The NFL is averaging 19.0 million Nielsen-measured viewers per regular-season game through 14 weeks, a 1% increase from the same point last season across all networks and platforms.
This figure encompasses broadcasts on NBC/Peacock, CBS/Paramount+, Fox/Tubi, ABC/ESPN, Amazon Prime Video, NFL Network, Telemundo, Fox Deportes, ESPN Deportes, and additional outlets. National TV advertising spend has risen 7% to an estimated $3.17 billion, per EDO Ad EnGage data.
Standout performances include Thanksgiving Day games, where CBS's airing of the Dallas Cowboys versus Kansas City Chiefs drew a record 57.2 million average-minute viewers—the most-watched regular-season game ever. Fox's earlier broadcast of the Green Bay Packers versus Detroit Lions ranked second for the season with 47.7 million viewers.
Among networks, NBC and CBS lead with averages of 21.97 million and 21.96 million viewers respectively, including special events like NBC's NFL Kickoff and Thanksgiving games. Fox follows closely at 21.58 million. ABC/ESPN's Monday Night Football averages 17.1 million, with variations in distribution: five ESPN-exclusive games this season, 10 simulcast on ABC and ESPN, and one Week 7 matchup (Seattle Seahawks-Houston Texans) exclusive to ESPN+.
ESPN reports Monday Night Football averaging 15.8 million viewers across 18 games, including simulcasts and the alternate Manningcast broadcast.
Amazon's Thursday Night Football has surged 15% to 15.2 million viewers per Nielsen estimates, while four NFL Network games averaged 6.35 million.
These numbers reflect the first full season of Nielsen's "Big Data+Panel" methodology, integrating traditional panel data from 40,000 homes with tens of millions of device inputs from set-top boxes and smart TVs for enhanced accuracy.
President Donald Trump signed an executive order last week, directing the FCC to initiate a proceeding within 90 days to explore adopting a unified federal reporting and disclosure standard for AI-generated content, potentially preempting conflicting state laws that require on-air disclaimers or other transparency measures in broadcasting.
The order, titled "Ensuring a National Policy Framework for Artificial Intelligence," aims to create a single national AI policy to avoid a "patchwork" of state regulations, which the administration argues hinders innovation and U.S. competitiveness in AI. It instructs FCC Chairman Brendan Carr to evaluate a federal standard that could override state rules on AI disclosures, particularly those affecting political advertising and synthetic media.
This move could significantly impact U.S. radio and television broadcasters, who increasingly use AI for content creation, synthetic voices, and ads. With the 2026 midterm elections approaching, stations face growing risks from deepfakes and AI-altered political spots. Several states—including New York, California, Texas, Minnesota, and Washington—have already enacted laws mandating audible or visual disclaimers for AI-generated political ads or holding broadcasters accountable for deceptive synthetic content. Tennessee's ELVIS Act also targets unauthorized AI voice cloning in broadcasting.
Brendan Carr
The executive order further escalates tensions by directing the Department of Justice (DOJ) to establish an "AI Litigation Task Force" solely responsible for challenging "onerous" state AI laws on grounds such as preemption, interstate commerce violations, or First Amendment conflicts. It also authorizes tying discretionary federal grants, including broadband funding, to states agreeing not to enforce conflicting AI rules.
Broadcasters now operate in a regulatory gray area: state disclosure requirements remain in effect but may soon face federal challenges or preemption, leaving stations uncertain about compliance for AI use in programming and ads. Industry observers warn this could complicate efforts to ensure content authenticity during election cycles.
FCC Chairman Carr applauded the order, calling it "historic" for protecting innovation. However, critics, including some state officials and advocacy groups, argue the executive action overreaches, as only Congress can broadly preempt state laws. Legal challenges are expected.
The order builds on Trump's earlier AI policies, including revoking prior restrictions and promoting "truthful" AI models. It follows failed congressional attempts to impose a moratorium on state AI regulations earlier in 2025.
For radio broadcasters specifically, the potential federal standard could simplify operations by replacing varied state mandates but raises questions about how it will address public interest obligations in an era of rapidly advancing AI tools. Ongoing FCC proceedings on AI in political ads, initiated earlier, may intersect with this new directive.
El Zol 107.9 (WLZL-FM), an Audacy station in Washington D.C., raised over $100,000 during its 18th annual radiothon benefitting Children’s National Hospital, bringing the total amount raised to $5.7 million since its inception in 2007.
“For many families and children, the joy of the holidays is eclipsed by hardship. I am deeply thankful for our wonderful staff’s tireless dedication and for the generosity of our community, which allowed us to raise over $100,000 for local kids,” said Candy Cintron, Brand Manager, El Zol 107.9. “This contribution will ensure the hospital has the resources to deliver exceptional care, easing the journey for patients and their loved ones.”
