For the better part of a decade, there's a word the broadcast industry has been using to describe the move from traditional to software-defined production.

That word is transition.

But transition implies a journey from one state to another. What broadcasters are really living through is more permanent than that. They're not crossing a bridge. They're building one while keeping traffic moving on both sides.

The hybrid reality that most production operations face today isn't a phase. It's the terrain they're operating in. And the industry is only beginning to work out what that really demands.

Two Worlds, One Team
As IP and cloud-based production matured, the assumption in most technology strategies was that organizations would eventually retire traditional hardware workflows. But that hasn’t happened. Client commitments, capital cycles, rights agreements and the genuine complexity of software-defined environments have all kept legacy infrastructure in service.

This means that production teams manage both at the same time, and engineers who once worked in a single signal chain are now expected to be fluent across various architectures. That pressure isn’t always obvious, until something goes wrong.

Client expectations are moving in different directions at the same time. Some rights holders won't compromise on premium quality. Others are under real pressure to deliver faster and cheaper, sometimes for the same content through a different window. In some cases both demands land in the same contract.

The Cost of Keeping Both Engines Running
Operating in a hybrid environment is costly in ways that aren’t always easy to quantify. Maintaining two categories of infrastructure, training staff on both and building workflows that flex between them: the obvious costs are significant. But the subtler ones are too.

Every infrastructure decision now has a strategic dimension to it. Whether to extend the life of traditional kit, push harder toward software workflows and take on the short-term risk that comes with it, or route projects through different models depending on the brief, none of it is straightforward and each path brings its own complexity.

None of these are easy calls. They involve trade-offs between cost, speed, quality and flexibility. The right answer shifts with each client and project. The teams that navigate this skillfully have stopped looking for one cohesive answer and instead relied on the judgment to make the call differently each time.

Remote and Cloud: Real Gains and Real Limits
Remote and cloud production have proven their worth. The ability to draw on the right talent wherever they are, scale infrastructure around event demand and cut crew travel has truly changed how operations plan and staff major events.

But the limits of working fully distributed are also getting clearer. Some productions benefit greatly when people are in the same room, where decisions need to be made quickly and creative judgment is built through proximity. The best hybrid operations aren’t choosing between remote and on-site. They’re developing the discipline to recognize which approach will work best for any given brief, and then investing in the infrastructure to support both.

Flexibility: The Baseline Requirement
The most important shift in thinking may be that flexibility isn’t something to sell anymore. Clients expect workflows that flex to last-minute changes, support teams who are spread across different technical environments and scale without everything falling apart.

That’s a structural challenge. Not a technology challenge. The tools exist, but what production operations are still building is the confidence to lean on them and the organizational design to deploy them well.

The broadcasters and service providers who define the next phase of this industry will not be those who complete the move to software-defined production fastest. They will be those who build the judgment and workflows to operate effectively in a world where both models coexist, indefinitely, at the same time.

Hybrid production isn’t a problem to be solved. It’s the operating environment. The sooner the industry plans accordingly, the better.

NEW YORK—Comcast’s FreeWheel has launched Video Content Report, an insight tool available in FreeWheel Buyer Cloud (formerly Beeswax) that provides TV series-level data on where ad campaigns actually appeared.

Fueled by direct connection to FreeWheel Streaming Hub (FreeWheel’s ad server with natively built SSP), the report gives buyers detailed, series-level insight into post-impression delivery from premium publishers, including A+E Global Media, Spectrum Reach, Fuse Media, NBCUniversal, Paramount, Warner Bros. Discovery, and Xumo.

By using publisher-sourced delivery data recorded directly through the ad server, Video Content Report gives buyers a clearer, reliable view of where campaigns ran across premium streaming environments, helping increase transparency and confidence in their CTV investments.

“CTV buyers need series-level transparency they can trust and use at scale,” said Jon Mansell, vice president, U.S. demand for FreeWheel. “What makes Video Content Report unique is the direct connection between Buyer Cloud and Streaming Hub, which enables publisher-permissioned, impression-level delivery insights from multiple premium publishers in one workflow. That gives advertisers a clearer view of where their campaigns ran while giving publishers control over how their content data is shared.”

Powered by Buyer Cloud’s connection to FreeWheel Streaming Hub and impression-level delivery data, Video Content Report provides scalable series-level transparency to confirm content alignment and brand safety, at no extra cost, while helping publishers prove the value of their premium content.

In announcing the new tool, FreeWheel stressed that it is designed to address the needs of advertisers.

Over 50% of CTV advertisers say they would shift spend to publishers that provide show- or series-level transparency, according to new research from Advertiser Perceptions. As demand for this level of visibility grows, FreeWheel said it is helping make series-level reporting even easier to access and apply at scale. By bringing publisher-sourced insights into a more consistent workflow, Video Content Report gives buyers a clearer way to understand delivery across partners and use those insights to guide future planning and investment decisions.

Some advertisers and agencies applauded the launch. “As investment in programmatic CTV continues to grow, we as buyers need transparency that is accurate, scalable and easy to access,” said Mike Treon, head of CTV and video strategy for PMG. “FreeWheel’s Video Content Report addresses a real gap in the market by giving us series-level visibility directly within Buyer Cloud, helping us better understand campaign delivery across premium video without relying on one-off reporting requests or adding unnecessary reporting steps.”

The launch builds on FreeWheel’s broader commitment to giving buyers more transparency, control, and customization through Buyer Cloud, in addition to direct publisher connections. As a customizable demand-side platform built for premium video and connected to FreeWheel Streaming Hub, Buyer Cloud gives agencies and advertisers direct access to FreeWheel’s premium supply, robust decisioning tools and exclusive reporting capabilities designed to support more informed, efficient, and accountable media buying.

Video Content Report is now available in Buyer Cloud for all clients at no additional cost.

With cable operators rebranding themselves as “broadband providers,” the term “cable TV” has fallen out of favor in recent years. The impact of cord cutting, increasing retransmission fees, increased competition from streaming services and changing demographics have all contributed to an industry approach that now considers “video” just another service from the local operator.

While the larger providers can often protect themselves from the changes in consumer interests, smaller, independent cable operators have to continuously evaluate the rising costs and routinely ask themselves, “is it still worth it for me to offer a video service?”

That was the focus of a panel discussion, "Video is Evolving: How to Win in a Changing Video Ecosystem" at The Independent Show held by the NCTC at Disney World this week.

I moderated a panel that included Mark Rankin, CFO, of Summit Broadband in Orlando, Geoff Shook, President & GM, Buckeye Broadband in Toledo, Ohio, and Sandra Tilley, senior vice president of Brand Strategies, EPB, Chattanooga, Tenn.-based provider of broadband services.

‘Hard Conversations’
Providers now see offering video as a service as one of numerous options that will attract and keep customers rather than one that will automatically improve a broadband provider's bottom line, the panelists said.

“In and of itself, I don't believe that video is still a strategic product on its own,” Rankin said. “Having said that, though, I think you need to think about where you deploy it, how you deploy it, how it helps broadband, and certainly as a bulk provider in Florida, serving 55-plus communities, it's a strategic product for us in how we go to market and win business.”

Shook agreed that video is still essential, but with caveats.

“Our philosophy is there'll always be a video product as a part of our catalog, [but] I think that we continue to have the hard conversations over what that product looks like and how we make it affordable,” he said.

Shook acknowledged the importance of his shrinking list of “video-only” customers and said “we don't want to walk away from that,” but he also cited the growing costs that have forced Buckeye to reconsider what channels to carry on a regular basis.

“We've made some really difficult decisions regarding carriage because we just cannot afford to continue to take video rate increases from the programmers,” he said. “Our customers push back and when they get a change in their bill they don't just shop video, they shop everything and so we've walked away from several programmers, but we've also provided resources and options for those customers to find another way to to still get the video and still depend on us to help facilitate it.”

EPB’s customer base is primarily older, according to Tilley, so video still plays an important role. Nevertheless, she continues to look for new ways to partner with third parties to maintain and improve their services.

“We've been able to maintain our market share, and we haven't seen any decline in our broadband because of a loss of video,” she said. “But we do have a customer base which is primarily older that has a high value, and we're looking at how we can continue to offer a quality product. We're working with TiVo now to try to see how much cost we can get out of it by going managed, and we think that that allows us to hold our pricing, keep it at a value for our customers, and still make a short, small margin.

“We don't look at video as a big margin producing product, but I will say we are looking for anything that is the right next thing to bundle to protect our broadband market share,” Tilley added. “So we're going to continue to watch what happens with video and look at maybe broadband TV.”

Simple and Seamless
With increased competition from streaming services, particularly in live sports, panel members agreed on the importance of making it simpler for customers to navigate the increasing variety of sources as well as the complexity and fragmentation of the current scenario.

In response to this, Rankin said he isn’t as concerned about the fact that more big ticket sports are now only available on paid streaming services.

“We don't see that as the bigger problem; it's finding it that’s the challenge and the complexity that customers feel,” he said. “It's middleware that's hard to navigate that is a problem. So the more that our vendors can help us with middleware that makes it easy for customers, I think will make a big difference.”

Tilley cited a campaign by EPB to help their customers better understand the changing video landscape and provide the needed assistance, regardless of who they choose to sign up with—whether it’s their video service or a streaming bundle.

“About five years ago, we rolled out what I call our ‘cord-cutting campaign,’ but really the whole point of it was to say, ‘we want you to have TV the way you want it; we want you to have choice, and we're here to help you,” she said. “Whether it's ours that you want to buy, if you do, we want to sell that to you, and we want it to be a product you like. If it's not ours, we want to help you learn how to stream and find what you're looking for.”

Buckeye Broadband offers a program called “Brain and Stream Assist,” that helps its customers consolidate billing, passwords and navigation, according to Shook.

“We have a pay call center that is there to help those that need the help to figure out how to set up their billing and remember their passwords and connect through to the apps that they choose,” he said. “Our positioning is that we've heard from multiple generations that our video consumers wanted choice and control.”

Understanding how their customers consume TV is essential to a better overall experience, regardless of their age, Rankin added.

“The younger generations probably prefer an app-based search experience, and certainly the older demographic, they love the guide and the big remote,” he said.

Rankin pointed to the TiVo Manager app in helping Summit to “marry” those environments.

“TiVo Manager is doing that well for us,” he said. “We can give the grid guide experience and still create that app experience. And it brings deep search capabilities, such that if you are subscribing to Paramount or Netflix or something else, you know your search will present those options to you. And so, so we think that's the best of both worlds right now.”

Tilley summed up the panel’s philosophy by noting the delicate balance small independent operators need to maintain to continue to offer video while keeping an eye on the bottom line.

“We try to keep the price as affordable as possible while covering costs at a small margin,” she said. “That's our philosophy of how we approach video.”

NEW YORK and BELLEVUE, Wash.—Fox Advertising has extended its partnership with iSpot with new features to improve attribution and outcomes of advertising campaigns.

The agreement builds on a relationship between Fox and iSpot that began in 2015, when Fox first adopted iSpot’s real-time TV ad measurement capabilities across its portfolio. Since then, the collaboration has evolved to include creative measurement, audience verification and business outcomes attribution across both linear and streaming environments.

Most recently, Fox Advertising and iSpot worked together to deliver always-on attribution and outcomes measurement through Fox AdStudio, Fox’s recently launched unified data and technology platform. This enables brands to drive business results across screens, platforms and audiences.

