Netflix continues to refine its approach to sports as it expands beyond its on-demand foundation, and Chief Content Officer Bela Bajaria offered a clearer picture of that strategy this week. Speaking with Netflix sports lead anchor Elle Duncan at the CAA World Congress of Sports, Bajaria said the company’s growing interest in live content stems from both necessity and opportunity.
While Netflix built its business on viewer control and flexibility, certain programming requires a different mindset.
“We want to be great at everything,” Bajaria said, explaining that live content introduces a new layer to the platform’s evolution.
That shift hasn’t come without challenges. Netflix’s infrastructure and identity were designed for on-demand viewing. Asking audiences to tune in at a specific time marks a notable departure from that model. Still, Bajaria made it clear the company sees value in moments that can drive real-time conversation.
“To actually do something live and say, ‘This is the time we want you to watch something,’ is just a different strategy,” said Bajaria.
As a result, Netflix has focused on events that feel culturally relevant and unpredictable. Bajaria described those as “buzzy” opportunities that can break through in a crowded media landscape.
Sports, in particular, fits that vision — but only under the right conditions. Rather than pursuing every available rights package, Netflix is prioritizing select, high-impact plays. Bajaria described the company’s mindset as “go big or go home,” pointing to international efforts like the World Baseball Classic as an early example of testing that philosophy.
At the same time, Netflix continues to lean into storytelling as its core strength.
Bajaria called sports “the best soap opera,” noting that emotional investment often starts outside the live event itself. Even when the company does lean into live programming, it looks for ways to differentiate.
Ultimately, Netflix’s strategy reflects a hybrid model. The company is expanding into live sports, but not at the expense of its entertainment-first identity. For Bajaria, the goal is not to replicate traditional broadcasters. Instead, it’s to find selective opportunities where live content enhances what Netflix already does best.
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FOX Sports is making its priorities clear as the next wave of NFL media rights negotiations begins to take shape. Appearing at the CAA World Congress of Sports, FOX Sports CEO and executive producer Eric Shanks reiterated the company’s deep-rooted connection to football while speaking with Colin Cowherd.
With the National Football League widely expected to revisit its current rights agreements ahead of schedule this spring, FOX is positioning itself as a committed long-term partner.
“We were the only network that was literally born to do the NFL,” Shanks said. “Now we’ve grown into this saying that ‘FOX is football,’ right? Whether it’s college, spring, NFL; the NFL has just become a huge part of our DNA.”
His comments reflect more than brand identity. They signal strategy. FOX has long leaned on the NFL as a cornerstone property, anchored by its NFC package and consistent top-tier ratings. That reliance appears unlikely to change, even as the cost of premium rights continues to climb and competition intensifies.
Parent company leadership has already acknowledged that reality. During a recent earnings call, Lachlan Murdoch said FOX is prepared to adjust its broader sports portfolio to ensure it remains in business with the league. He described the NFL as “tremendous content” and suggested the company could offset rising costs by reallocating resources across its existing rights holdings.
That portfolio currently includes properties such as Major League Baseball, NASCAR, IndyCar and Big Ten athletics. However, none deliver the consistent national audience that the NFL commands.
The league continues to dominate viewership. FOX averaged 19.6 million viewers across its NFL windows last season, its best mark in nearly a decade. Those numbers reinforce why the network views football as essential rather than optional.
Still, the landscape is shifting. Streaming platforms have expanded their presence in live sports, with companies like Netflix and YouTube TV entering the conversation around premium rights. That dynamic could drive prices even higher and force traditional broadcasters to make difficult decisions.
FOX’s approach, at least publicly, suggests it is willing to make those calls.
“Who wouldn’t want to be partners with the NFL as long as humanly possible,” said Shanks.
Shanks also addressed the evolving structure of college football, voicing support for a 24-team College Football Playoff. He argued expansion would improve early-season scheduling and create more meaningful games late in the year, further strengthening football’s overall value proposition.