The radiothon was broadcast on December 5 with station hosts Patri, Chepe, DJ Xplosive, Rey, Karen Vargas and DJ EZ encouraging listeners to donate. All proceeds go towards helping Children’s National Hospital’s mission to provide an innovative, high-quality healthcare experience for children and families and to improve health outcomes regionally and globally while ensuring equitable care for all.
📻Listeners can tune in to El Zol 107.9 (WLZL-FM) in Washington D.C. on air and nationwide on the Audacyapp and website. Fans can also connect with the station via X, Facebook and Instagram.
105.7 The Fan (WSSP-FM / 1250AM), an Audacy station in Milwaukee, with support from sister stations 103.7 KISS FM (WXSS-FM) and 99.1 The Mix (WMYX-FM), collected over $100,000 in toys and cash. Toys collected from the toy drive will be distributed by Children’s Wisconsin community programs, reaching children and families across the community. Monetary donations will support the Children’s Wisconsin Immediate Impact for Kids Fund.
The annual drive took place from December 1 to December 5, allowing listeners to donate online and/or in person. “Wisconsin Sports Daily” host and 105.7 The Fan Assistant Brand Manager, Steve “Sparky” Fifer, drove the fundraising efforts and broadcast live from Blain’s Farm & Fleet throughout the week. Station hosts Ramie Makhlouf, Mason Crosby and Mitch “Thunder” Nelles made guest appearances during Sparky’s week-long broadcast to encourage the community to donate.
“I’m so proud of everyone involved in the 19th Annual Toy Drive for Children’s Wisconsin,” said Fifer. “We couldn’t make this a success without everyone in the community and around the state of Wisconsin contributing to it. The number of kids that these toys will impact is the reason we do this each year. There isn’t anything better than a smile on a kid’s face.”
“Children’s Wisconsin is deeply grateful for community partners like The Fan, who have been committed to advancing our mission for many years. It is because of their generosity that we are able to make the holidays brighter for the kids and families we serve,” said Gil Peri, President and CEO of Children’s Wisconsin.
Robyn’s Nest supports children in foster care and their caregivers with clothing, hygiene items and supplies, as well as Children’s Wisconsin families who have unmet needs.
📻Listeners can tune in to 105.7 The Fan (WSSP-FM) in Milwaukee on air and nationwide on the Audacyapp and website. Fans can also connect with the station on social media via X, Facebook and Instagram.
➦In 1898...Bandleader Lud Gluskin was born in NYC. He became director of music at CBS in 1937, and his work was heard all over the radio dial on programs originating in Hollywood for the next 15 years. He led the orchestra for a year or two of Amos ‘n’ Andy, Suspense, My Friend Irma, Life with Luigi, My Little Margie, Sweeney & March, The Philip Morris Playhouse, Campana Serenade, and dozens of lesser-known, lower-budget programs. He died Oct. 13 1989 at age 90.
➦In 1901...Guglielmo Marconi was officially notified by the Anglo-American Telegraph Company that it would take legal action against him unless he immediately ceased his wireless experiments and removed his equipment from Newfoundland.
Anglo-American had a fifty-year monopoly on electrical communications in Newfoundland, that began in 1858, and it was determined to hinder radio telegraphy, which was a serious threat to its transatlantic electric telegraph business operated by submarine cables.
Marconi soon decided to move his base of operations to Cape Breton Island, and was welcomed there on Dec. 26 with open arms.
Eugenia H Farrar
➦In 1907...opera star Eugenia H. Farrar became the first singer to broadcast over the radio, courtesy of inventor Lee De Forrest. Her performance originated from the Brooklyn Navy Yard in New York where she sang. Farrar performed two selections, including “I Love You Truly.”
➦In 1925...radio listeners would soon be freed from their earphones after the first dynamic loudspeaker was designed by Chester Rice and Edward Kellogg.
➦In 1926...In Omaha, Nebraska, the Woodmen of the World Society changed the call sign of it radio station WOAW to WOW. The call sign had become available with the retirement of the steamship Henry J Bibble.
The original operating power was a maximum of 500 watts, with an increase to 1,000 watts in 1927. Later, on October 1st, WOW became affiliated with the Red network of the National Broadcasting Company
In 1928, WOW was forced to share the 590 frequency with Nebraska Weslayan College station WCAJ. WOW was permitted to use the frequency six-sevenths of the time, with the college using the remaining seventh. In 1930, WOW applied for full time use of the frequency, finally winning its battle in 1933.
Update 10:30 AM Monday: Rob Reiner, the acclaimed Hollywood director known for classics like The Princess Bride, When Harry Met Sally..., and A Few Good Men, and his wife Michele Singer Reiner were found stabbed to death in their Brentwood home on Sunday.
Their 32-year-old son, Nick Reiner, has been taken into custody and booked on murder charges in connection with the double homicide, according to multiple reports citing law enforcement sources and family insiders.
