Disney: Revenue Flat, Streaming Strong

Disney reported roughly flat revenue of $22.46 billion in its fiscal fourth quarter—missing Wall Street expectations—while total segment operating income fell 5% to $3.48 billion, driven by declines in TV networks and movie studios, the company said Thursday.

Parks and streaming businesses, viewed as future growth drivers, posted gains: Experiences (including parks) saw operating income rise 13% to $1.88 billion—accounting for more than half of total profit—while direct-to-consumer income jumped 39% to $352 million, nearly matching the $391 million from linear networks, which dropped 21%.

Disney+ and Hulu added 12.4 million subscriptions to reach 195.7 million total.

To revive its stock—down about 3% in premarket trading and stuck between $80 and $125 since early 2022 after peaking near $200 in 2021—Disney will double share repurchases to $7 billion in the new fiscal year and boost its dividend 50% to $1.50 a share.

The company reiterated guidance for double-digit adjusted EPS growth in fiscal 2026 and 2027, with streaming profitability rising to 10% this year from about 5% in 2025.

Challenges persist, including a nearly two-week dispute with YouTube TV that removed ESPN and other Disney networks, and a brief Jimmy Kimmel suspension that doubled Disney+ and Hulu cancellations in September, per Antenna analytics (no cancellation data was disclosed in results).

Box office revenue fell as Marvel’s “The Fantastic Four: First Steps” underperformed compared to 2024’s “Deadpool & Wolverine.”Disney is investing $60 billion over 10 years in parks and experiences, including new attractions, a major Disneyland Paris expansion, and doubling its cruise fleet to 13 ships.

Longest Government Shutdown Ends

The GOP-led House passed a spending package that reopened the government, which President Trump signed into law late Wednesday, ending a record 43-day shutdown triggered by Democrats' insistence on extending expiring healthcare subsidies.

The House approved the measure 222-209, mostly along party lines, two days after Senate passage.The package funds the federal government through January 30 and provides full-year funding for the Agriculture Department, military construction, and the legislative branch. It also includes provisions to reverse federal layoffs initiated by the Trump administration during the shutdown as leverage against Democrats, plus a moratorium on future cuts.

🚨 By stroke of pen, President Trump officially REOPENS THE FEDERAL GOVERNMENT

"With my signature, the federal government will now resume NORMAL OPERATIONS!" pic.twitter.com/be27kzAuq5

— TV News Now (@TVNewsNow) November 13, 2025

The deal secures paychecks for federal workers, including air-traffic controllers, and returns hundreds of thousands of furloughed employees to work. However, it defers until later this year the core battle: addressing the expiration of enhanced Affordable Care Act subsidies set to end for millions of households.

FCC: Fully Open for Business

The FCC, an independent agency, was severely curtailed during the shutdown, suspending about 81% of its workforce (over 1,500 employees furloughed) and most non-essential operations starting October 1. 

Unlike past shutdowns where the FCC used surplus funds to stay partially open, this lapse forced an immediate halt, taking databases offline and pausing routine activities. Essential functions continued minimally, including those mandated by law.

With the government reopening today, the FCC has announced resumption of full operations, but experts anticipate challenges from the prolonged closure:

Backlog Overload: Thousands of deferred filings could flood systems, potentially delaying processing for weeks or months. The FCC may issue a revised Public Notice adjusting the "day after" deadline to avoid crashes—broadcasters and providers are advised to prepare submissions immediately but monitor for extensions.

Staff Reintegration: Furloughed employees return with retroactive pay, but ramp-up time could slow reviews. Temporary staffing cuts during the shutdown (e.g., in enforcement or engineering) are reversed, aiming for pre-October levels.

Sector-Specific Relief: Telecom and broadcast industries face compressed timelines; for instance, if reopening is Thursday, November 13, many deadlines hit Friday, November 14. The FCC's Reliability Certification portal for 911 compliance is expected to reopen soon, with possible further extensions.