“The Fox AdStudio was built to help advertisers do more than simply reach audiences at scale,” said Kym Frank, senior vice president, research at Fox. “Our partnership with iSpot has allowed us to prove how connecting with Fox’s engaged fandoms drives measurable business outcomes across every screen, giving advertisers greater transparency, accountability and confidence in their investments.”

The expanded capabilities come at a time when advertisers are increasingly demanding performance-driven solutions.

To address that need, Fox and iSpot have worked to offer what they call "actionable insights" that go beyond traditional reach and frequency metrics. Through Fox AdStudio’s integration with iSpot’s attribution capabilities, advertisers have access to near real-time measurement that links ad exposures directly to consumer actions, delivering a more comprehensive view of campaign effectiveness.

The two companies also reported that over the last year, the partnership has demonstrated strong performance across multiple categories and campaigns throughout Fox’s portfolio:

• Ads appearing on Fox Networks (Fox, Fox News, FS1, Fox Deportes and Fox Business Network) delivered 142.26 billion TV ad impressions, accounting for over 10% of the total ad market and two of the top six networks by TV ad reach (Fox News, Fox).
• Among top 50 networks by reach, Fox has three of the top 10 by attention or effectiveness: FS1, Fox News, Fox.
• In April 2026, Fox drove strong lift in location conversion rates for some of the top brands in the world. In one instance, Fox helped a quick serve restaurant drive an average lift of 148% vs. a 54% average lift generated from the rest of their linear buy that same month.

“These results reinforce the value of combining premium video inventory with advanced outcomes measurement that is both proven and trusted,” said Stuart Schwartzapfel, executive vice president of media partnerships at iSpot. “Together with Fox, we’re helping advertisers move beyond assumptions and understand exactly how campaigns are performing in the real world.”

IRVING, Texas—A new analysis from Horowitz Research highlights the importance of multicultural audiences for the record viewing seen during the 2026 FIFA World Cup, which concluded with a historic final and record-setting audience engagement of nearly 63 million Americans watching the event.

In addition to the 38.9 million viewers turning into the English-language soccer telecast on Fox, an additional 23.9 million viewers watched the Spanish-language telecast on Telemundo.

At the same time, Telemundo and Peacock reported Spanish-language streaming engagement in the U.S, with group-stage digital average minute audience up 251% versus the tournament in 2022. These results reflect a broader transformation in the media landscape, where multicultural audiences and digital platforms are driving growth, Horowitz reported.

Those results confirmed longstanding research from Horowitz highlighting the importance of multicultural audiences, making clear that multicultural audiences are a central part of the sports audience. The scale of Spanish-language viewing and the outsized role of Hispanic fans highlight how deeply soccer is embedded in cultural identity and community connection in the U.S.

Horowitz Research’s latest study, "State of Media, Entertainment, and Tech: Viewing Behaviors", which was conducted prior to the tournament, found that over half (54%) of Latinx consumers intended to watch the 2026 FIFA World Cup, significantly higher than the total market (42%). Those expectations were borne out in the intensity and consistency of engagement seen throughout the tournament.

“What we saw in 2026 is the full realization of trends we’ve been tracking for years,” said Adriana Waterston, executive vice president, insights and strategy lead for Horowitz Research. “The World Cup is where culture, community, and media converge. It is not just about the game on the screen, it is about identity, connection, and shared experience across platforms and languages. Our research at the intersection of cultural insights and sports is focused on helping media brands and their advertisers and sponsors maximize engagement among Hispanic audiences, multicultural audiences, and the sports audience overall.”

The 2026 tournament also marked a turning point for streaming as a primary platform for live sports and highlighted a number of trends that content providers and advertisers will need to embrace if they want to attract these audiences, the Horowitz analysis found.

For starters, digital viewership surged across matches and rounds, with fans seamlessly moving between traditional television and streaming services depending on context and convenience.

This behavior was anticipated by Horowitz’s pre-event research, which showed that a majority of prospective viewers expected to stream matches live and use multiple devices beyond the TV set. The World Cup demonstrated that live sports can successfully operate in an ecosystem where linear and streaming are complementary.

The result is a new model for major sporting events, one that demands integrated distribution strategies across broadcast, streaming, mobile, and social platforms, the Horowitz analysis stressed.

Beyond platforms and audiences, the 2026 World Cup reinforced the idea that sports fandom is inherently social. Fans gathered at home, in public venues, and online, engaging with content before, during, and after matches. Social media, second screens, and shared viewing experiences were not secondary behaviors but, rather, they were core to how the event was experienced.

In surveys prior to the event, Horowitz Research found that large portions of viewers planned to watch with friends and family, attend viewing events, and engage with World Cup content across social platforms. The tournament brought those behaviors to life, with fans using the World Cup to connect across geographies, cultures, and generations.

The scale and nature of engagement during the 2026 World Cup also reinforced the value of live, multicultural sports environments for advertisers. High levels of attention, emotional investment, and cross-platform engagement create conditions that are uniquely powerful for brand impact.

In addition, the momentum from the 2026 FIFA World Cup is already extending into the next chapter of global soccer. Horowitz’s research suggests meaningful continued interest in global soccer events, including the FIFA Women’s World Cup 2027.

“If 2026 showed us anything, it is that the playbook has changed,” added Waterston. “The audiences driving growth are diverse, the platforms are fluid, and the experience is shared. The organizations that understand and embrace that reality will be the ones that win in the next era of global sports.”

For more information, visit www.horowitzresearch.com.

PORTSMOUTH, N.H.—New survey data highlights how smart TVs are becoming the most influential gatekeepers in entertainment, playing an increasingly important role in how viewers discover and watch content.

Data from Hub Entertainment Research’s annual “Evolution of the TV Set” indicates that asking "What good TV shows are you watching?" may be less relevant than asking, "What TV set do you own?" in terms of viewing habits and the ability of smart TV operating systems to influence those choices.

Fox's recent $22 billion acquisition of Roku is the clearest signal yet that control of the TV operating system is becoming one of the industry's most valuable strategic assets, the research suggests.

The “Evolution of the TV Set” study, which reveals the growing influence of the TV set in shaping how viewers discover and engage with content, finds that the operating systems powering today’s smart TVs have become the primary doorway for both programming and advertising.

"The conversation around finding great TV to watch is poised to become like the `Mac vs. PC' or `Android vs. iPhone' battles from prior years — as viewers learn that some TV operating systems do better jobs than others at helping them find good stuff to watch," said Jason Platt Zolov, senior consultant at Hub. "The merger of Fox and Roku will be a watershed proof point that some streamers will have more influence than others, depending on what TV set you own."

Key findings from the report include:

• Smart TVs dominate viewing, and streaming households are embracing Roku and Fire TV more than Android, Tizen (Samsung) or webOS (LG) systems that power those sets.
• Most homes have three TVs, and two of those are now smart TVs, making them more dominant than ever.
• For the TV set they use most, streaming TV viewers are no longer flipping channels: they are living in app-centric environments that are increasingly powered by Roku (37%) and Fire TV (17%), well ahead of Android, Tizen or Apple TV users.

The researchers noted that within different TV operating systems, the viewer's goal is clear: "how can I quickly find a specific program I want to watch?"

When asked to rank what matters most, viewers rank "Easy search" as the most valued discovery feature (60% call it “very important”), well ahead of "personal recommendations" (31%) or seeing "trending content" (25%).

AI-powered TV search features are poised to help viewers solve this search problem. When asked to choose the most valuable AI-powered TV viewing features, more than half of viewers want AI features that either help them find similar things they like (27%) or more effectively exclude stuff they don't like (28%).

While quick search is most important, home screen real estate and recommendations still significantly impact what people watch.

Some TV operating systems sway users more than others: suggested titles on the TV home screen within Apple TV, Fire TV, Android and Roku environments are all more likely to be watched than those titles being suggested by Samsung (Tizen) and LG (webOS), the survey found.

As viewers continue to invest in smart TVs, the vital importance of influencing consumers to install apps when they first turn on their new TV cannot be overstated, the researchers stressed.

Half (51%) say they install suggested apps during setup — but more (56%) this year than in 2024 (47%) say they rarely add apps after that first day home with the TV — a reminder that more needs to be done to capture new TV owners with apps they will love.

These findings are from Hub’s 2026 “Evolution of the TV Set” report, based on a survey conducted among 2,500 US consumers ages 16-74. Interviews were conducted in May 2026. A free excerpt of the findings is available on Hub’s website.

FIFA World Cup 2026 has officially become YouTube's most-viewed FIFA World Cup in history, pushing lifetime views for videos related to the current and past FIFA World Cups past 200 billion views, the streamer reported.

Overall, more than 1.7 billion unique viewers globally watched World Cup-related videos on YouTube during the FIFA World Cup 2026, including over 550 million that watched on their televisions.

Official YouTube broadcasts of the FIFA World Cup 2026 final match between Spain and Argentina on July 19 drew over 21 million average minute audience (AMA) across more than 40 markets. Together, they reached a peak of over 27 million concurrent viewers on YouTube.

The data was released in a blog post by Angela Courtin

Vice president of sports and entertainment marketing on YouTube and Justin Connolly, vice president, global head of media and sports, YouTube.

They also reported that FIFA’s official YouTube channel amassed over 4 billion views and added over 7.5 million new subscribers between June 11-July 19. The channel now has over 34 million global subscribers.

The YouTube executives also noted that the tournament also redefined what it means to be a soccer (or fútbol) fan, with a global roster of creators with a combined 350 million YouTube videos related to the FIFA World Cup uploaded by its creator roster accumulated over 2.5 billion views globally.

YouTube also hosted the first YouTube FIFA Creator Cup exhibition match on July 12, live from Central Park, New York. Led by team captains IShowSpeed and Celine Dept, the official live streams for the event drew over 10 million live views globally, including broadcasts from FIFA’s official channel, participating creators and official broadcasters, the blog said.

T-Mobile was found to offer the fastest mobile network and fastest 5G network in Ookla’s latest Connectivity Report on the state of U.S. mobile and fixed networks in the first half of 2026.

Cellphone provider T-Mobile was deemed to have the Best Mobile Network, with a median download speed of 275.55 Megabits per second across all technologies combined, and the Best 5G Network, with a median download speed of 314.38 Mbps, Ookla reported.

The speeds have important implications for broadcast journalists and news organizations in the field who rely on 5G networks to deliver video feeds and stories to newsrooms.

To earn its top rankings, T-Mobile recorded a Speedtest Connectivity Score of 80.12, and a Speedtest 5G Connectivity Score of 73.52. Speedtest Connectivity Score combines key metrics to evaluate a mobile provider’s overall user experience offer. It includes Speed Score, indicators for web browsing performance and Video Streaming Score, Ookla said.

T-Mobile also offered the best gaming and video streaming experiences in the United States during 1H 2026, across all broadband technologies and 5G, according to Speedtest Intelligence data.

Ookla found that AT&T Fiber offered the Best Internet and was the Fastest Fixed Network in the U.S. during the first half, with a median download speed of 374.75 Mbps and a median upload speed of 320.65 Mbps.

Among the most populous cities in the United States, Lincoln, Neb., recorded the fastest median mobile download speed of 395.83 Mbps, while Durham, N.C., outpaced other cities to record the fastest median fixed download speed at 380.47 Mbps.

Ookla is a research firm best known for Speedtest.net, which tests and tracks global internet and mobile network speeds.