Taken together, the messaging from both Shanks and Murdoch points to a unified stance. As negotiations approach, FOX is not signaling caution. Instead, it is emphasizing commitment, flexibility and a belief that its future remains closely tied to football — especially the NFL.
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Roku has reached a significant benchmark in its growth, surpassing 100 million streaming households worldwide. The milestone signals not only Roku’s expanding footprint, but also the continued shift in how audiences consume television.
The company said the total reflects distinct accounts that streamed content on the platform over a 30-day period as of April. That includes viewers using Roku streaming players, Roku-branded televisions, and devices built through its global hardware partnerships.
Roku Founder and CEO Anthony Wood called the achievement a pivotal moment for both the company and the broader TV industry.
“Surpassing 100 million streaming households is a defining moment, not just for Roku, but for the future of television,” Wood said. He added that Roku continues to focus on simplifying content discovery, lowering costs for consumers, and improving outcomes for advertisers.
The growth comes as streaming cements its role as the primary way many consumers watch television. Roku said its devices are now used in more than half of U.S. broadband households, while international expansion continues in markets such as Mexico, Canada, Brazil, and the United Kingdom. According to data from Comscore, Roku generates more than three times the engagement of the next leading TV operating system in the U.S.
Additionally, Roku offers access to a wide range of programming, including hundreds of free live channels and thousands of on-demand titles. According to Nielsen, the app ranks among the top streaming options in the U.S., sitting as the No. 2 free ad-supported service on the Roku platform and No. 5 overall.
Beyond consumers, the company continues to position itself as a key player for advertisers and distribution partners. Its scale provides brands with access to a large, engaged audience across its home screen, streaming channels, and branded environments like Roku City and its sports hub.
For content providers, the platform offers tools designed to simplify subscription management and improve customer acquisition. Roku said its ecosystem reduces friction for users while helping partners drive conversions and long-term value.
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vCreative has launched new integrations with RCS ZettaCloud and WideOrbit Aurora.
With this update, vCreative now deploys Cloud AutoDub directly across both platforms. As a result, stations using vCreative with WideOrbit or Zetta eliminate manual steps. Consequently, production time decreases.
“The industry is rapidly moving away from fragile, locally managed infrastructure toward scalable, cloud-based workflows,” said vCreative CEO Mary DelGrande. “With Cloud AutoDub, we’re eliminating the friction between production and playout, giving broadcasters faster turnaround, greater reliability, and the ability to scale effortlessly across markets. This is a foundational step toward the fully automated, cloud-native future of broadcast operations.”
Meanwhile, AutoDub technology streamlines output for multi-market operators. It ensures consistent and predictable delivery across many stations. Additionally, it continuously checks, processes, and delivers commercials. It also applies correct format, metadata, and companion file parameters.
“With integrations like vCreative’s Cloud AutoDub now embedded within ZettaCloud, RCS is delivering real, cloud-native automation that removes friction between production, traffic and playout,” said Susan Larkin, President and CEO of RCS. “As the world’s largest broadcast software company, we support broadcasters globally who manage billions of dollars in advertising revenue and rely on efficient, reliable systems to protect and grow their business. There is no one-size-fits-all path to the cloud, and by automating key workflows, we help customers reduce costs, accelerate speed to revenue, and modernize operations—while maintaining a seamless listener experience.”
“WO Aurora’s integration with vCreative’s Cloud Dub is WideOrbit’s latest initiative that supports the industry’s urgent need to eliminate the expense of installing and maintaining on-prem hardware solutions,” added William Dub Irvin, Managing Director and Vice President of Radio Automation at WideOrbit. “WideOrbit and vCreative’s existing automation and traffic integrations have already saved our customers millions of dollars, and our integration with Cloud Dub is poised to further strengthen the financial position of our customers.”
This expansion reflects a broader industry shift toward cloud-based operating systems over local infrastructure. Notably, it follows a previous integration with Radio.Cloud earlier this year.