Nick Reiner
The couple, aged 78 and 68, were discovered with knife wounds—including reports of slit throats—inside their $13.5 million Los Angeles mansion following a heated family argument that allegedly turned deadly. Authorities responded to a medical aid call around 3:30 p.m., and the scene was later treated as a homicide investigation by the LAPD's Robbery-Homicide Division.
Sources close to the family told outlets like People and the Daily Mail that Nick, who has a documented history of struggling with drug addiction and homelessness, is the alleged perpetrator.
Their daughter Romy reportedly found the bodies and alerted authorities.
Nick, who co-wrote the 2015 semi-autobiographical film Being Charlie about his addiction battles (directed by his father), is being held on $4 million bail. Police have not officially named a suspect but confirmed a family member is involved.
The Reiner family issued a statement: “It is with profound sorrow that we announce the tragic passing of Michele and Rob Reiner. We are heartbroken by this sudden loss, and we ask for privacy during this unbelievably difficult time.”
Earlier Story...
Legendary filmmaker and political activist Rob Reiner and his wife, Michele Singer Reiner, were discovered dead in their Brentwood home on Sunday, with authorities investigating the incident as an apparent homicide.
A family spokesperson confirmed the tragic news in a statement released Sunday evening: “It is with profound sorrow that we announce the tragic passing of Michele and Rob Reiner. We are heartbroken by this sudden loss, and we ask for privacy during this unbelievably difficult time.”
The Los Angeles Police Department responded to a medical aid call at the couple's residence in the 200 block of Chadbourne Avenue around 3:30 p.m., where they found the bodies of a 78-year-old man and a 68-year-old woman. Reiner, renowned for directing classics such as When Harry Met Sally..., The Princess Bride, and This Is Spinal Tap, was 78. His wife, a accomplished photographer and producer who collaborated on several of his projects, was 68.
Law enforcement sources indicated to multiple outlets that the couple suffered stab wounds, and a family member is being interviewed as part of the ongoing investigation. No suspects have been publicly identified, and the case remains active under the LAPD's Robbery-Homicide Division.
The home remained undisturbed as officers awaited a search warrant, with family members expected to be interviewed. The upscale Brentwood neighborhood was cordoned off with yellow police tape, drawing media attention and quiet gatherings of neighbors.
We're shocked and saddened by the tragic deaths of legendary actor and director Rob Reiner, and his wife, Michele Singer. We remember his legacy with this audio tribute pic.twitter.com/F38PMVbhuB
Reiner rose to fame in the 1970s as Mike "Meathead" Stivic on All in the Family and became a prolific director in the 1980s and 1990s.
He recently released a sequel to This Is Spinal Tap in September 2025. A vocal liberal activist and Democratic donor, Reiner advocated for causes including LGBTQ+ rights and early childhood development.
Los Angeles Mayor Karen Bass called the deaths “a devastating loss for our city and our country,” praising Reiner’s cultural and societal contributions. California Gov. Gavin Newsom echoed the sentiment, highlighting the couple’s advocacy work.
The investigation is ongoing, with the Los Angeles County coroner to confirm identities and cause of death.
Notable responses from colleagues and peers include:Josh Gad: Described the couple as "two of the kindest and most caring souls you could ever imagine," noting Reiner "cared so much for those who had no voices."
Paul Feig: Called Reiner "one of my heroes" and said he was honored to call him a friend.
Paul Walter Hauser: Grieved him as "my favorite director of all time," crediting A Few Good Men for inspiring his acting and directing career, adding there "will never be anyone better."
John Cusack (star of The Sure Thing): "Shocked by the death of Rob Reiner – a great man."
Jon Cryer: "Horrible. I didn’t think today could get worse."
Eric Idle: "Rob Reiner was a lovely man."
C. Robert Cargill: Highlighted Reiner's unmatched cultural impact, listing iconic lines and concepts from his films (e.g., "As you wish," "I'll have what she's having," "You can't handle the truth").
Virginia Madsen (star of Ghosts of Mississippi): Thanked him for the joy he gave, saying his talent "always turned up to 11."
Political figures and others also paid tribute:
California Gov. Gavin Newsom — "Heartbroken by the tragic loss," calling Reiner a "big-hearted genius."
Los Angeles Mayor Karen Bass — A "devastating loss for our city and country," praising his charity work.
Nancy Pelosi — "Devastating," describing Reiner as "creative, funny, and beloved" and Michele as his "indispensable partner."
Former Vice President Kamala Harris — Mourned them as "dear friends."
The family of Norman Lear (creator of All in the Family) said the world is "unmistakably darker" and they are "bereft."
Bari Weiss's efforts to overhaul CBS News as its new editor-in-chief are proving difficult, with reports of failed attempts to recruit high-profile anchors from rivals and the enduring hurdles of driving change in a legacy newsroom, even as her independent outlet The Free Press thrives with holiday cheer.
Appointed in October 2025 after Paramount Skydance acquired The Free Press for around $150 million, Weiss—known for her criticism of mainstream media bias and "woke" culture—has aimed to inject fresh energy into the struggling broadcast division.