Longer-Term Ramifications: Delayed rulemakings could push back spectrum allocations or 5G/6G deployments. Enforcement actions may accelerate to clear queues, increasing scrutiny on compliance lapses during the shutdown. No major policy shifts tied to reopening, but it enables progress on pending items like the LPTV/TV translator filing window.

Overall, the reopening provides immediate stability for the FCC, but the 43-day disruption has created a "perfect storm" of administrative hurdles.

TV Ratings: More Viewers Elect Fox News

FOX News Channel (FNC) dominated cable with viewers across primetime and total day during Election Week (November 3-9), according to Nielsen Big Data + Panel. 

➤In Monday - Sunday primetime FNC nabbed 2.2 million viewers and 220,000 in the 25-54 demo. ➤Across total day (6 AM-6 AM/ET), FNC posted 1.4 million viewers and 135,000 in the 25-54 demo. 

On Election Night (November 4), FNC averaged 2,924,000 viewers in primetime leading MSNBC (2,883,000 viewers) and CNN (1,914,000 viewers) according to Nielsen Big Data + Panel. 

FNC also defeated NBC in 23 of the top 25 markets in the country with viewers on Election Night including key markets such as New York, Chicago, Atlanta and Washington DC.

The Five averaged 3.6 million viewers and 300,000 in the 25-54 demo, leading cable news with total viewers. At 6 PM/ET, Special Report with Bret Baier drew 2.8 million viewers and 249,000 in the 25-54 demo. The Ingraham Angle saw 2.5 million viewers and 247,000 in the 25-54 demo at 7 PM/ET. Jesse Watters Primetime commanded 3.1 million viewers and 296,000 in the 25-54 demo at 8 PM/ET. 

On November 5, Jesse Watters Primetime’s exclusive interview with Erika Kirk commanded 3.1 million viewers and 295,000 in the 25-54 demo securing 59% of the cable news share during the hour. 

At 9 PM/ET, Hannity posted 2.6 million viewers and 311,000 with A25-54, leading cable news in the demo. At 11 PM/ET, FOX News @ Night secured 1.3 million viewers.

FNC’s late-night hit Gutfeld! (weekdays, 10 PM/ET) averaged 2.6 million viewers and 303,000 in the 25-54 demo continuing to outpace the broadcast competition including CBS’ The Late Show with Stephen Colbert (2.1 million viewers) and ABC’s Jimmy Kimmel Live! (1.8 million viewers) and NBC’s The Tonight Show with Jimmy Fallon (984,000 viewers). 

FNC continued to see its daytime programs outpace the broadcast competition. The Will Cain Show (weekdays, 4 PM/ET; 2,002,000 viewers), America’s Newsroom (weekdays, 9-11 AM/ET; 1,841,000 viewers), Outnumbered (weekdays, 12 PM/ET; 1,774,000 viewers), The Faulkner Focus (weekdays, 11 AM/ET; 1,726,000 viewers), The Story (weekdays, 3 PM/ET; 1,715,000 viewers) and America Reports (weekdays, 1-3 PM/ET; 1,686,000 viewers) all led NBC’s Today with Jenna and Friends (1,374,000 viewers) and NBC News Daily (1,330,000 viewers).

On Saturday: Kayleigh McEnany’s Saturday in America (Saturday, 10 AM - 12 PM/ET) was the most-watched cable news show of the day with 1.4 million viewers. FOX & Friends Weekend (weekends, 6-10 AM/ET) followed with 1.2 million viewers. In primetime, My View with Lara Trump (Saturday, 9 PM/ET) and Life, Liberty & Levin (weekends, 8 PM/ET) both posted nearly 1 million viewers.

On Sunday: Maria Bartiromo’s Sunday Morning Futures (Sunday, 10 AM/ET) was the number one cable news show of the weekend with 1.5 million viewers. In primetime, Sunday Night in America with Trey Gowdy (Sunday, 9 PM/ET) led the way with 1.3 million viewers. The Sunday Briefing (Sunday, 11 AM/ET) hosted by Jacqui Heinrich followed with 1.1 million viewers.

Source: Nielsen. Big Data + Panel. Week of 11-3-25 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.