More data and the full report can be found here.

France’s convincing 2026 FIFA World Cup win against Morocco revealed a lot about how in-match play affects audience trends, and their knock-on effect on the advertising potential of major sports. The French side was threatening throughout as it marched to a 2-0 victory that included an early penalty miss and an eventual goal breaking the deadlock midway through the second half. A second goal just minutes later put France in control, allowing the team to see out the closing moments easily and continue its World Cup journey.

Throughout the tournament, Yospace has been collecting streaming and advertising data from 14 OTT rightsholders worldwide to understand how key moments influence streaming audiences and advertising opportunities. France’s victory demonstrated how momentum can shift even without a flurry of goals, keeping audiences engaged and creating valuable advertising opportunities throughout the match.

Early Drama Drives Audience Growth
Within the opening half-hour, France was awarded a penalty following a Video Assistant Referee (VAR) review. Around three minutes passed before the kick was eventually taken, creating an unusually prolonged period of suspense as viewers waited to see if France would take the lead. To viewers’ surprise, France’s star player, Kylian Mbappé, missed the penalty. Rather than slowing audience growth, the delay resulted in a nearly 10% increase in viewership, with new viewers tuning in to see what would happen. This sharp increase came right before a hydration break, meaning an even larger audience reach for rightsholders that chose to serve ads here.

New to the 2026 FIFA World Cup, hydration breaks are mandatory three-minute pauses taken midway through each half, creating space for an extra two-minute ad break previously unavailable to rightsholders. As you can see from the chart, the audience spike was timed particularly well for maximizing this new advertising opportunity, and dipped only slightly before quickly regaining momentum.

Morocco continued to challenge France ahead of halftime. Despite neither side making a breakthrough, a healthy stream of chances kept viewing figures high right up until the interval.

Second-Half Goals Produce the Biggest Advertising Opportunity
Halftime led to a temporary decline in viewership, as is typical of soccer matches. As play resumed, audiences quickly returned and continued to climb as the quarterfinal remained evenly poised at 0-0.

The breakthrough finally arrived midway through the second half. France’s first goal gave audience numbers a sharp boost, with many tuning in to catch the replay on mobile. A second goal just six minutes later boosted viewers again for the same reason, and effectively decided the contest.

The second-half hydration break followed immediately after France doubled its advantage. With audience numbers high after two quick goals, broadcasters were gifted the largest live audience of the match for an ad opportunity they previously wouldn’t have had.

Audience Declines as the Result Becomes Clear
France’s two quick goals midway through the second half proved to be the decisive period of the match. While audience numbers remained high immediately afterward, the second hydration break marked a clear turning point. Unlike other knockout matches analyzed during the tournament, where viewers returned quickly after this break as the result still hung in the balance, audience numbers continued to decline once play resumed.

The graph suggests many viewers felt France’s place in the semifinals was no longer in doubt. As the defending champions comfortably managed the closing stages and Morocco struggled to create a route back into the match, concurrency fell steadily towards the final whistle.

What This Means for Ad Tech
France’s victory shows that goals are not the only factors influencing streaming audiences. VAR reviews, missed chances and decisive scorelines can all influence viewer engagement.

Hydration breaks add another layer. Their timing depends on the referee rather than on a fixed schedule, meaning broadcasters need technology that responds immediately when advertising opportunities arise.

Dynamic Ad Insertion (DAI), supported by advanced prefetch, helps rightsholders maximize the value of these moments. By preparing ad requests shortly before each break, broadcasters give the advertising ecosystem more time to respond, allowing demand partners to compete without being overwhelmed by sudden traffic spikes. This improves technical fill rates and helps ensure every advertising opportunity is monetized seamlessly, regardless of when the biggest audience arrives.

France’s reward was a place in the World Cup semifinals, but for broadcasters the match demonstrated something equally important. No two matches will behave the same way, and it’s not always the goals that keep viewers engaged. Ad tech infrastructure must be able to handle this unpredictability at a moment’s notice and at scale to capture every last advertising opportunity on the table.

STAINES-UPON-THAMES, U.K.—Dynamic ad insertion solution provider Yospace is reporting that it stitched 11.57 billion one-to-one addressable advertisements into live video streams during the 2026 FIFA World Cup.

This equates to 297 million advertisements per day during the 39-day tournament, which is a big increase on other recent global events - the Paris 2024 Summer Games saw 41% fewer ads stitched per day.

“The 2026 FIFA World Cup demonstrates the massive scale we’re seeing for ad-funded streaming today,” said Tim Sewell, CEO of Yospace. “The excitement of these moments, when entire nations are tuning in, means that the quality of the experience and the seamlessness of the advertising is absolutely critical. It’s a testament to the experience and dedication of the entire Yospace team that we have such a strong reputation for monetizing major live events. The data tells us that we’re only scratching the surface of the kind of scale that live streaming is set to achieve, and Dynamic Ad Insertion technology must be able to meet that demand.”

The data was collected from Yospace’s global customer base of broadcasters and distributors, of which 14 were streaming the action.

Yospace also reported that the growth is representative of some wider trends. Very notably, viewers are shifting their attention to app-based channels on their Connected TVs rather than traditional linear. Broadcasters responding to that shift are in turn focusing more attention on monetizing their OTT streams more effectively by ensuring as much online traffic as possible has DAI applied.

The 2026 edition of the FIFA World Cup also brought additional value, given the fact that there were 16 more teams compared to the last tournament in 2022, which created 40 additional matches to advertise against.

The introduction of a three-minute hydration break in each half also created an extra opportunity to advertise, which most ad-supported rights-holders utilized.

Yospace’s busiest ad break came at the start of Half-Time when England played Norway in the Quarter-Finals. In that two minute window, 13 million one-to-one addressable ads were stitched, demonstrating the need for DAI systems and the adtech to work together and to scale with very short notice if rights-holders want to achieve the highest possible fill-rates and maximize value.

Yospace’s Advanced Prefetch system was applied throughout the tournament to space out ad requests, giving the adtech the time it needed to respond, and helping to prepare for unscheduled breaks as matches ran into Extra Time and penalties.

Yospace also reported that across the entire tournament, there were 637 ad breaks (including hydration breaks) compared to 326 in 2022, based on how the majority of Yospace customers applied ad breaks.

This was driven by the increase in matches and more ad breaks per match, but also by the nature of play. Fewer matches were decided by a dreaded penalty shoot-out (four) than in 2022 (five), despite there being substantially more matches.

However, five matches were settled by goals during the Extra Time period, whereas in 2022 every single match that entered Extra Time went on to penalties.

Yospace also reported that there were more goals per game (2.96) compared to 2022 (2.69), meaning that, with hydration breaks effectively splitting matches into quarters, there was a far higher likelihood of a goal or a dramatic moment, and a resulting audience surge, occurring near an ad break.

When France was awarded a penalty against Morocco in the Quarter-Finals, the Video Assistant Referee (VAR) check that followed took an agonizing three minutes to reach a resolution. Between the penalty being awarded and France’s Kylian Mbappé kicking the ball, there was a 37% increase in stream starts. The hydration break came barely a minute after his miss. Advertisements during hydration breaks benefitted from a lower audience drop-off than other ad breaks. Being only three minutes long, Yospace saw just a 0.4% drop-off rate for some matches, compared to 16.82% during half-time.

Earlier in the tournament, Belgium’s dramatic comeback from 2-0 down against Senegal in the Round of 32 drove a 93% increase in stream starts in the space of two minutes, and rose steadily until the full-time whistle and subsequent ad break. Typically, the final whistle of a match prompts an audience drop-off around 50% within a matter of minutes. With Extra Time coming up next, Belgium’s late goals meant the drop-off was only 11%, meaning the ad break at that point benefitted from an audience surge following the goals and less drop-off than would otherwise have been expected.

Match reports and further tournament data is available on Yospace’s World Cup feed here: https://www.yospace.com/worldcup.

Yospace is exhibiting at the International Broadcast Convention (IBC), Amsterdam, on 11-14 September. You can find out more and request a meeting here: yospace.com/ibc.

MIAMI, Fla.—Telemundo is reporting that its Spanish-language coverage of the FIFA World Cup 2026 set audience records at every stage of the tournament.

Overall, the tournament is the most-watched FIFA World Cup tournament in Spanish-language media history with an average Total Audience Delivery of 6.3 million viewers across the 104 matches, up +143% vs. the 2022 tournament (2.6 million). Each stage of the 2026 tournament set a new Spanish-language World Cup Total Audience record and delivered triple-digit growth versus the 2022 World Cup.

The FIFA World Cup 2026 also delivered impressive growth over 2022 in linear and streaming, with the linear match window average up +79% (3.2 million vs. 1.8 million) and the digital average minute audience (AMA) up +297% (3 million vs. 767K).

In addition, Sunday’s final battle, which saw Spain earn its second title as they dethroned reigning champions Argentina, delivered a 23.9 million Total Audience Delivery (TAD), becoming the most-watched soccer match ever in Spanish-language media history.

It also set numerous records for streaming, digital media and social media.

Combined with the 39.8 million who watched Fox Sports English-language coverage on Fox, 63.7 million Americans watched the final.

Telemundo produced more than 700 hours of original programming through the 39-day tournament.

Other data highlights included:

• The FIFA World Cup 2026 tournament delivered the 15 most-watched soccer matches in Spanish-language media history based on Total Audience, led by Spain vs. Argentina’s 23.9 million viewership in the Finals.
• The 77.2 billion total minutes consumed during the FIFA World Cup 2026 across Telemundo, Universo, Peacock, and Telemundo streaming platforms, surpassed the 43.2 billion total minutes consumed for the combined 2018 and 2022 Men’s World Cup tournaments in Spanish by +79%.
• Mexico vs. England delivered 23.2 million viewers in Total Audience Delivery (TAD), making it the second most-watched soccer match ever in Spanish-language media history. On linear, the full program averaged 10.1 million viewers from 8:25–11:20 p.m. ET, making it the highest-rated telecast in Spanish-language TV history; viewership peaked at 11.7 million viewers at 10:45 p.m. ET.
• The France vs. England Third Place match delivered 7.7 million viewers in Total Audience Delivery, making it the most-watched Third Place game in Spanish-language media history, up +225% vs. the 2022 tournament (Croatia vs. Morocco, 2.4 million).
• 42 games had a Total Audience Delivery of at least 6 million viewers, up from two during the full 2022 tournament.
• Overall, streaming comprised 48% of Telemundo’s Total Audience Delivery for the FIFA World Cup 2026, up from 30% contribution in 2022. With an average minute audience (AMA) of 3 million viewers on Peacock and Telemundo streaming platforms, digital viewership grew +297% vs. 2022 (767,000).
• Spain vs. Argentina Finals on July 19, is the most-streamed World Cup match in Spanish-language history with an Average Minute Audience (AMA) of 13.9 million viewers, +370% over the most-streamed match of the 2022 tournament (Argentina vs. France Finals, 3 million AMA).
• There were 21 games that averaged 4 million or more streaming viewers, up from zero in 2022.
• Telemundo ranked as the #1 Spanish-language television network across all 34 matchdays (June 11 – July 19) during Total Day (7A-2A) with 1.9 million average viewers, and a share of 76% of the three Spanish-language networks. This Total Day delivery is up +300% vs. the network’s May 2026 average.
• June 2026 was Telemundo’s highest-performing month in network history with 1.4 million average viewers in Total Day, surpassing the previous World Cup highs set in June 2018 (954K) and December 2022 (837K).
• Sunday, July 5, set a new linear record with the highest Total Day average audience in Spanish-language television history with 3.6 million viewers, driven by the Mexico vs. England and Brazil vs. Norway Round of 16 matches.
• Throughout the duration of the FIFA World Cup 2026, Peacock drew four times its normal share of Hispanic viewers. Those viewers who watched World Cup also watched a variety of Peacock content, including Telemundo entertainment (e.g., El Señor de los Cielos), Peacock originals (e.g., Love Island USA, MIA, Five Star Weekend), Sports (e.g., MLB), and library content (e.g., Yellowstone, The Office).
• Cultural cross-over: While each of these cultural phenomena drew massive audiences on its own, 40% of Peacock viewers who watched Love Island USA also watched the FIFA World Cup 2026.
• On Peacock, one in three FIFA World Cup viewers are Gen-Z, and they are especially receptive to brands: +21% more likely to feel loyal to World Cup advertisers and +24% more likely to view World Cup advertising as more credible than other ads.
• The FIFA World Cup 2026 generated 2.25 billion video views across social platforms, more than 9x the combined total generated during the 2018 and 2022 FIFA World Cups.
• The tournament generated 75.1M social actions across social platforms, nearly 3x the combined total generated during the 2018 and 2022 FIFA World Cups.
• Round of 16 Match Day 26 became the highest social engagement day in Telemundo FIFA World Cup history, generating 5.28M social actions.
• Round of 16 Match Day 27 became the most-viewed social day in Telemundo FIFA World Cup history, generating 135.6M video views.
• On linear, the 26 Telemundo-owned stations reached 22.3 million total viewers through the FIFA World Cup 2026 Semifinals.
• The Telemundo-owned stations’ average audience through the FIFA World Cup 2026 Semifinals of 2.52 million viewers was +57% higher than the same period during the 2022 tournament (1.61 million) and +64% above 2018 (1.54 million).
• Eight Telemundo-owned stations captured 50 percent or more of the FIFA World Cup 2026 audience share in their markets, including in Los Angeles, New York, Miami, Houston, and Phoenix, through the Semifinals.