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Connoisseur Media has added a new voice and leadership presence to its Louisville cluster, naming Michelle Heart as program director and midday host at 102.3 The Rose. The move places Heart in charge of day-to-day programming for the adult contemporary outlet.
She also will be heard on-air during middays, giving the brand a consistent local presence both behind the scenes and on the airwaves. Heart arrives in Louisville following a 16 year run run in Boise, Idaho.
“These past 16 years in Boise have meant everything to me. Nine of those years were spent waking up with you every morning, and I’m so proud of what we built together at LITE,” said Heart on Instagram. “We took a little station on the end of the dial and turned it into something special, and I’ll always be grateful for that.
Her work earned industry recognition. Heart received a Gracie Award in 2024, an honor that highlights excellence among women in media.
Now, she transitions into a leadership role previously handled remotely. With Heart based locally, Connoisseur Media is positioning the station for stronger ties to the Louisville audience and more hands-on programming direction.
“I’m really excited about this next chapter,” said Heart. “Louisville feels like the right place at the right time, and I can’t wait to build something great with my new team on The Rose! Lots of learning to do.”
Operations Manager Ben Davis pointed to Heart’s versatility as a key factor in the hire. He noted her experience across programming, on-air performance, and digital engagement as traits that stood out during the search process.
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Green Day is expanding its reach into satellite radio with the launch of a new, artist-driven channel on SiriusXM. Beginning Monday, April 20, Green Day’s Idiot Nation will debut on the platform. The channel is curated by band members Billie Joe Armstrong, Mike Dirnt, and Tré Cool. It will showcase the music and influences that shaped their decades-long career.
The band said the channel reflects their passion for punk rock and the songs that inspired them early on. In a statement, Green Day noted they are eager to share tracks that pushed them to start playing, touring, and building their identity as artists.
“We’re absolutely stoked to have our very own channel on SiriusXM to share all the songs we love. The ones that made us pick up guitars, pile into vans, and chase something loud and real,” Green Day shared. “We’re digging into everything, including bands we love, old Green Day demos, live tracks, deep cuts, and telling the stories behind it all. Come hang with us and let it rip!”
Moreover, the channel is designed to go beyond music. Between songs, the band will offer personal stories from their time on the road and in the studio. They will also provide context on the artists and records that influenced their sound.
The move continues a growing trend of artist-branded channels on SiriusXM. However, this project leans heavily into Green Day’s hands-on involvement. Each member plays a role in shaping the programming and storytelling approach.
As part of the launch, Tré Cool will headline a new monthly show titled Ground Support. The program will highlight bands that have toured with Green Day over the years. It will also include music selections and behind-the-scenes insights from those shared experiences.
Ultimately, the channel aims to connect fans with both the band’s history and the broader punk landscape. By blending curated playlists with firsthand commentary, Green Day offers listeners a deeper look into its creative journey.
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Cumulus Media announced that Ron Slay has agreed to a multi-year extension to remain on 3HL, the station’s afternoon drive program on 104.5 The Zone. Slay will continue alongside co-hosts Brent Dougherty and Dawn Davenport.
The move keeps one of the market’s most recognizable voices in place as the station leans further into its local identity. Slay joined the show in 2021 and quickly became a defining presence. His mix of analysis and personality helped the program grow across multiple platforms.
“This city raised me. This station believed in me. And the people who listen every day keep pushing me to be better,” said Slay. “‘3HL’ is home and we’re just getting warmed up. I’m grateful and excited for what’s next.”
“3HL” airs weekdays from 3 to 7 p.m. and extends beyond terrestrial radio. The show streams on the station’s video platform and is distributed through its podcast network, giving it a wider digital footprint.
At the same time, Slay’s national profile continues to rise. He works as a college basketball analyst for ESPN and the SEC Network. Over the past few seasons, he has become a regular presence on game broadcasts and studio coverage.