However, insiders describe her early tenure as "vexing," highlighted by unsuccessful pursuits of stars like Fox News' Bret Baier (contracted through 2028) and former Today host Hoda Kotb, amid contracts and resistance.
Tony Dokoupil
Her first major decision—naming CBS Mornings co-host Tony Dokoupil as solo anchor of CBS Evening News on December 10, 2025—drew mixed reactions. Dokoupil, praised for his tough 2024 interview with Ta-Nehisi Coates on Israel (previously rebuked by prior CBS leadership but defended by then-owner Shari Redstone), was seen by some as a safe, traditional choice rather than the bold shake-up expected from Weiss. Critics called it uninspiring, sticking to the "strong-jawed white man" archetype, while supporters noted it subtly challenges identity-focused hiring trends.
Weiss has impressed some with aggressive guest booking (e.g., former secretaries of State) and a direct line to CEO David Ellison, but faces culture clashes, leaks, layoffs, and skepticism over her lack of TV news experience.
Staff mood varies: some welcome a "new force," others fret over potential rightward shifts or politicization.
Meanwhile, The Free Press continues strong growth, hosting lively events like its annual holiday party. Weiss is set to unveil her full editorial strategy soon, as CBS grapples with declining ratings and broader industry pressures in a polarized media landscape.
Netflix's co-CEOs Ted Sarandos and Greg Peters reaffirmed Monday, in an internal letter to employees that the company's commitment to acquiring key Warner Bros. Discovery (WBD) assets remains unchanged, despite a competing hostile bid from Paramount Skydance.
The executives described the rival offer as "entirely expected" and emphasized that the proposed combination with Warner Bros. is "pro-consumer, pro-innovation, pro-worker, pro-creator, and pro-growth." They highlighted that, even post-deal, Netflix's U.S. viewership share would only increase from 8% to 9%—still trailing YouTube at 13%—and committed to preserving Warner Bros.' theatrical film releases, calling it "an important part of their business and legacy."
Netflix announced its binding agreement on December 5, 2025, to acquire Warner Bros.' film and TV studios, HBO, Max streaming service, gaming division, and content library in a cash-and-stock deal valued at $72 billion equity ($82.7 billion enterprise value, including debt).
Netflix co-CEOs Ted Sarandos and Greg Peters
The transaction excludes WBD's linear networks (e.g., CNN, TNT, Discovery Channel), which are set to spin off into a separate company, Discovery Global, in Q3 2026.The deal followed a competitive auction involving Paramount Skydance and Comcast, with Netflix's bid prevailing for its higher valuation and compatibility with WBD's split plans.
It promises $2–3 billion in annual cost synergies while expanding production and maintaining operations.Paramount Skydance responded on December 8 with a hostile all-cash tender offer for the entire WBD at around $108 billion ($30 per share), arguing superior value and lower regulatory hurdles.
WBD's board is reviewing the proposal but continues to support the Netflix transaction, with a shareholder recommendation expected soon.
The outcome hinges on board decisions, shareholder votes, and anticipated antitrust reviews in the U.S. and EU. The megadeal could significantly consolidate Hollywood, combining Netflix's streaming leadership with Warner Bros.' iconic IP (e.g., DC, Harry Potter) and production strength, though it has sparked debates over market concentration, employment, and theatrical exhibition.
Paramount Skydance escalated its pursuit of Warner Bros. Discovery (WBD) lasr week, with a $108.4 billion hostile takeover bid—offering $30 per share in all-cash for the entire company—directly to shareholders, days after WBD agreed to sell its studio, HBO, and HBO Max to Netflix in an $82.7 billion deal.
Paramount insists the Netflix transaction is "dead on arrival" due to severe antitrust obstacles and argues its offer is superior in value, certainty, and regulatory viability.
Paramount CEO David Ellison accused WBD's board of a "tainted" process favoring Netflix, ignoring six prior Paramount proposals, and overvaluing WBD's cable networks (to spin off as Discovery Global). The all-cash bid provides shareholders ~$18 billion more immediate value than Netflix's cash-and-stock offer ($27.75 per share for partial assets), with Paramount projecting a faster close (12 months vs. Netflix's 12-18).
WBD's board is reviewing the hostile tender offer and must recommend within days, while sticking with Netflix for now. Switching would trigger a $2.8 billion breakup fee to Netflix (or $5.8 billion reverse if Netflix's deal fails).
Antitrust scrutiny looms large for both: Netflix's acquisition would combine the top streamer with HBO Max (#3), risking global blocks; Paramount's full merger could consolidate legacy media. Critics like Sen. Elizabeth Warren flagged Paramount's foreign funding ties, while President Trump previously signaled support for certain alignments.
The bidding war, sparked by Paramount's initial September approaches, has boosted WBD shares ~30% since rumors began. Netflix executives remain confident, expecting Paramount's counter, and emphasize synergies without major job cuts. Hollywood watches anxiously as the outcome could reshape streaming, theatrical releases, and content creation.