📺BROADCAST EVENING NEWS

Nightly News is the #1 evening newscast for the week in both the A25-54 & A18-49 key demos, marking its largest advantage over ABC World News Tonight in over a year and its biggest win in A18-49 vs. the network since January

• Nightly News topped World News Tonight Tuesday-Friday in A25-54 and marked its closest total viewer gap in over a year (8/5/24)
• For the second consecutive week, Nightly News is the only evening newscast to grow across the board in year-over-year and week-over-week measurements
• Nightly News delivers its largest total viewer audience since February 2025
• Nightly News marks 8th consecutive week of closing A25-54 gap vs. ABC vs. last year
• Nightly News continues to deliver its closest demo gaps vs. ABC in six years for the current season

Week of November 3 Stats 

• Averages 6.667 million total viewers, topping CBS by +2.407 million (+57%)Hits a 37-week high in total viewers, best since 2/17/25
• Only newscast to grow in total viewers vs. last year, +497,000
• Leads competition in total viewer growth vs. last week, +518,000
• Nightly News closes viewership gap vs. ABC by 67% vs. last week, 65% vs. last year
• Nightly News’ total viewer gap vs. ABC is 8% better vs. prior year at this point in the season
• Averages 929,000 A25-54 viewers, beating ABC by +46,000 (+5%) and CBS by +365,000 (+65%)Nightly News increases A25-54 viewers vs. last week, +81,000
• Only evening newscast to grow vs. last year, +26,000
• Nightly News’ A25-54 gap vs. ABC is 61% better vs. prior year at this point in the season, marking its closest demo gap vs. the network in 6 years

CNN's Mark Thompson Considered For Return To BBC

Mark Thompson

Media insiders are buzzing about Mark Thompson – the former director-general of the broadcaster who now serves as CNN's CEO – as a top contender to return and steer the organization through its latest crisis, according to a report in The Status newsletter published Tuesday.

The speculation, first detailed in the industry-focused publication's weekly roundup, comes as the BBC reels from a high-stakes $1 billion legal threat by U.S. President Donald Trump over an editing blunder in an October 2024 documentary. Trump's lawyers demanded a full retraction by last Friday, citing "overwhelming financial and reputational harm," though the error – which misrepresented a key interview clip – went largely unnoticed during the original airing. 

The broadcaster's board held an emergency session on Wednesday, November 12, but sources say no public statement is forthcoming, leaving staff and stakeholders in limbo.

Thompson, 68, who led the BBC from 2004 to 2012, is no stranger to navigating scandals. Thompson earned praise for modernizing the BBC's digital presence and expanding its global reach, including during the 2012 London Olympics coverage. He jumped to The New York Times as president and CEO in 2012, where he oversaw a digital pivot that boosted subscriptions amid print declines, before taking the helm at CNN in 2023.

At CNN, Thompson has been tasked with reversing ratings slumps and countering perceptions of bias – issues that now eerily mirror the BBC's woes. Under his watch, CNN launched a streaming service and experimented with AI-driven personalization, but critics argue the network still struggles with audience trust in a polarized media landscape. 

"Thompson's got the scars from BBC battles and the blueprint from NYT's turnaround," one anonymous media executive told The Status. "If anyone's equipped to handle Trump's bully tactics and internal morale dips, it's him."

Pittsburgh Radio: Bill Crawford To Exit DVE Morning Show

Bill Crawford

Bill Crawford is leaving The DVE Morning Show on iHeartMedia Classic Rock 102.5 WDVE Pittsburgh after 13 years to pursue his stand-up comedy career full-time, he announced on the air Tuesday.

Crawford, the show’s resident comedian since January 2012, has been a key part of the top-rated morning program alongside host Randy Baumann, sports anchor Mike Prisuta, and news reader Abby Krizner. 

His departure follows a series of lineup changes, including Val Porter’s exit in 2024.A Pittsburgh native, Crawford was discovered by former co-host Jim Krenn in 2004 and became a frequent guest before joining full-time. His local, irreverent humor—often tied to Steelers fandom and Pittsburgh life—helped solidify the show’s dominance in local ratings.