LOS ANGELES—Fox Sports is reporting record viewing levels for the FIFA World Cup 2026, which culminated on Sunday with a historic Final match that saw 38,937,000 viewers watch on Fox, an all-time high mark for viewership as the new most-watched soccer telecast in U.S. television history and most-watched FIFA World Cup™ final ever in the U.S.

According to Nielsen Media Research the record-breaking Final reached its dramatic peak with 51,685,000 viewers watching from 5:45 to 6:00 PM ET as Spain secured a 1-0 victory in extra time over Argentina.

Overall, FIFA World Cup 2026 finished as the most-watched FIFA World Cup in U.S. history averaging 7,737,000 viewers across 104 matches on Fox, FS1 and Tubi up +116% vs. FIFA World Cup Qatar 2022 (3,588,000) and up +179 vs. FIFA World Cup Russia 2018 (2,770,000).

Fox Sports' FIFA World Cup 2026 coverage also redefined digital sports consumption, generating more than 17.2 billion content views on Fox Sports digital and social platforms to become the most digitally viewed event in network history.

Across Fox Sports social media, tournament content generated a record-breaking 16.5 billion social impressions with 2,560 of Fox Sports' FIFA World Cup 2026 social videos surpassing one million views. During the tournament’s 39-day run, Fox Sports grew its social media audience by more than 10 million followers.

Fox Sports recorded 542 million social video views on Sunday, July 19 around the FIFA World Cup 2026™ Final - the most socially viewed day in its history.

Other key viewing highlights from the FIFA World Cup 2026 included:

• Up +132% vs. FIFA World Cup Qatar 2022 Final (France vs. Argentina, Sunday morning 12/18/22, 16,784,000 viewers); up +240% vs. FIFA World Cup Russia 2018 Final, (France vs. Croatia, Sunday morning 7/15/18, 11,441,000 viewers).
• Fox Sports’ jam-packed, four-hour "FIFA World Cup Live" pregame show scored 2,873,000 viewers as America gathered in anticipation for the epic closing ceremony and festivities in the leadup to Spain vs. Argentina.
• The 38,937,000 viewers bested the previous record for most-watched soccer telecast in U.S. history set earlier in the tournament by U.S. Men’s National Team (USMNT) vs. Belgium in the Round of 16 (33,089,000 viewers).
• FIFA World Cup 2026™ finished as the most-watched FIFA World Cup™ in U.S. history averaging 7,737,000 viewers across 104 matches on Fox, FS1 and Tubi up +116% vs. FIFA World Cup Qatar 2022™ (3,588,000) and up +179 vs. FIFA World Cup Russia 2018™ (2,770,000).
• On Saturday, July 18, the bronze final on Fox between France and England drew 13,130,000 viewers becoming the most-watched FIFA Men’s World Cup third-place telecast in U.S. history (previous record: Uruguay vs. Germany, FIFA World Cup South Africa 2010, 4,755,000 viewers). France vs. England finished up +232% from the FIFA World Cup Qatar 2022 third-place match on Fox (Croatia vs. Morocco, Saturday morning, 3,956,000 viewers) and up +330% from the FIFA World Cup Russia 2018 third-place match on Fox (Belgium vs. England, Saturday morning, 3,052,000 viewers).
• France vs. England peaked at 18,529,000 viewers from 6:45 to 7:00 PM ET.
• Two FIFA World Cup 2026 matches surpassed 30 million viewers (the Final and U.S. Men’s National Team (USMNT) vs. Belgium Round of 16).
• Five broke 20 million viewers (Final, USMNT vs. Belgium, USMNT vs. Bosnia-Herzegovina Round of 32, Norway vs. England Quarterfinal and Mexico vs. England Round of 16).
• 11 matches surged past the 15 million viewers markNine FIFA World Cup 2026 telecasts on Fox eclipsed the previous high mark for most-watched FIFA Men’s World Cup telecast of all-time (France vs. Argentina, FIFA World Cup Qatar 2022™ Final on Fox, 16,784,000 viewers).
• Two FIFA World Cup 2026 matches surpassed 30 million viewers (the Final and U.S. Men’s National Team (USMNT) vs. Belgium Round of 16).
• Five broke 20 million viewers (Final, USMNT vs. Belgium, USMNT vs. Bosnia-Herzegovina Round of 32, Norway vs. England Quarterfinal and Mexico vs. England Round of 16).
• 11 matches surged past the 15 million viewers mark.
• Nine FIFA World Cup 2026 telecasts on Fox eclipsed the previous high mark for most-watched FIFA Men’s World Cup telecast of all-time (France vs. Argentina, FIFA World Cup Qatar 2022 Final on Fox, 16,784,000 viewers).
• Fox Sports’ first-ever "Always On" live stream - available exclusively on the Fox Sports YouTube channel, TikTok (starting Round of 32), Tubi, FoxSports.com and the Fox Sports App - launched June 11 and remained live for 974 consecutive hours over the course of the entire tournament and beyond, generating 1.2 billion total minutes of watch time across platforms. Fans watching on the Fox Sports YouTube channel generated more than two million comments, with half of all live stream viewers choosing to watch with live chat enabled to engage with other fans on a second screen.
• Editorial coverage reached historic levels as FIFA World Cup 2026 became the most-read event in Fox Sports history, with time spent across FoxSports.com and the Fox Sports App increasing +73% compared to FIFA World Cup Qatar 2022.
• Over the span of the tournament, Fox Sports produced over 300 live-streaming shows, pushed out over 27,000 social media posts and authored more than 1,300 stories around FIFA World Cup 2026, representing the most ambitious and successful digital content operation in the network’s history.

YouTube has released a new study showing that in 2025, YouTube’s creative ecosystem contributed over $60 billion to the U.S. GDP and supported more than 540,000 full-time equivalent jobs.

The economic analysis was done by Oxford Economics for the YouTube Report released on July 16.

The study also stressed that the impact is nationwide for both rural and urban areas. YouTube reported that currently all 50 states have at least 10 channels with over 1 million monthly views. Those views translate into business growth: 76% of small- and medium-sized businesses with a YouTube channel say YouTube played a role in helping them grow their customer base by reaching new audiences.

The study also found that 77% of creators say their media and entertainment career started on YouTube.

Other key findings include:

• 87% of viewers report watching music videos, music festivals, or awards ceremonies on YouTube in the last year and 67% of viewers report discussing a YouTube video together with a friend or family member on a monthly basis, rising to 72% for Gen Z.
• 94% of teachers who use YouTube report using YouTube content directly in their lessons and/or assignments, with 81% stating it provides access to educational content that students would not otherwise have. At home, 78% of parents who use YouTube say YouTube (or YouTube Kids for children under 13) provides quality content for their children's learning and/or entertainment.

The full report is available here.

Netflix is reporting record viewing levels in the first half of 2026, with its subscribers watching more than 97 billion hours of programming.

It also released its 10 most popular movies and shows.

Among the movies, "War Machine" was #1 with 147 million hours of viewing, followed by "The Rip" (136 million hours), "Swapped" (131 million hours), "KPop Demon Hunters" (130 million) and "Apex" (129 million hours.)

The ten most popular shows were led by “His&Hers” (104 million hours of viewing), “Bridgerton” season 4 (100 million hours) and “I Will Find You” (64 million hours).

Other highlights included:

• Netflix audiences love to discover and watch new series. Five of the top 10 most-watched shows premiered in the first half of this year, with I Will Find You (64 million) and Teach You a Lesson (48 million) from South Korea both reaching the top 10 less than a month after their releases. The streamer also reported big audiences for new stories such as His & Hers (104M) — the #1 most watched show in the half — along with Run Away (50 million) and Nemesis Season 1 (33 million), which was recently renewed for a second season.
• New seasons consistently drive discovery and viewing of past seasons of a series. The return of Bridgerton Season 4 (100 million) nearly tripled viewing of every earlier season of the franchise (including Queen Charlotte: A Bridgerton Story), when compared to the second half of 2025. Together, the entire Bridgerton franchise brought 180 million views in the first half of this year. Netflix also saw a boost in viewership for past seasons of series including ONE PIECE (69 million views across seasons), The Night Agent (63 million views across seasons), Virgin River (54 million views across seasons) and The Lincoln Lawyer (59 million views across seasons).
• Netflix original films continue to draw in huge audiences across genres. The action film slate performed particularly well this half, with The Rip (136 million), Apex (129 million) and Thrash (100 million) among the most-watched. War Machine was the biggest title in the half with 147 million views. Animated films are becoming hits. Swapped came in at 131 million views in the half and is on track to become the second most-watched original animated film ever, behind KPop Demon Hunters (130 million) — which came in at #4 despite premiering over a year ago. Book-to-screen adaptations were also popular with successful films including People We Meet on Vacation (78 million) and Remarkably Bright Creatures (51 million). And Rom-coms like Office Romance (58 million) and Voicemails for Isabelle (53 million) also moved audiences.
• Non-English titles represent more than a third of all viewing on Netflix, with titles from South Korea, Japan and Spain among the most-watched. South Korea continues to deliver a strong slate of titles including Teach You a Lesson (48 million), Can This Love Be Translated? (29 million), The Art of Sarah (26 million), My Royal Nemesis (16 million) and the Season 2 return of the hit series Bloodhounds (24 million). Japan continues to drive viewing with original stories like Straight to Hell Season 1 (10 million) and Sins of Kujo Season 1 (9 million). Spain released several popular titles this half including Firebreak (34 million), The Marked Woman (26 million), Oasis Season 1 (10 million), and from the creators of Money Heist — Berlín and the Lady with an Ermine (28 million).
• India had its highest viewing for a half yet with hits like Dhurandhar (37 million) — the most-watched non-English film in this report — Accused (19 million), Made in Korea (18 million) and Taskaree: The Smuggler’s Web Season 1 (16 million). South Africa broke through with global successes like 180 (37 million) for film and The Polygamist Season 1 (17 million) for series. In addition, Netflix reported a number of stories that resonated locally and travel globally including Colors of Evil: Black (23 million) from Poland, Radioactive Emergency Season 1 (22 million) from Brazil, A Father’s Miracle (21 million) from Mexico, Jo Nesbø’s Detective Hole Season 1 (22 million) from Norway, My Dearest Assassin (18 million) from Thailand, The Big Fake (17 million) from Italy and The Chestnut Man: Hide and Seek (11 million) from Denmark.
• Members enjoy a variety of different programming. Must-watch live events brought audiences together in the first half for everything from Kevin Hart’s comedy spectacle with The Roast of Kevin Hart (21 million) to Alex Honnold’s thrill-seeking climb with Skyscraper Live (13 million) and BTS’ monumental comeback with BTS THE COMEBACK LIVE | ARIRANG (21 million) that thrilled fans around the world.
• More than half of its members today have watched at least one anime title, where we saw breakouts with new stories like BAKI-DOU: The Invincible Samurai Season 1 (8 million), STEEL BALL RUN: JoJo’s Bizarre Adventure (8 million) and Cosmic Princess Kaguya! (8 million).
• Documentaries of all kinds captivated viewers — from true crime stories like The Crash (65 million), to pop culture sensations like Reality Check: Inside America's Next Top Model Season 1 (22 million) and epic prehistoric tales like The Dinosaurs Season 1 (32 million).
• Kids & family continues to perform well, with creators like Ms. Rachel, the most-watched kids title at 69 million views across two seasons, plus Mark Rober's CrunchLabs (36 million across four seasons) and newcomers Salish & Jordan Matter (29 million across both seasons) and Danny Go! Season 1 (26 million).

President Trump criticized ABC and NBC for their decisions not to air his primetime address about his claims of “election fraud” live on Thursday night, saying their actions “should mean a revocation of their licenses.”

When the president announced the subject of his speech would be about “election integrity,” earlier this week, media outlets debated about how to cover it. It was expected that he would dredge up old conspiracy theories that have long been debunked and to which the majority of Americans don't share his conclusion that the 2020 election was "stolen."

Much of what he said last night did follow that pattern along with the announcement that the administration would release new unclassified material that would implicate that China meddled in the 2020 election, which he lost to Joe Biden.

Cable news channels decided their own path of coverage, with CNN fact-checking Trump’s speech in real-time, while MS NOW ran regular programming but broke in with analysis when warranted. Fox News, stung by a 2022 defamation lawsuit that forced the network to fork over $787.5 million to Dominion Voting Systems, reminded its viewers that it has seen no proof to Trump’s claims.

“Fox News has not seen that evidence yet and is not in a position to evaluate the accuracy of the president’s statement and claims at this time,” a reporter said during the speech.

Tony Dokoupil, news anchor for CBS News, which has come under considerable criticism from Trump’s opponents, was candid in his response to the speech.

“This is a vitally, vitally important topic, and the president has a terrible track record on it,” he said.

While both NBC and ABC chose not to air the speech live, they did break in when appropriate and held post-speech analysis special reports.

The networks’ decisions on whether to air the speech are not unprecedented. Networks have declined to cover certain speeches by Trump’s predecessors as well.

This didn’t mollify the president, though.

‘“They and others in the media are part of a plot,” he claimed. “They want to continue this fraud for whatever reason. They want to keep it going. They want to protect the radical left. They can’t have a great country. And that’s true. You can’t have a great country without free and fair elections.”

FCC Commissioner Anna Gomez criticized the president for his threats.

"It is ridiculous to call for broadcasters to lose their license simply for making the same editorial decisions they've made under presidents of both parties," Gomez said. "Those editorial decisions are protected by the First Amendment, and the FCC has no authority to punish a station for refusing to air a blatantly political speech. This is a naked attempt to bully broadcasters, and the FCC should have no part in it."

PLANO, Texas—New research from Parks Associates' Broadband Market Tracker shows broadband subscriber losses among the largest cable providers continue to lessen as operators strengthen customer retention efforts and expand converged broadband and mobile offerings.

Leading cablecos, including Comcast, Charter Spectrum, and Altice, lost an estimated 280,000 combined broadband subscribers during the first quarter of 2026, an improvement from an estimated decline of 320,000 subscribers in Q1 2025.

During the same period, cable MVNOs added approximately 830,000 combined mobile subscriptions, highlighting continued consumer interest in bundled connectivity services.

"The competitive landscape has shifted from winning subscribers at any cost to keeping existing customers through better pricing, simplified service offerings, and integrated connectivity," said Kristen Hanich, senior director of research, Parks Associates. "Providers are investing in strategies that reduce churn while strengthening the value of broadband through mobile bundles and improved customer experiences."

The research also found that providers are introducing new programs designed to address key causes of customer churn, particularly during household moves and service transitions. Competition is also intensifying around pricing and bundled offerings.

"Optimum introduced a promotion guaranteeing $25 per month for 300 Mbps fiber service for five years for new customers, while encouraging additional savings through mobile and TV bundles," Hanich said. "Starlink replaced its $499 upfront hardware purchase with a monthly equipment fee, lowering the initial cost of adoption and shifting more expense into recurring monthly service."

The data from Park’s Tracker service also found continued momentum toward converged connectivity services. During the first half of 2026, both AT&T and Verizon introduced integrated home internet and mobile offerings that simplify billing and strengthen customer loyalty.

Current adoption of this bundle is now at 26% of all US households, according to Parks Associates. These unified service models reflect a broader industry strategy to increase customer lifetime value while reducing subscriber churn.

The Broadband Market Tracker provides ongoing analysis of broadband subscriber trends, competitive strategies, pricing, fiber, cable, fixed wireless, satellite broadband, and converged service offerings across the US market

As broadcasters await a decision from the FCC to shut down the current ATSC 1.0 broadcast format, the industry’s leading lobbyist is reiterating its support for ATSC 3.0, (aka “NextGen TV”).

Since last October, when the FCC voted on a proposal to determine a date when to sunset ATSC 1.0, debate has swirled around the timing of the shutdown and what consumer protections will be in place to ensure viewers don’t lose access to free over the air broadcasting. The commission is expected to announce a final decision by the end of 2026.

The NAB, which has promoted NextGen TV as a way for broadcasters to better compete in the increasingly complex TV landscape, told the FCC six months ago that continuing uncertainty over the lack of a date is hampering progress.

“The record developed here confirms that the Commission’s central task is no longer to debate whether NextGen TV is worth pursuing—stakeholders across the ecosystem recognize that it is—but to decide whether the transition will be allowed to succeed through an orderly, coordinated framework, or instead be stranded indefinitely in a regime of regulatory uncertainty and half-measures, all to the detriment of the viewing public,” the NAB said in comments filed with the commission in February.

Currently approximately 76% of U.S. households can receive a NextGen TV signal, according to the ATSC. In April, Pearl TV Group, a consortium of broadcasters and tech suppliers, announced the launch of an initiative to develop consumer converter boxes that could retail for under $60.

The association has also launched a campaign to help preserve live sports on free over the air TV, again noting the increased competition from streaming giants.

The ability to access live sports over free TV, competition from Silicon Valley and the very survival of broadcasting were tied together in NAB’s latest blog. The association also took aim at viewers who criticize the content protection aspects of ATSC 3.0, with many claiming that certain devices on the market don’t carry the necessary software to decode DRM-protected signals.

“ATSC 3.0 includes security and service-protection mechanisms as part of its technical framework, just as modern communications and entertainment platforms routinely protect their content and distribution systems, the NAB said. “There is an important reason for these protections. Broadcasters invest substantial resources to secure sports, entertainment and other high-value programming. They also invest every day in local journalists, meteorologists, production professionals and the technology needed to keep communities informed and safe.”

“Without reasonable safeguards, unauthorized businesses can capture local stations’ signals and resell them at scale without permission or compensation,” the association added.

NAB also criticized the possibility that the broadcast industry could be saddled with outdated technology, impacting its competitiveness.

“Requiring broadcasters to operate a decades-old standard forever would effectively make free, over-the-air television the only major communications platform that is never permitted to modernize,” it said. “That would not protect viewers. Over time, it would leave viewers with an increasingly outdated service while streaming platforms, wireless providers and global technology companies continue to innovate.”

NAB’s latest blog can be accessed here.

While live sports have become a bulwark of broadcast programming, a new analysis of sports viewing shows that viewers of the NFL and other popular sports are skewing older, with more than half of the NFL’s casual viewers being older than 55.

According to S&P Global Market Intelligence, approximately three-quarters of Americans watch live sports, with football dominating viewership at 53%. The analysis reveals that casual sports fans, who watch less than five hours weekly, comprise 44% of NFL viewers and that these casual viewers represent a significantly older demographic, with half being adults over 55 years of age.

After football, the Winter Olympics (41% of Americans), Summer Olympics (38%), baseball (36%) and basketball (38%) were watched by the largest percentage of the population.

Other key highlights include:

• Casual sports fans dominate the NFL viewership landscape, accounting for 44% of all NFL viewers, the highest percentage among major professional sports leagues. These casual viewers, defined as watching less than five hours of sports per week, represent 53% of total sports viewers and demonstrate a distinctly older demographic profile, with 51% being adults aged 55 and older and only 18% being young adults under 35.
• Major league viewership shows consistent patterns across baseball, basketball, and hockey, with approximately one-third of MLB, NBA, and NHL viewers classified as casual sports fans. The NFL attracts 48% of US internet adults for regular-season games, followed by MLB at 34%, NBA at 29%, and NHL at 19%, demonstrating football's substantial lead in overall market penetration.
• Age distribution reveals stark contrasts between casual and engaged sports fans, as moderate sports fans (5-10 hours weekly) and avid fans (over 10 hours weekly) share very similar demographic profiles. Both segments consist of approximately one-third young adults under 35 and one-third adults aged 55 and older, contrasting sharply with the older-skewing casual fan base.
• Total media consumption correlates directly with sports viewing intensity, as avid sports fans spend an average of 7.2 hours per day watching TV and video programming compared to 4.9 hours for casual sports fans. The data indicates that increased sports viewing displaces entertainment content such as movies, TV series, and documentaries, while news programming consumption remains consistent across all fan segments.
• Football maintains its position as America's dominant sport, with 53% of Americans watching football (NFL or NCAA), significantly outpacing other major sports. Baseball and basketball each attract approximately 36% of Americans, while ice hockey draws 20% viewership. The recently-completed Winter Olympics attracted 41% of US internet adults, demonstrating strong interest in major sporting events beyond traditional league play.

As broadcasters continue transitioning to IP-based workflows, industry leaders are exploring new approaches that could improve interoperability, collaboration and operational flexibility.