As of today, the battle continues, with Paramount urging shareholders to tender shares by January 8, 2026 (unless extended), potentially forcing a prolonged proxy fight or higher bids.
Global advertising spending is forecast to surge in the coming years, fueled by AI innovation, digital platforms, and major events, with WPP Media projecting an 8.8% rise to $1.14 trillion in 2025 (excluding U.S. political ads) and 7.1% growth in 2026.
Dentsu predicts global ad spend will exceed $1 trillion for the first time in 2026 with 5.1% growth, outpacing the world's expected 3.1% economic expansion.
However, traditional audio channels are losing ground amid this boom, with WPP forecasting audio's global share dropping from 4.48% in 2024 to 4.15% in 2025, 3.95% in 2026, and just 3.08% by 2030 due to shifts toward digital video, commerce media, and AI-driven experiences.
WPP's "This Year Next Year" end-of-year forecast highlights resilience driven by trade stability and AI investments. Commerce media is set to overtake TV for the first time, reaching $178.2 billion in 2025, while digital out-of-home (DOOH) approaches parity with traditional OOH by 2030.Dentsu describes the industry entering an "Algorithmic Era," where media becomes the primary gateway for brands.
Digital ad spend is expected to grow 6.7% in 2026, claiming 68.7% of total investment, led by retail media (+14.1%), online video (+11.5%), and social media (+11.4%). Major events like the Winter Olympics, FIFA World Cup, and U.S. midterms will boost engagement, with the U.S. projected to rise 5.0%.
Traditional formats show mixed results in Dentsu's outlook: TV up modestly at 2.4%, out-of-home at 4.1%, while print falls 3%. Notably, Dentsu omits radio/audio from its breakdowns.
For U.S. radio specifically, BIA Advisory Services offers a brighter view, forecasting over-the-air revenue growth of 1.83% in 2026—reversing a 2025 decline—plus 5.01% in digital radio, supported by $7.9 billion in political ads across local media.
Other channels vary: WPP sees newspapers stabilizing near $31.4 billion in 2025 before declining, while audio remains near-flat globally at around $27.5-27.6 billion.
The contrasting forecasts underscore "creative destruction" in advertising: explosive digital and AI-driven growth contrasts with erosion in legacy audio, as advertisers chase personalized, pervasive experiences in an increasingly algorithmic landscape.
Hot 97's longtime morning show "Ebro in the Morning" abruptly ended on Firdsay, after 13 years, with veteran DJ Funkmaster Flex set to take over the slot starting Monday, December 15.
The iconic New York hip-hop station WQHT (Hot 97) confirmed that Funk Flex, a 30+ year staple recently in evenings, will host mornings "until further notice" following the sudden cancellation of the show hosted by Ebro Darden, Peter Rosenberg, and Laura Stylez.
Darden claimed on social media that the decision by owner MediaCo stemmed from his outspoken progressive views, accusing management of prioritizing profits over investment in hip-hop culture. He directed fans to the show's YouTube channel for future content, while syndicator Superadio pledged to continue the "Ebro brand" on new platforms.
Co-hosts Rosenberg and Stylez expressed gratitude for the run, with Rosenberg calling it a "childhood dream" and hinting at exciting next steps.
The shakeup follows a year of changes at Hot 97, including earlier lineup shifts, and coincided with rival station 94.7 The Block parting ways with its morning and evening hosts. This marks a significant reset for NYC hip-hop radio as terrestrial stations navigate evolving listener habits.
Curtis Sliwa, the founder of the Guardian Angels and a veteran New York City radio personality, will guest host the Mark Simone show on 710 WOR from December 22 through January 2.
This marks Sliwa's first return to the airwaves since concluding his recent campaign for New York City mayor.
With decades of experience in New York talk radio on 77WABC, Sliwa brings a distinctive blend of bold opinions, sharp insights, and a street-level view of the city's challenges. He will guide listeners through the holiday period, tackling current events and issues impacting New Yorkers.
“I’m honored to fill in for Mark Simone,” Sliwa stated. “I have worked with him; I have competed against him. He has more connections to those in the know than anyone in New York City.”
Tom Cuddy, program director for iHeartMedia New York’s 710 WOR, praised the choice: “Curtis is a true New York original. His energy, knowledge of the city and ability to connect with listeners makes him one of the most compelling voices in talk radio. We’re excited to have him on WOR for the holidays.”
Listeners can catch Sliwa’s shows weekdays from 10 a.m. to noon on 710 WOR or stream live via the iHeartRadio app. More details are available at 710wor.com.
ABC News has undergone significant leadership changes in recent years, but unlike CBS News' high-profile overhaul under Bari Weiss, it has maintained continuity with its anchors and focused on internal promotions and cost efficiencies rather than bold external hires or ideological reinventions.