Crawford called the move a “dream chase,” thanking the team and fans while emphasizing his growing demand as a headlining comedian. He recently emceed the Partners for Comedy benefit and performs regularly for charity.

No replacement has been named, and an exact final air date remains unspecified. Listener reactions on social media ranged from nostalgia to concern about the show’s future. 

WDVE, the Steelers’ flagship station, has led Pittsburgh radio since 2006.

Consumers Still Buying as Streamflation Soars

Consumers are still subscribing to streaming services despite soaring prices, with the average U.S. household now spending $60–$80 monthly on 3–5 platforms—up from $40–$50 a few years ago—and global users topping 1.5 billion, according to The Wall Street Journal.

Key drivers of price hikes include massive content costs ($100–$200 million per major series), Hollywood strikes, password-sharing crackdowns, and a shift from growth to profitability. 

In 2025 alone, Netflix raised its ad-free tier to $17.99 (+$3), Disney+ to $13.99 (+$3), and Max to $16.99 (+$2).Yet churn remains low because of addictive original shows, cheaper ad-supported tiers (used by nearly half of U.S. viewers), smart bundling (e.g., Disney+/Hulu/ESPN+ at $14.99), and a lack of viable alternatives—cable costs $100+ and free video lacks depth.

Supporting trends: Netflix’s ad tier grew 35% this year, bundles retain 20% more users, and 70% of households view streaming as a “non-essential necessity.” Analysts warn of a $100/month tipping point but see no slowdown while habit and content quality keep viewers hooked.

Wall Street Journal Graphic

Despite grumbling on forums like Reddit's r/cordcutters—where users report "churning" (cycling subscriptions) to save money—most stick around. Surveys show 70% of U.S. households subscribe to 3–5 services, viewing them as "non-essential but necessary" amid inflation.

Reasons include:

• Content Addiction and Habit: High-profile hits (The Bear, House of the Dragon) keep viewers hooked. As Northeastern marketing professor Yakov Bart notes, "Humans are creatures of habit"—people downgrade to ad tiers rather than cancel.
• Ad-Supported Options: Nearly half of U.S. viewers now use cheaper plans with commercials (e.g., Netflix's ad tier grew 35% in 2025). These generate higher revenue per user via ads, appealing to budget-conscious millennials and Gen Z, who blend streaming with free social media video.
• Bundling and Value Plays: Deals like Disney+/Hulu/ESPN+ ($14.99) or Verizon's 5G bundles reduce perceived costs. These have stemmed churn, with bundles retaining 20% more subscribers.
• No Better Alternatives: Traditional cable averages $100+/month with fewer on-demand perks. Free options (YouTube, TikTok) lack depth, and piracy is riskier post-crackdowns.

Analysts predict no end soon: "There’s no reason for companies to stop," says MoffettNathanson's Robert Fishman, as long as churn stays below 10%. However, if totals exceed $100/month, experts like SmartTech's Mark Vena warn of a tipping point, especially for younger users.

38% of Homes Subscribe to a Sports-Specific Streaming Service

38% of US internet households now subscribe to at least one sports-specific streaming service—more than nine times the 4% figure from 2019, according to new Parks Associates research.

The NFL dominates as the most-watched sport, with 82% of sports viewers in US internet households tuning in regularly during the season.

“Sports have become the backbone of live streaming adoption,” said Michael Goodman, senior contributing analyst at Parks Associates. “The ability to deliver interactive, data-driven, and personalized experiences is changing how audiences connect with their favorite teams and leagues.”

The study highlights live sports streaming’s transformative impact on the economics of leagues, teams, and media distributors, opening new monetization opportunities through deeper engagement across connected screens.

On average, US internet households watch 4.2 different sports in season. Beyond the NFL:

• 55% watch college football
• 53% follow MLB
• 46% tune into the NBA
• 36% watch college basketball
• 30% follow the NHL

CNN Host: Left, Right Are In Different Info Worlds

Conservatives live in a “completely different information world” than liberals, CNN host Abby Phillip told former MSNBC host Joy Reid on Reid’s podcast Tuesday.