At the heart of these discussions is the Dynamic Media Facility (DMF) and related Media eXchange Layer (MXL), emerging frameworks intended to help broadcasters determine how the next generation of software-defined workflows could work.

The topic was explored during a panel hosted by the North American Broadcasters Association (NABA), in conjunction with the Advanced Media Workflow Association (AMWA), featuring moderator Steve Reynolds, CEO, Imagine Communications, and guest speakers Naveed Aslam, senior vice president of Production Technology and Engineering, CBS/Paramount; John Mailhot, senior vice president of Product Management, Imagine Communications; Willem Vermost, senior IP media technology architect, EBU; and Andy Rayner, CTO, Appear.

“Much of media processing now runs in software, in a combination of on-premises and in the cloud,” Reynolds said. “And so, if everything is now moving to software, we have to ask the question: are we still designing our facilities in the right way?”

Panelists said DMF was created to address this question, driving the industry forward while solving key business challenges such as how to improve efficiency and allow broadcasters and their partners to share “very expensive resources” amongst more productions.

“I think, from our perspective, SMPTE ST 2110 and IP-based workflows have largely been understood and embraced as being the next industry evolutionary step,” Aslam said. “From our perspective, the DMF initiative is truly the key to start unlocking the practical and technological benefits that we can derive from an IP infrastructure, the opportunities that arise from that, and it just truly starts to give us an opportunity to explore what IP workflows can be.”

The panel explained that neither DMF nor MXL are meant to replace SMPTE ST 2110, the technical standards that gives broadcasters a means to transport broadcast-quality signals over IP networks, enabling them to scale workflows and providing a foundation for interoperability.

Rather, all three are designed to work together: DMF provides a framework for the next generation of more dynamic, software-defined facilities, while MXL provides a specific mode for connecting applications and services, effectively enabling interoperability inside of a computing cluster.

“It’s really the goal of the DMF to organize those upper layers so that you can actually have a dynamic facility,” Mailhot said. “I think that 2110 and MXL will work together to achieve that, but there’s a lot of work to do to fill in all those blanks.”

“If we work in an asynchronous way, suddenly more media functions can be run than ever before. Within the same time frame, of a frame, multiple operations can be run,” Vermost said.

“If you look at it from that point of view, it seems like a revolution. But, if you look at it from your broadcast plant and how you operate it, it’s an evolution. We’ll get there step by step.”

Panel discussion is available on demand on NABA's YouTube channel.

For most of broadcast history, captioning was treated as a metadata problem. QC systems checked whether caption data was present, whether files were correctly formatted, and whether character encoding was valid. If a CEA-608 or CEA-708 stream was embedded and a sidecar file — SCC, SRT, WebVTT — was properly formed, the asset passed. Whether the captions accurately reflected what was spoken was largely outside the scope of automated review.

FCC requirements in the United States and emerging mandates across Europe have moved from nominal compliance gates to substantive quality standards. Caption files that pass every technical check can still fail on accuracy, synchronization, or readability.

What broadcast and streaming organizations need is content-level validation: verifying that captions are accurate, properly timed, readable, and ready for multiplatform delivery. Captioning is becoming part of the broader media intelligence layer — one that evaluates a caption track against the content it accompanies, treating accuracy, timing, readability, and compliance as properties the system actively measures.

Caption Accuracy Starts With the Audio Track
The practical difference between metadata validation and content validation shows up in what each one misses. A traditional QC pass confirms that a caption file is present and well- formed. It does not detect dialogue that was misheard during transcription, lines that were omitted, or text that lags consistently behind speech — all failure modes that reach viewers and, increasingly, regulators.

Content-intelligent captioning systems work directly with audio. Modern automatic speech recognition (ASR) models transcribe spoken dialogue from the audio track, producing a reference against which existing captions can be checked, or generating a new track directly. Current-generation ASR achieves word error rates below 5% on standard broadcast dialogue — comparable to experienced human transcribers, and substantially lower than error rates produced under the time pressure of manual captioning at scale.

Accurate transcription addresses what is said; alignment addresses when it appears. AI alignment engines analyze audio waveforms to synchronize caption timing against actual speech, accounting for pace variation and pausing that fixed-offset methods miss. Captions that drift from dialogue constitute a real accessibility failure, and automated alignment catches those errors systematically across an entire content library. These systems can also surface compliance risk before delivery, flagging assets where timing drift, word error rate, or reading speed exceeds regulatory thresholds.

How Captions Render on Screen
A caption that is correctly transcribed and timed can still be difficult to follow if segmented poorly. Breaking mid-phrase or mid-clause forces viewers to piece together meaning across display windows. This presents a functional problem for all audiences and a more significant one for viewers with hearing impairments who rely on captions as their primary communication channel.

Rather than breaking text at fixed character counts, machine learning models identify natural language boundaries, such as clause endings, breath pauses, and semantic units, then segment accordingly. The result is captions that read more naturally. Emerging standards reflect this: quality evaluation is increasingly extending from file validity to content readability, including reading speed, display duration, and caption segmentation.

A complete evaluation also requires reference to the video frame. Text that covers a speaker's face, obscures on-screen graphics, or overlaps burnt-in text creates problems that fall outside the scope of transcription-level review. Managing visual placement has traditionally required frame-by-frame manual review or post-production adjustment — both slow and unsystematic at the scale modern workflows demand.

Video analysis integrated into current captioning platforms detects faces, on-screen graphics, and critical visual elements, then adjusts caption positioning automatically. These tools can also prevent captions from spanning scene-change boundaries, a source of visual discontinuity invisible to metadata validation. The caption track is evaluated against the full audio-visual context of the content it serves — a quality assurance step that operates where file-level checks end.

From One Validated Track to Many
Once a base caption track has been validated, the same content intelligence can carry through to multilingual delivery. Machine translation pipelines generate multilingual versions from that source track without a proportional increase in localization effort. Additionally, systems incorporating large language models can preserve timing, segmentation logic, and reading-speed compliance across the target language, so translated tracks inherit the quality properties of the source without a separate QC cycle.

Broadcast, OTT, and streaming platforms each impose distinct caption format requirements, and a caption track that passes QC for one delivery destination may fail for another. Generating and validating multiple output formats — SCC, WebVTT, TTML, and others — within the same pipeline means format-specific compliance is confirmed once, upstream, before distribution splits across platforms.

Accuracy That Compounds With Use
One persistent limitation of traditional captioning pipelines is that errors recur without systematic correction. When a captioning process mishandles a recurring term, such as a character name, an athlete, or a brand, that error propagates across multiple assets with no mechanism to resolve it at the source.

Content-intelligent platforms address this through a continuous learning loop. When operators review and correct AI-generated captions, those corrections are captured and used to fine-tune the underlying model. Over successive production cycles, the system becomes progressively more accurate for that organization's specific content mix, speakers, and terminology. This provides a meaningful advantage over static vendor relationships, where the same errors resurface without correction.

Moving Quality Decisions Upstream
These capabilities move captioning from a production checkpoint into a media quality system. Content-intelligent workflows generate structured, validated caption data that feeds directly into MAM systems, localization platforms, and distribution pipelines. The caption track arrives at each stage as a verified asset, ready for use without additional QC. That changes where quality decisions happen. Compliance risk is surfaced before delivery.

Multilingual tracks inherit the quality properties of the source. Format-specific requirements are confirmed once, before distribution splits across platforms. The underlying shift is from discovering caption failures at the point of delivery, where correction is costly and timelines are unforgiving, to catching them at the point of production.

NOAA’s National Weather Service (NWS) Mission Systems and Technology Office has announced that it is working with SpectraRep to evaluate how broadcast television datacasting could serve as a resilient and redundant pathway for delivering NOAA Weather Radio audio and data to transmitters and digital devices.

More specifically, as part of a Cooperative Research and Development Agreement (CRADA), NOAA/NWS and SpectraRep, LLC will assess whether existing digital television broadcast infrastructure can enhance the distribution of NWR content, particularly during periods when other networks may be disrupted.

The project will also examine opportunities to expand endpoint delivery options to reach modern digital and mobile platforms without altering or replacing existing NOAA Weather Radio services.

“NOAA/NWS is looking forward to collaborating with SpectraRep, LLC to evaluate innovative approaches for delivering NOAA Weather Radio content via datacasting and other pathways for modernizing access to NOAA Weather Radio content,” says George Jungbluth, Director for NWS Mission Systems and Technology Office.

For more than 50 years, NOAA Weather Radio has been a critical component of the nation’s public warning infrastructure, providing continuous forecasts, watches, warnings, and emergency information to communities, emergency managers, and partner organizations.

Television datacasting uses a small portion of a digital TV broadcast signal to securely transmit data as a one-way service that is unseen by television viewers and the general public. Digital television datacasting is designed for very high availability—exceeding 99.9% annually nationwide—making it a potential candidate for improving continuity of operations during emergencies, NOAA said.

As part of the research, SpectraRep, will also work with NOAA/NWS to better understand the current NOAA Weather Radio workflow, including how content is generated and transmitted.

Using NOAA/NWS content and technical expertise, SpectraRep, LLC will configure a demonstration showing how live NOAA Weather Radio content can be securely transported through a local television broadcast partner and delivered to a NOAA endpoint(s), such as a NOAA Weather Radio transmitter.

SpectraRep, LLC will also share access and seek feedback on their AlertNowM mobile solution which can tap into multiple transport paths—including radio, broadcast datacasting, and internet sources—on a single mobile platform.

The results will be used to develop strategies for strengthening NOAA Weather Radio’s resiliency and expanding access for digital audiences nationwide, NOAA said.

WALNUT CREEK, Calif.—Although CTV advertising continues to see rapid growth, a new survey indicates that buyers remain skeptical of some of the performance claims and increasingly are asking hard questions about measurement, accountability and business impact of their CTV ad campaigns.

These concerns stand in stark contrast to the longstanding claims that connected TV platforms can provide advertisers with clear and convincing data showing the impact of their ad campaigns.

While those claims have helped CTV platforms grab an every growing share of the ad market, new research from Jamloop, a performance CTV platform that connects streaming TV to real business outcomes, shows that CTV is winning a larger share of marketing budgets but not a lot of trust.

Based on a survey of 120 senior brand and agency marketers, the report, “CTV Is Winning Budget. Trust Is Still Catching Up” found that 50% of marketers say their CTV budgets increased year over year, and 63% say CTV already plays a strong performance role in their media mix or is becoming a more accountable performance channel.

However, only one in three buyers (33%) say they fully trust most platform-reported performance claims, while 62% express some level of skepticism.

Accountability standards also remain uneven: Only 42% say CTV is currently held to the same accountability standards as search and social. And, marketers still struggle to defend the spend internally. Only 39% say they feel very confident defending CTV investment to leadership based on current measurement and attribution.

The researchers suggest that better proof could unlock the next wave of growth: More than 70% say they would increase CTV investment if measurement, attribution, and proof of business outcomes improved. Respondents also said that trust concerns remain part of the performance story. More than 60% say they are concerned about fraud or misrepresented inventory in CTV environments.

“The industry has already proven that advertisers want CTV,” said Jeff Fagel, CMO at Jamloop. “What buyers are asking now is a tougher question: what business outcomes does CTV actually drive? Advertisers don’t need another dashboard. They need proof they can defend. The platforms that can prove business impact in ways marketers can actually see and feel, not just through dashboards showing media metrics moving in the right direction, will be the ones that win the next wave of CTV investment.”