Even with that growth, Slay has maintained strong ties to Nashville. He remains active in the community and supports several local initiatives, including youth sports programs. That local connection played a role in the station’s decision to secure him long term.
Slay, a former standout at University of Tennessee, has seen his media career mirror his playing days. He earned SEC Player of the Year honors before spending more than a decade playing professionally overseas.
Allison Warren, vice president and market manager for Cumulus Nashville, called Slay a foundational voice for the brand. She pointed to his authenticity and connection with listeners as key drivers of his success.
“Locking in Ron long‑term sends a clear message – there’s still so much more ahead, and we’re just getting started,” said Warren.
Program operations manager Paul Mason echoed that sentiment. He said Slay’s energy and ability to connect with both guests and audiences continue to elevate the show.
“His ceiling truly doesn’t exist, and we’re excited to see what this next chapter brings,” said Mason.
BREAKING: Vol for Life @TheRonSlay Remains in the Building as Afternoon Drive Host✍️@CumulusMedia's 104-5 The Zone announces that #VFL Ron Slay, one of Nashville’s most iconic sports personalities and on-air host of @3HL1045, has signed a multi-year agreement to continue as a… pic.twitter.com/FIdMmObIoD
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So, have you watched your favorite podcast on Netflix yet? It’s been several months since the streaming giant began housing exclusive video presentations for more than 40 podcasts across all genres. The company has yet to reveal any viewership data on the titles it secured from companies such as The Ringer, iHeartMedia, and Barstool Sports.
However, thanks to television data and analytics company Samba TV, we now have some numbers to examine. In a first-quarter analysis of what Samba TV calls the inaugural Netflix Podcast Ranker, the company estimated that 13% of U.S. Netflix-viewing households watched at least one Netflix podcast during the first three months of 2026.
Is that impressive? To some, maybe. To others, not so much. What caught my attention, however, was the viewership of key sports titles that arrived as part of Team Netflix. While you don’t want to judge a book by its cover—or its first three months of service—the early results don’t prove that sports titles resonate with a Netflix audience.
It’s hard to break habits. In the podcast industry, you build your audience not just through content, but also through distribution. That’s why, as Pat McAfee climbed from podcaster to ESPN personality, it remained vital for his program to stay on YouTube. That audience was essential to his brand’s growth and success.
In two years, we’ll see where that concept goes, as Netflix and potentially other streamers look to lure McAfee’s brand to their platforms.
Still, when The Ringer, Barstool Sports, and iHeartMedia announced their agreements with Netflix, I was curious to see how their shows would rank among the other titles making the transition.
Now, thanks to Samba TV, we have some answers.
The first quarter of 2026 featured a massive slate of sports headlines. The Super Bowl, College Football Playoff, and Winter Olympics were just a few of the major events. We also saw significant viewership increases across the NBA, NHL, and even the World Baseball Classic. Needless to say, January, February, and March of 2026 delivered a level of sports volume most years simply don’t match.
According to Samba, three sports-specific podcasts cracked the top 20 most-viewed podcasts on Netflix. The Bill Simmons Podcast finished eighth, Pardon My Take placed 10th, and The White House with Michael Irvin came in 17th. Granted, The White House was a Netflix original, but I digress.
That means, of the 18 total podcasts from The Ringer and Barstool Sports, only two sports podcasts landed in the top 20 among 46 total podcasts on the platform.
Is that impressive?
You never want to overreact to early data, and I’ll admit these figures come from a third party, not Netflix itself. However, anyone who follows sports media knows that when major events occur, viewership, listenership, downloads, social engagement, and nearly every measurable metric increase.
Seeing these early results after such a sports-heavy quarter should raise some concern within the walls of both The Ringer and Barstool Sports.
Financial stability aside—because Netflix is clearly providing that—it’s fair to question the performance.
For example, The Pete Davidson Show, which debuted on January 30, outperformed anything from Barstool Sports or The Ringer. Meanwhile, The Bill Simmons Podcast trailed One Piece: Into the Grand Line, which launched March 13.