Phillip said she spends “half my job” studying conservative conspiracy theories to counter them on air, noting that many conservatives encounter “the truth” for the first time during her interviews due to extreme information silos.

Reid, who has promoted unverified claims herself, agreed with Phillip’s assessment of polarized media ecosystems.

Abby Phillip describes how her job at CNN is to explain "the facts" to conservatives who live in "a completely different information world."

"Because when you don't ever even hear the facts, it's hard to even know that you're wrong."

"Half my job sometimes is knowing what the… pic.twitter.com/jZAHPAsxFI

— Western Lensman (@WesternLensman) November 12, 2025

The exchange went viral on X, with conservatives slamming the hosts for hypocrisy and elitism; clips amassed thousands of views and likes within hours.

Phillip, anchor of NewsNight with Abby Phillip, framed her role as bridging divides by preparing for misinformation, such as theories around the July 2024 Trump assassination attempt.

Reid, now independent after leaving MSNBC in mid-2025, hosts the podcast where the discussion aired.

The episode is available on Spotify.

Christmas Creep Comes Earlier For Music Streamers

There’s always debate about when Christmas festivities should begin, with the fatigue-conscious putting off partaking until at least December 1, while others hardly wait for the Halloween decor to come down before decking the halls.

Still, like it or lump it, you’ll probably hear some of the most instantly recognizable xylophone tinkles in music history even earlier this year.

It seems that Mariah Carey is already defrosted for 2025: her classic hit “All I Want for Christmas Is You” has officially re-entered the Billboard Hot 100 after accruing almost 10 million streams (+252% week-over-week) from Oct 31 to Nov 6, per Luminate.

This marks one of the earliest points that the song, which is estimated to gross up to $4 million each year, has ever charted in the US, only achieving this milestone at the very end of November in 2023, reports Sherwood News.

It’s not just Mariah, however — Spotify data, compiled by Kworb, shows that users are generally listening to the wider Yuletide genre earlier each year, and in greater quantities.

Last year, “AIWFCIY” had its biggest week on Spotify in history, accruing nearly 93 million streams from Dec 19 - 26 — and more than 323 million across the whole festive season from Nov 7 onwards. “Last Christmas” by Wham! notched 314 million total streams over the same nine weeks on Spotify in 2024, and has also already re-entered the Billboard chart in 2025.

Compare this to 2013, when both songs entered Spotify’s Top 200 just three weeks before Christmas, and it’s clear that the music-on-demand era brought about by streaming has been good news for merry mega-hits. While the trend has something to do with streaming’s swelling userbase, the “christmas creep” observed in previous years might now be coming earlier, as many seek comfort at the end of a tumultuous 2025.

AI Generated Song Tops Billboard's Digital Country Chart

An AI-generated country song has stormed to No. 1 on Billboard’s Country Digital Song Sales chart, igniting fierce debate across the music industry as artists and fans grapple with the implications of artificial intelligence in creative fields.

The track, “Walk my Walk” by the AI act Breaking Rust, achieved the historic milestone after racking up more than 3 million Spotify streams in under a month. It marks the first time a fully AI-created song has topped a major Billboard country chart, thrusting the technology into the heart of Nashville’s traditionally human-driven genre.

Reactions have been swift and polarized.  On TikTok, hundreds of videos dissect the song—some praising its catchy hook and polished production, others decrying it as a soulless threat to authentic artistry. 

Country musicians have taken to social media and interviews to voice alarm, with several warning that AI hits could erode livelihoods and dilute the storytelling soul of country music.

The controversy extends beyond the charts. Industry insiders note that “Walk my Walk” was crafted using advanced generative audio models trained on thousands of existing country tracks, raising fresh questions about copyright, creativity, and compensation in an era where machines can mimic—and now outperform—human songwriters.

Meanwhile, a separate trend highlights AI’s growing role in everyday life: from bedtime storytelling to stress-relief tools, artificial intelligence is quietly reshaping modern parenting, offering personalized lullabies, interactive learning games, and calming routines for overwhelmed families.

