observers note that bundled plans often deliver stronger retention rates than individual services, helping streamers combat churn in a saturated market.

The trend underscores broader changes in how Americans consume video entertainment. With households juggling multiple services, bundles offer convenience and cost savings, effectively recreating elements of the traditional cable package in a more flexible, on-demand format.

Additional details on specific bundle performance and year-over-year growth are expected in Antenna’s forthcoming reports.

Texas Hall Starts Nomination Process

Nominations for the Texas Radio Hall of Fame’s 2026 Induction Class open at Noon on June 1, 2026. 

The nominations portal will be accessible to voting members at www.TRHOF.net through Friday, June 30, 2026.

In the initial phase of the selection process, qualified candidates may be nominated by voting members in good standing, a status that is open not only to broadcasters but their fans, friends, and family. 

“During our 2025 nominations period, the TRHOF’s Executive Board added a new category of recognition, the Lone Star Legacies, to accommodate worthy nominees who are deceased,” says Doug Harris, a 2011 Inductee who now serves as the organization’s Executive Director. “For the 2026 season, we are introducing the “Small Markets/Big Voices” category to salute those broadcast professionals who have built their careers serving listeners in small and medium size markets.” 

Once nominations have been received, they are presented for consideration and vetting by an internal TRHOF Review Committee. These former inductees then work anonymously and independently to identify up to fifty candidates for consideration by the voting members. Voting in the final phase determines the twenty individuals who will be honored at the TRHOF’s Induction Ceremony and Radio Reunion Weekend on November 7-8, 2026. 

This event is staged annually at the Texas Broadcast Museum in Kilgore, TX. Full details and the weekend event schedule are posted at www.trhof.net. Information on becoming a TRHOF voting member is also available on the organization’s website and interested parties may still join—and vote—in this year’s selection.

R.I.P.: Foster Sylvers of The R&B Family Group

Foster Sylvers (1962-2026)

Foster Sylvers, the former child star of the 1970s R&B group The Sylvers, has died at age 64. His brother, Leon Sylvers III, confirmed the news Saturday, May 30.

Leon said Foster had been battling prostate cancer that had metastasized to other parts of his body.

A standout member of the famed Sylvers family, Foster’s youthful voice, charisma, and stage presence helped make The Sylvers one of the most successful family acts of the decade. The group blended soul, funk, and pop, achieving major commercial success and influencing generations of R&B and funk artists.

Born February 25, 1962, Foster rose to fame as a child performer and became a fan favorite during the height of The Sylvers’ popularity. He stood out as a solo artist as well, helping introduce the family’s music to wide audiences at a time when R&B and soul were at a cultural peak. Unlike many child stars, he maintained recognition in Black music throughout the era.

The Sylvers’ catalog remains influential, still played by longtime fans and discovered by new generations exploring the roots of contemporary R&B and funk. Several family members later became prominent songwriters and producers whose impact extended across the music industry.

Radio History: June 1

➦In 1921...Conductor & musician  Nelson Riddle was born in Oradell New Jersey.  His career stretched from the late 1940s to the mid-1980s. His work for Capitol Records kept such vocalists as Frank Sinatra, Ella Fitzgerald, Nat King Cole, Judy Garland, Dean Martin, Peggy Lee, Johnny Mathis, Rosemary Clooney and Keely Smith household names.

He found commercial and critical success again in the 1980s with a trio of Platinum albums with Linda Ronstadt. His orchestrations earned an Academy Award and three Grammy Awards.

He died of liver ailments Oct 6, 1985 at age 64.

➦In 1936...the NBC Blue network’s Lux Radio Theater moved from New York City to Hollywood. On the first show from Tinseltown, program host and “producer” Cecil B. DeMille introduced Clark Gable and Marlene Dietrich in The Legionnaire and the Lady. It attracted a remarkable (for the era) listening audience of 40 million.

➦In 1945...WLB-AM in Minneapolis MN changed call letters to KUOM.

➦In 1961..WVNJ 100.3 FM signed-on (today it is iHeartMedia's WHTZ Z100). 100.3's origins date back to 1942 when it was WMGM, licensed to New York. The station went off the air in February 1955. During 100.3's down time, the frequency was allocated to WFHA in Red Bank. On June 1, 1961, 100.3 was resurrected as WVNJ, now licensed to Newark. WVNJ featured an easy listening/jazz format that continued until August 2, 1983, when WHTZ "Z100" was born.

➦In 1961...FM stereo began.  At 12:01 a.m., GE's WGFM 99.5 FM (now WRVE) Schenectady, NY became the first FM station in the United States to broadcast in stereo.  The station, which had been simulcasting WGY 810 AM,  started airing classical music.

The first commercial FM broadcasting stations were in the United States, but initially they were primarily used to simulcast their AM sister stations, to broadcast lush orchestral music for stores and offices, to broadcast classical music to an upmarket listenership in urban areas, or for educational programming.

By the late 1960s FM had been adopted by fans of "Alternative Rock" music ("A.O.R.—'Album Oriented Rock' Format"), but it wasn't until 1978 that listeners to FM stations exceeded those of AM stations in North America.

During the 1980s and 1990s, Top 40 music stations and later even country music stations largely abandoned AM for FM. Today AM is mainly the preserve of talk radio, news, sports, religious programming, ethnic (minority language) broadcasting and some types of minority interest music. This shift has transformed AM into the "alternative band" that FM once was.

➦In 1967...The Beatles released 'Sgt. Pepper's Lonely Hearts Club Band' album.

➦In 1968...'Mrs. Robinson' by Simon and Garfunkel hit Number One

Don Imus

➦In 1968...Don Imus started at KUTY in Palmdale, CA.  He stayed at the station until 1969 when he left for a job at KJOY, a small radio station in Stockton, California. He was later fired for saying "hell" on air.  After being fired in Stockton, he went to KXOA in Sacramento, California.

Three years later, he landed the morning spot at WNBC in New York City before his firing in 1977.