Breaking: I’m proud to announce in our continuing 20 plus year evolution we are now partnering with @netflix for exclusive video podcasts. pic.twitter.com/BHGbzJvB37
That raises an important question: Are sports podcasts—by nature timely and topical—not a natural fit for a Netflix audience? This early data may offer insight for other sports podcast brands that have thrived in the free and accessible era. Could shows like Nightcap, The Pivot, and others be reconsidering meetings or calls with Netflix executives?
Money is always the goal. It fuels the ability to create and sustain content. However, in this case, it appears sports podcasts may not attract audiences on Netflix the way they do on free platforms like YouTube and Twitch.
If this trend continues, could there be opt-out options and a return to those platforms?
Could that explain why Pardon My Take continues to produce non-podcast content on YouTube? They may be ensuring they still serve that audience while struggling to find comparable traction behind a paywall.
That’s a smart strategy—and one others should consider if they haven’t already.
First impressions matter. If sports podcasts continue to lag in viewership during the biggest moments on the sports calendar, that should serve as a major warning sign for creators. While chasing the check is always part of the equation, not every check is worth the audience you risk losing.
The bigger question isn’t whether Netflix can afford sports podcasts—it’s whether sports podcasts can afford to lose the habits that built them. Accessibility, immediacy, and community weren’t just features of the YouTube era; they were its foundation.
Remove those elements, place content behind a paywall, and suddenly you’re asking a different audience to engage with a different product in a different way.
That doesn’t mean the Netflix experiment is doomed. It does mean it remains unproven. And for an industry built on daily relevance and real-time reaction, “wait and see” isn’t always a comfortable position.
If the early data is any indication, the future of sports podcasting may not be about chasing the biggest check—but about staying where the audience already is.
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There’s been a lot of change in how Major League Baseball has been consumed since the pandemic year of 2020. Today, MLB games are more accessible on more platforms than ever before. The league’s move to streaming began when MLB signed an exclusive deal with Apple TV to stream a Friday night doubleheader. That’s when MLB reporter Tricia Whitaker got the call that changed the trajectory of her budding sports media career.
“They called me and they had an opening for a sideline reporter role for Apple. It’s a national package and I’d be going around the country covering every single team. I was like, sold,” said Whitaker. “Growing up, I was one of those weirdos that wanted to be a sideline reporter… I did it.”
Now entering her fifth season with Apple, Whitaker said she is happy with the partnership. She has welcomed baseball fans every Friday evening, providing inside stories from the dugout while bringing viewers closer to the game and its players.
When Whitaker accepted the role with Apple, she was in her fourth season as the team reporter for Tampa Bay Rays broadcasts on Bally Sports. While the added workload presented a new challenge, she noted clear differences between working for a regional sports network and a global company like Apple.
“The biggest difference [between the two] was the regional sports network was owned by Bally. That business model was a mess, and you weren’t treated very well by the people that ran that company,” explains Whitaker. “From an Apple perspective, it is a wonderful company to work with and a wonderful group of humans.”
Whitaker spent six seasons covering the Tampa Bay Rays through several ownership changes at the local RSN. Although she enjoyed covering the team, she said the stress tied to the company’s instability was always present.
“You would go in every year, no matter who owned it, worried about your job. And nobody communicated with talent a lot. It wasn’t a good feeling year to year when the company was so in flux,” notes Whitaker. “The employees of the regional sports networks don’t deserve that uncertainty, but it comes with the territory of working with the RSNs.”
MLB in a Streaming World
Because of her relationship with the Rays organization, Whitaker remained with the club for three seasons while also working Friday nights with Apple. Over the last two seasons, the Indiana graduate has focused solely on her work with Apple amid the league’s continued media rights shuffle.
After ESPN and MLB agreed to a mutual opt-out of their media deal in the spring of 2025, speculation grew about how the league would redistribute its properties among streaming platforms. During that time, various reports questioned whether Apple TV would retain the rights to the Friday night package heading into the 2026 season.