As Breaking Rust celebrates its breakthrough, the broader conversation turns urgent—will AI be a collaborative tool for artists, or the beginning of a seismic shift that redefines who gets to call themselves a hitmaker?

Shots Podcast Net Added To Cumulus Portfolio

Cumulus Media has announced a major expansion of its podcast portfolio with the addition of the Shots Podcast Network podcasts to the Cumulus Podcast Network, marking a new era of creator-led audio entertainment. As part of Westwood One’s portfolio, The Cumulus Podcast Network distributes, markets, and monetizes the Shots Podcast Network with this new partnership. Shots Podcast Network continues to develop, produce, and own all content.

The Shots Podcast Network is a powerhouse in digital media, known for its unapologetic style, viral content, and massive fanbase. The network includes hit shows like the flagship Full Send Podcast, hosted by Kyle Forgeard; One Night with Steiny, featuring Aaron “Steiny” Steinberg; and The Rush with Maxx, hosted by NFL star Maxx Crosby.

With over 2.2 million YouTube subscribers and more than 430 million views across its channels, Full Send has become a cultural phenomenon, attracting high-profile guests such as Donald Trump, Elon Musk, Mike Tyson, Dana White, and Stephen A. Smith. Blending long-form interviews with raw, off-the-cuff commentary, the Full Send Podcast is a favorite among young adult audiences. Its success is driven by the NELK Boys’ ability to connect with fans through humor, controversy, and authenticity — a formula that has propelled the brand into mainstream media, merchandise, and even beverage ventures like Happy Dad Hard Seltzer.

John Shahidi, CEO of Shots Podcast Network, said: “This partnership with Cumulus is a game-changer. Their infrastructure allows us to amplify our creators and connect with audiences in new ways. We’re excited to grow the Shots Podcast Network and continue pushing boundaries in podcasting.”

Collin Jones, President of Westwood One and Cumulus Podcast Network, said: “Shots is one of the most dynamic and influential creator networks in media today. Their fearless approach to content and ability to engage millions of fans makes them a perfect fit for the Cumulus Podcast Network. We’re thrilled to welcome John, and the entire Shots team.”

Listeners can find Shots Podcast Network podcasts on Apple Podcasts, Spotify, YouTube, and across the Cumulus Podcast Network’s digital platforms. New episodes drop weekly, featuring exclusive interviews, behind-the-scenes stories, and the signature Shots style that fans know and love.

Radio History: Nov 13

Lee de Forest

➦In 1906...Lee de Forest, who coined the term "radio", patented Audion tube.

De Forest was interested in wireless telegraphy and invented the Audion in 1906. He then developed an improved wireless telegraph receiver.

On 25 October 1906, de Forest filed a patent for diode vacuum tube detector, a two-electrode device for detecting electromagnetic waves, a variant of the Fleming valve invented two years earlier.

One year later, he filed a patent for a three-electrode device that was a much more sensitive detector of electromagnetic waves. It was granted US Patent 879,532 in February 1908. The device was also called the de Forest valve, and since 1919 has been known as the triode.

De Forest's innovation was the insertion of a third electrode, the grid, between the cathode (filament) and the anode (plate) of the previously invented diode.

The resulting triode or three-electrode vacuum tube could be used as an amplifier of electrical signals, notably for radio reception. The Audion was the fastest electronic switching element of the time, and was later used in early digital electronics (such as computers). The triode was vital in the development of transcontinental telephone communications, radio, and radar until the 1948 invention of the transistor.

de Forest w/Audion tube

In 1904, a De Forest transmitter and receiver were set up aboard the steamboat Haimun operated on behalf of The Times, the first of its kind.  On July 18, 1907, De Forest broadcast the first ship-to-shore message from the steam yacht Thelma. The communication provided quick, accurate race results of the Annual Inter-Lakes Yachting Association Regatta. The message was received by his assistant, Frank E. Butler of Monroeville, Ohio, in the Pavilion at Fox's Dock located on South Bass Island on Lake Erie. DeForest disliked the term "wireless" and chose a new moniker, "radio."