Almin Karamehmedovic, a longtime ABC News veteran and former executive producer of World News Tonight, was named president in August 2024, succeeding Kim Godwin who exited amid reports of low morale and management challenges. Karamehmedovic has emphasized three "pillars" for growth: breaking news, investigative reporting, and longform storytelling, while navigating layoffs and program realignments in 2025.
David Muir
The network's flagship World News Tonight with David Muir remains the ratings leader, with no changes to its anchoring—David Muir continues as managing editor and anchor, contributing to ABC's dominance in evening news viewership.
Recent challenges include talent movement: Chief national correspondent Matt Gutman departed for CBS News in December 2025, becoming one of Bari Weiss's first major hires there. ABC also saw shifts in its afternoon programming, with GMA3 anchors DeMarco Morgan and Eva Pilgrim exiting in mid-2025, leading to rotations of Good Morning America talent.
ABC has invested in new initiatives, such as launching its first original daily news show for Disney+ in 2025, and combining operations for programs like 20/20 and Nightline to streamline costs. The network's studios and bureaus continue to support its operations amid broader Disney cutbacks.
ABC's approach under Karamehmedovic appears to beprioritizing ratings strengths like Good Morning America and World News Tonight in a competitive landscape as of December 2025. No major anchor "dreams dashed" or external editor-driven upheavals have been reported.
Programmatic audio advertising in the U.S. is projected to reach $1.2 billion in the near term, fueled by rising automation and improved advertiser access to traditional radio's digital extensions, according to a new forecast forecast from Madison & Wall analyst Brian Wieser.
The growth comes as programmatic adoption in audio climbs from 22% in 2025 to a projected 46% by 2030, tied to expanding ad-supported listening on streaming and podcast platforms.
Brian Wieser
Wieser estimates digital audio will claim this $1.2 billion slice within the broader $36 billion U.S. programmatic market, where overall revenues are expected to represent 73% of open web transactions in 2025.Separately, Madison & Wall forecasts modest U.S. audio ad revenue growth of 1% in Q4 2025, contributing to a broader 10% year-over-year increase in total ad revenue for the quarter—driven largely by digital momentum—while TV is projected to decline 10% excluding political spending.
Industry developments are accelerating the trend:
In November 2025, iHeartMedia integrated its broadcast radio inventory into platforms like StackAdapt and Amazon DSP, allowing programmatic buying of AM/FM spots alongside digital audio and podcasts.
Similar expansions by Spotify, SiriusXM, and Cox Media Group are enhancing scalability, geotargeting, and data-driven efficiency for advertisers.
Wieser's longer-term outlook includes a 2026 boost from events like the Winter Olympics, followed by potential slowdowns through 2027, as audio remains a smaller but growing segment of programmatic spending.
Netflix's proposed $83 billion acquisition of Warner Bros. Discovery's studio and streaming businesses could intensify "subscription captivity" in the TV and film sector, as consumers feel increasingly locked into essential services amid widespread subscription overload.
A recent Wall Street Journal article highlighted Americans' shift from mere subscription fatigue to feeling trapped, with little choice but to maintain monthly payments for delivery, entertainment, music, news, and food services that have become routine.
The phenomenon is most pronounced in streaming, where a potential Netflix-WBD merger—facing regulatory hurdles and opposition, including President Trump's comment that it "could be a problem" due to market dominance—might consolidate vast content libraries under one platform, potentially raising the 61% of Americans who already pay for video subscriptions, per an April 2025 CNET-YouGov survey.
That 61% figure makes streaming the top subscription category in 2025, surpassing e-commerce and music services, even as many users share accounts with family or friends.Overall, four in five Americans paid for at least one subscription in the past year, averaging $90 monthly ($1,080 annually), though younger generations like Gen Z and millennials have slightly reduced spending amid economic pressures, according to the same CNET survey.
Miami-based public radio station WLRN's plan to expand into Martin County and northern Palm Beach County remains stalled, due to an ongoing lawsuit and local opposition.
The Miami-Dade County School Board, which holds WLRN's licenses, sued the station's management entity, South Florida Public Media Group (SFPMG), in September 2025 to halt its $6.45 million purchase of commercial station WFLM 104.7 FM ("The Flame") in Palm Beach Shores.
The suit alleges contract violations, misuse of donor funds and endowment resources, and unauthorized use of WLRN donor lists.
WQCS FM Coverage (100kw)
Announced in June 2025, the deal aims to convert WFLM to non-commercial status for extended NPR programming, but FCC approval for the license transfer is pending amid the dispute.
Local pushback grew Friday, wirgh an opinion piece in The Palm Beach Post, where WQCS 88.9 FM General Manager Michael Clayman declared there's "no need for WLRN in the Treasure Coast." He touted WQCS's 40-year local service, top Fall 2024 Nielsen ratings (No. 1 in Martin County with an 8.6 share), and emphasis on regional news and culture.
WFLM Coverage (50 Kw)
SFPMG maintains the expansion serves the public by addressing a coverage gap in the growing region, with future local programming funded separately. An earlier Palm Beach Post editorial endorsed it for boosting journalism.