Whitaker said that despite the speculation, she remained confident the games would stay on Apple.
“Those reports weren’t accurate, and we knew that. I know the industry could change, but we all knew that wasn’t happening,” said Whitaker. “We have really good bosses, and we’re communicating with us through all that. That didn’t happen with Ballys or FanDuel. They didn’t know, and no employees knew. It was really disappointing because those employees at RSNs deserved more communication. I have not experienced that with Apple at all.”
MLB’s presence on streaming services is not new. In fact, MLB.TV, which launched in 2002, is widely considered the league’s first streaming platform.
Still, baseball fans tend to be traditional, reflecting how deeply tradition is embedded in the sport. That’s why Whitaker believes some resistance remains among a group of fans she describes as “purists”—those who expect the game to be presented as it always has been.
“I understand there’s narratives about where to watch the game, but that’s the industry right now whether people like it or not,” said Whitaker. “The streaming services offer a unique advantage. It offers a different perspective and the quality of the visual is better… You have a lot of purists in baseball, which isn’t a bad thing.”
That criticism intensified when the league opened its season this year on Netflix. The broadcast marked the platform’s first live MLB event and blended entertainment elements with the game itself. Afterward, critics pointed to everything from cross-promotion to personalities overshadowing the action on the field.
Despite the backlash, Whitaker understands why some fans did not appreciate the approach. However, she believes the bigger picture matters more as MLB expands its reach on platforms like Netflix.
“Truly, I believe that expanding and growing the game on streaming services is good for the game,” says Whitaker. “Regardless of what you thought about the Netflix product, you watched. Other people watched. It was kind of a spectacle. That’s not going to be the everyday game broadcast, that was literally one game.”
Online Criticism
BRB going to go touch grass and log off Twitter arguments for a minute and float in a pool shaped like the great state of Texas.
I love you all 🫶🏼I just want both diehard and casual baseball fans to take a breath before the knee-jerk reactions.
In the aftermath of the broadcast, sports media outlets shared critiques across digital and social platforms. Whitaker, who also serves as a lecturer at Indiana University’s media school, took issue with some of the tone and approach.
“Everybody hates everything at first. It’s also the thing to do on social media. Negative things get clicks. Positive things don’t get as many clicks. I don’t like that narrative,” explains Whitaker. “Is this really how we want to live? In a constant bubble of negativity because it gets clicks? You can have a critical eye without being rage bait. Sometimes baseball fans have a tendency to act that way, and I don’t think it helps people.”
Whitaker engaged with some of that criticism online following the Netflix broadcast. While she admits she rarely responds, she also acknowledges that generating a response is often the goal.
“Organic negativity, I teach that phrase in my social media strategy class. I don’t think it’s cool for us to create negativity, but I do think there’s such a thing called organic negativity,” notes Whitaker. “The people talking about something the next day about an error is organic negativity. The type of negativity that’s created without reaching for understanding before using your critical eye for rage bait, that’s the negativity that I don’t like.”
Guiding the Next Generation
Since stepping away from balancing duties with the Rays and Apple, Whitaker has become a full-time instructor at her alma mater. She said she never expected to return to school as an educator but has found a strong work-life balance in the role.
Her experience provides valuable insight for students pursuing careers in media. Despite the challenges of entering the industry, Whitaker said she finds fulfillment in helping shape the next generation.
“They have that spark that the rest of us jaded in the industry lost. They remind me of it everyday,” explained Whitaker. “Don’t’ ever lose that spark and get jaded, but I think we have to cultivate it differently… People get jaded because of bad people, but also because we take things in this industry so seriously that was supposed to be fun.”
Whitaker said she now values quality over quantity as she balances teaching with her work at Apple TV. While she occasionally misses the daily grind of covering a single team, she does not miss it entirely.