The research also points to a broader shift in the media mix. More than 63% of respondents say they are seeing at least some diminishing returns from lower-funnel channels such as paid search and paid social, creating an opening for CTV to play a larger role in performance-focused strategies.

At the same time, marketers remain divided on what CTV performance should actually mean. While 35% prioritize qualified leads, 30% point to online sales and revenue, 30% define performance through revenue or sales lift, and 24% focus on store visits, appointments, or calls. That fragmentation makes it harder to establish common success metrics, compare results across campaigns, and build broader confidence in the category.

For many buyers, performance now means more than site traffic or media metrics alone. It means proving online sales, offline revenue, leads, visits, installs, or broader business impact in a way leadership teams can recognize and trust.

“CTV no longer needs to prove it belongs in the media mix,” Fagel added. “It needs to prove it belongs in the next wave of performance budgets.”

To download the full report, visit jamloop.com.

ALEXANDRIA, Va.—A new research study from CTAM and Hub Entertainment Research highlights the high cost of bad app design and poor user experiences with survey data showing that a poor streaming user experience (UX) is cited by a surprising 36% of viewers, and 43% of viewers under 25, as the sole reason they’ve cancelled a streaming subscription, according to the study.

The result is notable because pricing and the quality of content are often seen as by far the biggest driver of subscription cancellations and churn, which can significantly add to a service's marketing costs.

“This research underscores the extent to which TV apps are compared not just to other TV apps, but to all of the apps consumers use across categories,” said Jon Giegengack, founder of Hub Entertainment Research and one of the research authors. “Viewers have high expectations, and even small moments of friction can quickly accumulate to cause frustration and abandonment. The findings are clear that improving even seemingly small frustrations can have a big impact on satisfaction, engagement and churn.”

The new research report, Value by Design: Building a Better Streaming UX and Discovery Experience, available to CTAM members, examines the importance of the streaming user experience to consumers’ overall satisfaction. Additional notable findings include:

• TV apps are evaluated against all apps across categories. Two-thirds (68%) of viewers do at least some of their decision-making outside of dedicated TV apps. Users judge their experience against all other apps across categories including Instagram and TikTok.
• TV apps are delivering. 90% of those surveyed were very or somewhat satisfied by their user experience. But there is room to improve. 72% experience at least one problem that leaves them “extremely frustrated” and 80% experience one problem that happens “all the time.”
• Hub tested also 20 UX problems to learn how often they happen and how frustrating they are when they do. Then 13 design solutions were tested, with five found to most likely add value to a subscription. The most damaging design and navigation issue was found to be “burying” of common tasks like having to scroll too far for “Continue Watching” and a hard-to-find “Watch List.”

The study identifies some potential solutions, with the two that would most impact viewer behavior including:

• Pinned “Continue Watching” – 46% loved this feature; 63% say they would absolutely use it; 42% think it would make their subscription more valuable; and 48% say it would make them more likely to keep their subscription.
• Pinned Watch Lists – 39% loved this feature; 56% say they would absolutely use it; 36% think it would make their subscription more valuable; and 43% say it would make them more likely to keep their subscription.
• Viewers reward apps that open straight into content – relevant, actionable, and free of decision fatigue.

One survey respondent over age 35 said: “When I open an app, I want it to already be where I left off or already doing what I need. The ones I like don’t make me figure anything out.”

Young viewers have less tolerance when the app experience fails.

For Gen Z viewers, the idea of more relevant recommendations was highly appealing, with 59% of viewers ages 13-24 saying that TV recommendations don’t feel like they are designed for them vs. 45% of older viewers.

Younger viewers also make viewing decisions well before turning on the TV, with 43% reporting they decide what to watch in advance vs. 35% of older viewers.

Plus, they look to social media for those recommendations; 48% of viewers 13-24 said they hear about shows and movies from trailers on social platforms vs. 38% of older viewers.

“This latest research highlights the pivotal role CTAM plays to give our members a big picture perspective on industry-wide challenges,” said Vicki Lins, president and CEO, CTAM. “Consumers by and large are satisfied with streaming apps, but a negative user experience can be a silent killer, quietly eroding loyalty while price and content grab the headlines. The full report for CTAM members reveals the extent of the threat posed by poor user experience, and how the industry can give consumers more clarity and control.”

The CTAM/Hub Entertainment Research study, "Value by Design: Building a Better Streaming UX and Discovery Experience", included both quantitative and qualitative elements: first, an online survey of 3,000 U.S. consumers ages 13-64, with the sample balanced to the U.S. census by gender, age, and race; and second, 24 in-depth interviews with a mix of Pay TV subscribers and cord cutters/cord nevers who subscribed to at least one streaming service. The research was conducted in April 2026.

CTAM members can access the full report on the group's website here.

CAMBRIDGE, U.K.— New research commissioned by Bango, a U.K.-based provider of subscription bundling platforms, finds that 43% of Americans would switch their mobile, broadband, or TV provider for a better sports streaming bundle, putting more than four in ten customers up for grabs.

That churn risk is the clearest signal yet that sports has become a frontline battleground for telcos fighting for customers. With sports rights fragmented across streaming platforms, telco providers are becoming a trusted way for consumers to consolidate sports content, according to Bango, which cites that more than half (52%) say they would trust their own provider above anyone else to pull all the live sports they care about into a single bundle.

This fragmentation is on full display right now. To follow the 2026 World Cup in the US, English-language viewers are split across Fox and FS1, subscription service Fox One, and free ad-supported Tubi, while Spanish-language coverage runs on Telemundo and streams on Peacock. Even the biggest event in world sport has fans hopping between apps and subscriptions to follow a single tournament: exactly the kind of confusion consumers are looking to their telco to solve, Bango said.

The findings also indicate that sports content now influences telco choice nearly as much as price, with 45% of respondents preferring a provider with a strong sports streaming bundle over one with a lower monthly price. In fact, 42% would pay more to their current provider if it included the sports they care about, according to Bango.

Sports bundles are also a strong driver of loyalty and growth; 46% of Americans say a sports streaming bundle would make them more loyal to their current provider, and 49% say it would be more likely to recommend them. On the other hand, if telcos remove access to sports, 48% of Americans would then consider switching to a competitor.

Bango notes that these findings highlight an ongoing shift in the telco sector, with providers moving beyond connectivity to bundle the subscriptions consumers value most.

“Just like on the field, telcos can win or lose with sport, and the numbers make that impossible to ignore,” said Giles Tongue, subscription expert at Bango. “More than four in ten Americans would switch telco for a better sports bundle, and almost as many would walk if their provider lost access to the sports they love. Connectivity alone has never held that kind of power over customer choice.”

"This is the clearest commercial signal telcos will get. Sports rights are scattered across a dozen platforms, and consumers are looking to their provider to pull them back together. They'll pay more, stay longer, and recommend whoever does it first. In this fight, bundling is the weapon. The telcos that move fast to bundle sports will win the customer, but the ones that hesitate will spend the next decade defending against churn."

The research, commissioned by Bango and conducted by an independent research agency, is based on a representative sample of 2,500 American consumers aged 18 and over and was conducted in May 2026.

Have you ever heard the old movie cliché, “What’s a nice girl like you doing in a place like this?” Those of you who might recognize my name or byline from consumer and residential technology publications over the years might reasonably paraphrase that to ask, “What’s a consumer-centric journalist doing in TV Tech?” That’s a good question, but as an introduction to my new column, “The Other Side,” allow me to explain.

Over the years, I have been involved in exactly what the name of this publication is: TV technology. I’ve worked at post and duplication facilities, helping to initiate and market new technologies; spent more late nights supervising film-to-tape transfers back in the days of 3V film chains and quad recorders; and helped install and bring up and run massive RF distribution networks for early in-room hotel pay TV systems.

On the other side of the technology fence, I led teams that developed and marketed one of the first digitally converged three-tube video projectors; spearheaded one of the first complete home theater systems (including processors, amplifiers and speakers); and, more recently, helped lead product teams for immersive home audio products that play back the content TV Tech readers capture, edit and distribute.

‘Trickle-Up’ Electronics
That has given me a unique view of how both broadcast/professional and consumer electronics products are used and, often, misused for both their intended market applications but also as a physician might say when a drug is used for something other than its main intended use, for “off-label use.” As a good example, one need look no further than the use of DSLRs and even iPhones as production-level cameras for everything from local news to major sporting events and feature films. Let’s call that “trickle up,” as it is the use of consumer market products “off-label” in professional applications.

On the other hand, there has always been the opposite: “trickle down.” By that, I mean the use of professional products in a consumer environment. Back in the day, I recall more than a few high-end consumer installations where one might find those old Tektronix video monitors or “professional” video projectors in home theaters. Perhaps the ultimate trickle-down was the frequent use of the original Altec “Voice of the Theater” speakers in the home, or perhaps JBL and other studio speakers in home theaters. The same for high-end, high-power audio amplifiers or Ampex 300-series reel-to-reel tape machines. The best way to picture that is to do an online search for the classic image of Frank Sinatra’s home listening system.

The digitization of everything has meant that things are clearly blending together from both sides, and my goal here is to have you meet the technology in the middle. On one hand, you get maximum efficiency both in terms of time and costs by using things originally not meant for “pros,” while on the other hand consumers get to reap the benefits of “pro/commercial” products. I’m certain that most of you know nonindustry friends who use Resolve or similar video or audio production software tools for their vlogs, or what now passes for “home movies.”

Both Sides of the Fence
Last bit of my introduction to this space: As an industry professional, it would be astounding if each of you hasn’t been asked more than once by relatives or friends: “Hey, you’re in the TV business. Can you recommend a good display, camera, speaker or amplifier?” By jumping across both sides of the fence in this column, we’ll give you some answers to those questions.

Let’s start with something everyone has and needs, and which you use every day: video displays. For last-mile, precision applications there is still no substitute for a Sony BVM series or monitors from Eizo, Flanders, TV Logic, the Dolby PRM-4220 (as a successor to the now-discontinued Dolby Pulsar) and other brands. However, for noncritical use such as viewing rooms, offices and stages where image quality and price are key, but so is cost, there are new products from consumer brands that may fit the requirements.

You may not be as familiar with TCL and Hisense as you’ve been with the legacy brands such as LG, Samsung and Sony. However, keep in mind that from a global sales perspective, those two brands are right up at the top of the sales charts with LG and Samsung. In particular, the new TCL models with their SQD panel structure and the RGB MiniLED models from Hisense have an excellent price/value benefit. Similarly, the LG and Samsung Micro RGB models will also give higher-priced, “professional” models a run for their money. Just as I’ve seen high-end LG and Panasonic OLED models used as the main and “client” monitors for color grading, expect to see these in non-consumer use sooner than later.

As an aside, the Mini and Micro RGB backlit products—not to be confused with true direct-view LED display technology (dvLED) that is common for video walls, virtual production and staging—may just be the thing to recommend when your nonindustry friends ask you, “What should I buy?” Along with the standard set by OLED, these and the (non-RGB) TCL SQD won’t steer them wrong.

Crossover in Action
As one other example of where From the Other Side will take you going forward, let’s look at one other “trickle up” product drawn from the consumer/home office space that you might benefit from on the job and on the go.

TV technology professionals are often on the go, both traveling to and from gigs, at a remote event, or in recent times possibly even at home doing remote production. Particularly since the pandemic, we’ve all gotten used to multiple screens but what do you do when you have to finish an edit on the go at an airport lounge or coffee shop?