The school board first petitioned the FCC to block the transfer in July 2025. No updates on court resolutions, settlements, or FCC decisions have emerged recently.
On Thursday, South Florida lost a beloved radio personality and community leader: John J. Kross Jr., affectionately known as "Footy", died at age 77.
The news was announced by Here’s Help Inc., the nonprofit addiction recovery and youth treatment center in Opa-locka where he served as CEO for over 50 years.
Kross was a staple on Miami's airwaves, best known for his 36-year run (1974–2006) on Y-100 (WHYI-FM 100.7), where he started as a sports reporter on the "Tanner in the Morning" show. Nicknamed "Athlete’s Foot" initially (later shortened to "Footy" by Sonny Fox), he became a key part of the station's top-rated morning programming, entertaining generations with his humor and personality.
After retiring in 2006, he briefly returned for a Saturday talk show on WIOD-AM 610 in 2007 and later hosted on sports stations like WINZ and WQAM.
Beyond radio, Kross's true passion was Here’s Help, where he dedicated decades to helping those struggling with addiction and supporting troubled youth. He used his platform to raise awareness, funds (including through events like Footy's Wing Ding), and break stigma around recovery. Tributes poured in, highlighting his kindness, advocacy, and impact.
U.S. Rep. Debbie Wasserman Schultz called him a "legendary" figure: "Footy helped wake up South Florida for 30+ years on Y100... Through Here’s Help, he assisted thousands... There was no one with better humor or good nature."
Former co-host Kenny Walker wrote: "Rest in peace John ‘Footy’ Kross. Forever grateful for all you taught me."He was also known for golfing with friend Dan Marino, who once praised him as a "true community leader."
Kross had faced health challenges earlier in 2025.No cause of death has been disclosed.
➦In 1922...Albert James "Alan" Freed was born in Johnstown, PA (Died – January 20, 1965). He became internationally known for promoting the mix of blues, country, rhythm and blues music on the radio in the United States and Europe under the name of rock and roll. His career was destroyed by the payola scandal that hit the broadcasting industry in the early 1960s.
Alan Freed
While attending the Ohio State University, Freed became interested in radio. Freed served in the US Army during World War II and worked as a DJ on Armed Forces Radio. Soon after World War II, Freed landed broadcasting jobs at smaller radio stations, including WKST (New Castle, PA); WKBN (Youngstown, OH); and WAKR (Akron, OH), where, in 1945, he became a local favorite for playing hot jazz and pop recordings. Freed enjoyed listening to these new styles because he liked the rhythms and tunes.
Freed is commonly referred to as the "father of rock 'n' roll" due to his promotion of the style of music, and his introduction of the phrase "rock and roll", in reference to the musical genre, on mainstream radio in the early 1950s. He helped bridge the gap of segregation among young teenage Americans, presenting music by black artists (rather than cover versions by white artists) on his radio program, and arranging live concerts attended by racially mixed audiences. Freed appeared in several motion pictures as himself. In the 1956 film Rock, Rock, Rock, Freed tells the audience that "rock and roll is a river of music which has absorbed many streams: rhythm and blues, jazz, ragtime, cowboy songs, country songs, folk songs. All have contributed greatly to the big beat."
In 1945 Alan Freed joined WAKR and became a local favorite, playing hot jazz and pop recordings. The radio editor for the Akron Beacon Journal followed Freed and his "Request Review" nightly program of dance. When he left the station, the non-compete clause in his contract limited his ability to find work elsewhere, and he was forced to take the graveyard shift at Cleveland's WJW radio where he eventually made history playing the music he called "Rock and Roll."
In the late 1940s, while working at WAKR 1590 AM in Akron, Ohio, Freed met Cleveland record store owner Leo Mintz. Record Rendezvous, one of Cleveland's largest record stores, had begun selling rhythm and blues records. Mintz told Freed that he had noticed increased interest in the records at his store, and encouraged him to play them on the radio. Freed moved to Cleveland in 1951, still under a non-compete clause with WAKR. However, in April, through the help of William Shipley, RCA's Northern Ohio distributor, he was released from the non-compete clause. He was then hired by WJW radio for a midnight program sponsored by Main Line, the RCA Distributor, and Record Rendezvous. Freed peppered his speech with hipster language, and, with a rhythm and blues record called "Moondog" as his theme song, broadcast R&B hits into the night.
Mintz proposed buying airtime on Cleveland radio station WJW 850 AM, which would be devoted entirely to R&B recordings, with Freed as host. On July 11, 1951, Freed began playing rhythm and blues records on WJW. While R&B records were played for many years on lower powered, inner city radio stations aimed at African-Americans, this is arguably the first time that authentic R&B was featured regularly on a major, mass audience station. Freed called his show "The Moondog House" and billed himself as "The King of the Moondoggers".