Still, she does not rule out a return to a role similar to the one she held with the Rays. However, she noted any future opportunity would need to avoid the demands of a full 162-game schedule.
For Whitaker, the evolution of baseball on streaming platforms is more than an industry trend—it has shaped her own career. She has navigated instability at regional sports networks and found a more sustainable role on a global stage.
Her journey mirrors the transformation in how the game reaches fans.
While platforms, production styles, and distribution models continue to evolve, the core of her job remains the same. It is still about being in the dugout, telling stories, and bringing viewers closer to the game.
“I never want to move away from baseball, because I love it so much,” said Whitaker. “Change is the only constant in this industry… But as long as Apple TV has baseball, you’re stuck with me.”
In an era defined by disruption, that constant—the human connection to the game—may be the one thing that never changes.
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Ask anyone in the radio industry what separates their medium from the competition, and you’ll hear the same answer almost every time: “We’re local.”
It’s the rallying cry, the differentiator, the reason broadcasters argue radio remains relevant in a world drowning in streaming options and on-demand content.
But a closer look at new data from Pew Research raises an uncomfortable question — are radio stations actually delivering on that promise, especially when it comes to local news?
The numbers don’t lie, and right now, they’re not flattering.
In February 2016, 37% of Americans said they followed local news very closely. By December 2025, that figure had dropped to 21%. That’s a 16-point freefall over less than a decade. Radio didn’t cause that decline entirely on its own, but the industry also hasn’t done much to stop it.
Consider where radio stands in the platform preference conversation. Only 8% of Americans say they prefer radio for getting local news and information. That’s the same as print newspapers — a format the industry has spent years calling obsolete. How many people under 55 do you personally know who still subscribe to a physical newspaper? Does being on par with that number give you confidence about where radio stands?
It shouldn’t.
Television still leads at 34%, followed by news websites or apps at 28%, and social media at 20%. Radio sits at 8%, flat from 2024, and essentially unchanged since 2018. The industry has had years to close that gap. It hasn’t.
Here’s what makes this especially difficult to accept: the audience radio needs isn’t going anywhere. The Pew data shows that 81% of Americans consider local news outlets either extremely important, very important, or somewhat important to the well-being of their community. People still care about what’s happening in their towns. They still want someone to cover it.
They also don’t want to pay for it. According to Pew, 88% of U.S. adults didn’t pay for local news in the past year. That should be radio’s greatest competitive weapon. The information people value is available for free — on a medium that’s already in their car, their kitchen, and their workplace.
Radio doesn’t need to convince anyone to download an app, create an account, or enter a credit card number. The barrier to entry is essentially zero.
And yet, radio still isn’t winning. In 2018, 56% of Americans said they often or sometimes got local news from radio. Today, that figure sits at 52%. That’s the same percentage as Facebook Groups and the Nextdoor app.
Think about that for a moment. Neighborhood social platforms, many of which are little more than digital complaint boards, are keeping pace with an industry that has been broadcasting local content for over a century.
That’s a crisis.
The path forward exists, but it requires honesty about how the industry got here. Years of consolidation gutted local newsrooms. Syndicated programming replaced hometown voices. Cost-cutting decisions, individually defensible, collectively stripped radio of the very thing it claimed to offer. Local became a marketing tagline more than an operational reality.
Reversing that trend won’t happen overnight, and it won’t be cheap. Rebuilding local news infrastructure takes investment, commitment, and a willingness to accept that short-term margins may suffer in pursuit of long-term relevance. But the alternative is worse — continuing to cede ground to Facebook neighborhood groups and hyperlocal apps while insisting radio is still the community’s trusted source.
Whether you’re in New York City or New Bern, North Carolina, being outperformed by whatever the local “(Insert Town Name Here) Bitch Page” is posting on Facebook should be considered unacceptable. Radio has the reach, the credibility, and the infrastructure to own local news. It just has to decide that owning it actually matters.
The audience is still out there. They still care about their communities. It’s time radio started acting like it does, too.
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