De Forest is credited with the birth of public radio broadcasting when on January 12, 1910, he conducted experimental broadcast of part of the live performance of Tosca and, the next day, a performance with the participation of Italian tenor Enrico Caruso from the stage of Metropolitan Opera House in New York City.

➦In 1913...Alexander Scourby was born (Died at age 71 – February 22, 1985). He was a film, television, and voice actor known for his deep and resonant voice.  He is best known for his film role as the ruthless mob boss Mike Lagana in Fritz Lang's The Big Heat (1953), and is also particularly well-remembered in the English-speaking world for his landmark recordings of the entire King James Version audio Bible, which have been released in numerous editions. He later recorded the entire Revised Standard Version of the Bible. Scourby recorded 422 audiobooks for the blind which he considered his most important work.

Jack Gale

➦In 1925...Legendary radio broadcaster Jack Gale was born (Died - January 24, 2018) .  During his remarkable career he has been a radio performer, programmer, owner, voice-over talent, music publisher, manager and record producer spans more than 50 years.

R.I.P.: Marshall Adams, Veteran Radio News Anchor, Programmer

Michael Kunkle (aka Marshall Adams)

Michael Paul Kunkle, of Irwin, Pennsylvania—known professionally as Marshall Adams—died unexpectedly Monday at the age of 51.

At just 14, while still a student at Penn-Trafford High School, he launched the Harrison City Post, a scrappy community newspaper he printed on a mimeograph machine in his parents’ basement. Around the same time, he began contributing part-time to the Penn-Franklin News, the weekly paper he later called “the heartbeat of Westmoreland County.” 

That early hustle set the tone for a career built on relentless curiosity and an ear for the story behind the headline.

He cut his teeth in radio, bouncing across call letters like a signal skipping towers: stints at small-town stations, including WKSB, WRAK Williamsport, PA gave way to bigger markets, each gig sharpening his voice and timing. 

He wore his proudest achievements like merit badges—an anchor chair at WBT in Charlotte, news editor at KTRH in Houston, and, the pinnacle, program director at KDKA in Pittsburgh, the station he’d fallen asleep to as a boy dreaming of the big time.

In 2012 he planted a flag in Atlanta, converting WYAY into the city’s first all-news FM station—a gamble that paid off in ratings and respect. 

Never one to rest, he soon founded Marshall Adams Media, a boutique production house where he crafted award-winning audio for the Fisher House Foundation, giving voice to the families of wounded warriors.

TuneIn Acquired by Stingray Group

Stingray Group, a Montreal-based music and media company, has acquired TuneIn, a leading U.S. streaming radio platform with over 75 million monthly active users, in a deal valued at up to $175 million.

The transaction includes a $150 million upfront payment and up to $25 million more contingent on TuneIn meeting 2025 revenue and EBITDA targets of $110 million and $30 million, respectively. 

The deal is expected to close by year-end, pending shareholder and regulatory approvals.

TuneIn, which distributes over 100,000 radio stations, podcasts, and live audio channels across 200+ connected devices—including major in-car systems—will operate as a standalone brand under Stingray.

The acquisition combines TuneIn’s global streaming reach and ad tech with Stingray’s extensive content library and Canadian radio network of over 100 stations.

The combined entity will generate pro forma annual revenue exceeding $400 million, strengthening its position in digital audio advertising, in-car entertainment, and global content distribution. Stingray CEO Eric Boyko called it a step toward building “an unmatched audio ecosystem,” while TuneIn CEO Richard Stern highlighted the partnership’s potential to scale live audio worldwide.

Financing is secured via a $150 million term loan under Stingray’s renewed credit facility.

The acquisition will enhance Stingray’s reach by combining its premium music and video content with TuneIn’s robust partnerships with major device manufacturers, automotive companies, and content providers. TuneIn currently serves over 75 million active listeners each month worldwide, providing access to more than 100,000 radio stations, podcasts, music channels, news, sports, and audiobooks. TuneIn’s content is distributed across more than 200 platforms and connected devices, including over 50 in-car audio systems, in over 100 countries.