He had been inspired by an offbeat instrumental called "Moondog Symphony" that had been recorded by New York street musician Louis T. Hardin, aka "Moondog". Freed adopted the record as his show's theme music. His on-air manner was energetic, in contrast to many contemporary radio presenters of traditional pop music, who tended to sound more subdued and low-key in manner. He addressed his listeners as if they were all part of a make-believe kingdom of hipsters, united in their love for black music. He also began popularizing the phrase "rock and roll" to describe the music he played.
Later that year, Freed promoted dances and concerts featuring the music he was playing on the radio. He was one of the organizers of a five-act show called "The Moondog Coronation Ball" on March 21, 1952, at the Cleveland Arena. This event is known as the first rock and roll concert. Crowds attended in numbers far beyond the arena's capacity, and the concert was shut down early due to overcrowding and a near-riot. Freed gained a priceless notoriety from the incident. WJW immediately increased the airtime allotted to Freed's program, and his popularity soared.
In those days, Cleveland was considered by the music industry to be a "breakout" city, where national trends first appeared in a regional market. Freed's popularity made the pop music business take notice. Soon, tapes of Freed's program began to air in the New York City area over station WNJR 1430 (now WNSW), in Newark, New Jersey.
In July 1954, following his success on the air in Cleveland, Freed moved to WINS 1010 AM in New York City. Hardin, the original Moondog, later took a court action suit against WINS for damages against Freed for infringement in 1956, arguing prior claim to the name "Moondog", under which he had been composing since 1947. Hardin collected a $6,000 judgment from Freed, as well as an agreement to give up further usage of the name Moondog. WINS eventually became an around-the-clock Top 40 rock and roll radio station, and would remain so until April 19, 1965—long after Freed left and three months after he had died— when it became an all-news outlet.
In 1956, Freed hosted "Alan Freed's Rock 'n' Roll Dance Party" on CBS Radio from New York. Freed’s life was dramatized in the film “American Hot Wax.”
➦In 1936....What is now known as KFNQ began as KGBS in 1927, changing to KVL in 1928, then KEEN in this date in 1936 and KEVR in 1940.
The station is considered the third oldest radio station in Seattle, the first being KJR, which began broadcasting in 1922, and the second being KOMO, which began in 1926.pioneering Seattle radio station KVL changed its call letters to KEEN.
➦In 1941...We Hold These Truths, a celebration of the 150th anniversary of the United States Bill of Rights, aired as an hour-long radio program that explored American values. It was the first show to be broadcast on all four major networks (CBS, NBC Red, NBC Blue, and Mutual) simultaneously.
It was written and produced by Norman Corwin, who won a Peabody Award for the show, which commemorated the ratification of Bill of Rights on December 15, 1791.
The attack on Pearl Harbor on December 7, 1941 — a week before the scheduled broadcast — may have contributed to what the Crossley Rating Service estimated to be 63 million listeners (almost half of the U.S. population), the largest audience in history for a dramatic performance.
The radio program had been commissioned by the United States government under the auspices of the Office of Education, and was scheduled for live broadcast on that date well before the attack on Pearl Harbor occurred. When producer Corwin asked on December 7 whether the show was still on, the response wired to him the next day was, "The President thinks it's more important now than ever to proceed with the program."
➦In 1944...The plane carrying Alton Glenn Miller disappeared. He was an American big-band trombonist, arranger, composer, and bandleader in the swing era.
He was the best-selling recording artist from 1939 to 1942, leading one of the best-known big bands. Miller's recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", "(I've Got a Gal In) Kalamazoo", "American Patrol", "Tuxedo Junction", "Elmer's Tune", and "Little Brown Jug". In just four years Glenn Miller scored 16 number-one records and 69 top ten hits—more than Elvis Presley (38 top 10s) and the Beatles (33 top 10s) did in their careers.
While he was traveling to entertain U.S. troops in France during World War II, Miller's aircraft disappeared in bad weather over the English Channel.
➦In 1956…Elvis Presley gave his final performance on the "Louisiana Hayride" a weekly show aired by KWKH in Shreveport, Louisiana. Elvis made 50 appearances.
➦In 1957…Columbia Records executive Mitch Miller and entertainer Sammy Davis Jr. disparaged rock 'n' roll as "the comic books of music" during a radio talk show hosted by Davis. Another guest on the radio show, Arnold Maxim, president of the MGM record label, disagreed with them saying he saw no end to the fad in the near future.
➦In 1966...Walt (Walter Elias) Disney died in Burbank at age 65. Disney had been a heavy smoker since World War I. He did not use cigarettes with filters and had smoked a pipe as a young man. In November 1966, he was diagnosed with lung cancer. On November 30 he felt unwell and was taken to St. Joseph Hospital where, on December 15, ten days after his 65th birthday, he died of circulatory collapse caused by lung cancer. Disney's remains were cremated two days later, and his ashes interred at the Forest Lawn Memorial Park in Glendale, California.