After all, taking a wall of monitors with you just doesn’t work in an era where, to paraphrase another now-obsolete advertising slogan, “bags don’t fly free” unless you have elite-level loyalty status. TSA wouldn’t like that too much, either.

One solution I have tested and used, courtesy of a sample provided by the manufacturer, is the Tri-Screen 3 from a company with the unique name of Xebec. It lists for $699 and consists of two 13.3-inch, 1080p/60Hz screens that fold up against one another to a compact form that isn’t much thicker than some larger laptops. It fits snugly to the laptop’s screen, has one USB-C connection and, after folding out the aluminum kickstand, you fold out the monitors. You then have three screens, counting the laptop or two screens facing you and one facing behind the laptop so others can see what you are working on.

Best example: sitting in a cold Boston airport this winter, having people wonder what I was doing with an edit on three screens. That’s nowhere near as interesting as continuing it with three screens on the plane and then uploading the job as soon as I landed.

These two examples are just a hint of the crossover potential between “work and play” or “home and office/studio/remote shoot” that this column will be bringing you as we all move forward into a future that is not only mixed in terms of media, but with respect to the tools and products we all use to navigate the ever-changing media landscape.

In my last column, I wrote about what I saw and heard on the exhibit floor at the 2026 NAB Show; this month, I’ll talk about the NAB Show’s Broadcast Engineering and IT (BEIT) Conference sessions as well as the National Television Association (formerly National Translator Association) conference in Reno, Nev., that I attended in May.

Production and streaming sessions at NAB Show focused on content creation and distribution of TV programs. However, several sessions on over-the-air transmission focused on datacasting and alternative uses for our 6-MHz RF channel beyond TV broadcasting.

As in past years, sessions were devoted to the Broadcast Positioning System, showing BPS can be a worthy backup to GPS and the progress in testing and implementation.

In “Real World Coverage Analysis of ATSC 3.0 BPS,” Jim Stenberg and Paul Shulins of Over The Air RF Consulting showed how to calculate coverage from a BPS station using their table of “BPS UHF Reception Planning Factors” (Fig. 1). A map showed excellent coverage from WHUT Washington’s BPS signal. However, the map (Fig. 2) also showed spots blocked by terrain with no coverage. As more stations transmit BPS, these spots will likely have service from another station transmitting from a different location or market.

The Case for SFNs
“Only SFNs Deliver ATSC 3.0 Everywhere: Turning Broadcast Theory into Nationwide Reality,” a presentation from Louis Libin, Sinclair’s vice president of spectrum policy and engineering, showed how important is was for broadcasters to start planning for single-frequency networks now, as coverage from a single high-power, high-tower transmission site will not provide the coverage and reliability customers expect from today’s wireless services whether consuming data or video.

“Optimizing ATSC 3.0 networks requires balancing throughput, robustness, and coverage simultaneously, reinforcing the need for architectures such as SFNs to meet the diverse and competing service requirements at the edge of coverage,” Libin said.

SFNs require additional transmitter sites, many of which are already used by other wireless services. Libin warned that broadcasters will be competing for tower space with 5G and 6G providers, and the window for securing tower access is closing. Broadcasters need to secure critical tower positions and begin building SFNs without delay or risk, as SFNs will determine broadcasting’s long-term survival.

I did not hear any mention of 5G Broadcast (the Long Term Evolution version) in any of the BEIT sessions. A more universal evolution of ATSC 3.0 into and beyond the 3GPP/5G/6G domain called B2X (aka “Broadcast-to-
Everything”) was outlined in “ATSC 3.0 and B2X Interworking with 5G Core and IP-Based Service Discovery for End-to-End Broadcast Integration” by Michael Simon, director of advanced technology at ONE Media Technologies; Rashmi Kamran, senior technical adviser at Free Stream Technologies India; and Sangsu Kim, senior director, One Media.

The Broadcast Core Network component of B2X provides the functions needed to implement a B2X Radio Access Network (BRAN) using Open Radio Access Network (O-RAN) features. Use of O-RAN allows easier interworking with other networks using O-RAN principles and interfaces and decouples hardware and software, enabling new applications and reducing obsolescence.

ATSC 3.0 offers broadcasters the opportunity to become a wireless CDN (content delivery network). In “Hybrid Media Distribution Utilizing ATSC 3.0/NextGen TV,” Yuriy Reznik, chief technology officer at Streaming Labs, compared the cost of existing CDN services and the potential revenue from an ATSC 3.0 CDN to see if it is a viable business case. The analysis studied the various available ATSC 3.0 bandwidths and coverage.

In summary, the “main result under the right conditions, ATSC 3.0 offload can deliver meaningful savings and improve one-to-many availability,” Reznik found. But the transition path matters, he noted. “Receiver penetration, gateway adoption, and an eventual ATSC 1.0 sunset could improve the economics.”

Streaming as Backup
Rather than using a broadcast station as a CDN, how about using streaming as a backup to over-the-air reception? That was the theme of “Enhancing ATSC 3.0 Service Reliability By Combining Broadcast and Broadband Services,” by Peter Gogas, director of NextGen technology at Gray Media.

A broadband fallback mode could be useful in areas where the ATSC 3.0 signal is blocked by terrain, degraded by urban multipath or receives interference, as is often the case with indoor reception of VHF channels. Implementing a combined service requires some changes to the ATSC A/331 standard. Refer to the presentation for details.

A key point: Changes would be backwards-compatible, so any ATSC 3.0 set without internet would not lose over-the-air content. Synchronizing content delivery between over-the-air and broadband will be a challenge. It requires aligning media segments and maintaining the same presentation timeline and media segment time span. Gogas recommended formatting synchronization expectations as an ATSC Recommended Practice.

Recruiting New Talent
“Finding and Engaging New Talent for Broadcast/Media Engineering,” sponsored by the Radio Club of America, was hosted by Andy Gladding, vice chair of the Society of Broadcast Engineers Chapter 15 and engineering manager for Salem Media’s New York City stations, and Bud Williamson, president and chairman of SBE Chapter 15, leader of Digital Radio Broadcasting Inc. and managing member of Neversink Media Group.

The presentation discussed the challenges facing modern broadcast engineering, including the need for “advanced knowledge of electronic, audio and/or video systems, contemporary production and studio environments, IT systems, troubleshooting skills and communication abilities” and that “pay is often lower than similar technical fields.”

It also showed how to successfully recruit new talent into broadcast engineering by enlisting the help of local college radio stations—in this case, Hofstra University’s WRHU Hempstead, N.Y. The presentation showed students making audio cables, visiting transmission facilities at the Empire State Building, and working together on projects.

Key points were “create programs that the students can drive,” “provide progress reports for the student as well as your corporate leadership team,” “publicize success,” “keep it fun!” “bring friends (your friends and their friends)” and “buy pizza.”

While the focus was on radio, the ideas shown here should work for students interested in TV as well.

The View From Reno
A few weeks after NAB Show, the National Television Association met in Reno, Nevada. This was the first time I attended, and it was a pleasure to be around so many people passionate about over-the-air television.

Mike Schmidt from Heartland Video Systems presented an option I hadn’t thought of for reducing MPEG-2 bandwidth requirements: Rather than coding HD video in MPEG-4, with the resulting compatibility issues, simply reduce the horizontal resolution by half: 960×1080.

Surprisingly, many viewers watching the half-resolution video saw little difference between it and 1920×1080 video.

I gave a presentation on the impact that interference from post-freeze LPTV applications, if granted, will have on existing full-power and low-power station viewers, particularly those near and just outside the station’s protected contour. It is available here.

As audiences around the world stream the 2026 FIFA World Cup, the conversation will not only focus on the matches on the pitch, but on the production quality and scale of the delivery infrastructure behind them. According to a Harris Poll survey, more than half of Americans plan to stream at least one match. This massive, simultaneous global demand does more than reveal viewing habits. It actively tests the limits of delivery systems.

Even as encoding and streaming technologies improve, viewers encounter buffering delays and sudden drops in quality when demand spikes. While these issues are often blamed on the streaming platforms themselves, they actually point to a deeper structural constraint within the underlying network architecture.

Streaming this year’s tournament reveals a problem that has been quietly building for years as video has become the dominant workload on the internet. It’s a clear signal that the internet is approaching another major inflection point, one that will require completely rethinking how content is delivered at scale.

Every Network Evolution Starts With a New Application
Network evolution is not new. In the 1990s, telecom networks were built for voice traffic and predictable calling patterns. When consumers shifted in droves to the early internet, those assumptions broke down. Calls that typically lasted minutes turned into online sessions that lasted hours.

This resulted in regulatory filings to the FCC arguing that because dial-up users were holding switches open indefinitely, a non-internet user in the same neighborhood trying to dial 911 could receive a busy signal. The existing network was simply not optimized for how it was suddenly being used.

The industry’s answer back then was not to add more capacity, but build an entirely new architecture designed for data. The industry transitioned from a voice network that also carried data to a data network that also carried voice, enabling the modern internet economy we rely on today. Much of that lesson remains the same – as applications change, networks must change with them.

However, we’re seeing the cycle of reinvention being driven by a different kind of application categorized as real-time, high-bandwidth video at global scale. Unlike previous transitions, this shift is continuous and is starting to expose real strain on the network closest to the end user.

Pressure Is Building at the Edge
Historically, the default response to rising video demand has been to add more fiber. But the user experience still degrades during peak moments. Streams begin at a lower resolution to decrease startup time, and bitrates are automatically reduced when networks get congested.

During major streaming events, viewers regularly lose clarity or stability at the exact moments they care most about. These are not isolated glitches, they are symptoms of systemic, structural strain.

This constraint is most visible at the network edge—specifically in last-mile infrastructure connecting content to homes and devices. Every duplicated stream consumes capacity in a segment of the network that is already heavily loaded. At scale, continuing to rely on this level of delivery inefficiency becomes hard to justify.

The Internet Has Quietly Become a Video-Heavy Data Network
The internet today is now a data network carrying video—but more accurately, it has become a network dominated by massive, simultaneous "hot" data workloads. While streaming platforms and live sports have radically reshaped traffic patterns to the point where video now represents roughly 80% of internet traffic, this structural strain isn't exclusive to video.

We see the exact same architectural bottleneck when millions of devices simultaneously pull a critical mobile update, when gaming platforms drop a massive software patch, or when autonomous vehicle fleets sync hyper-localized HD maps.

However, nowhere is this delivery challenge more acute, or visible, than during a massive live sporting event. The core issue stems from an architectural reliance on a one-to-one delivery model (unicast) for content that is inherently one-to-many (multicast).

Under the traditional unicast model, every viewer receives an individual stream from the content delivery network, even when millions of people are watching the exact same frame at the exact same millisecond. Conversely, multicast is a one-to-many model, where a single transmission can be distributed efficiently to all recipients at once. Live sports are naturally shared experiences. Forcing networks to duplicate and deliver the same stream millions of times over severely strains the access networks closest to the consumer.

The Next Evolution of Internet Infrastructure
Stepping into the next phase of internet infrastructure requires recognizing that not all traffic should be treated equally. We must acknowledge that video is now the dominant workload on the network, and that live, high-demand content requires a specialized approach.

As video continues to dominate global traffic, pressure on today’s legacy delivery model will only intensify. The opportunity ahead lies in aligning network architecture with actual consumption habits to eliminate unnecessary duplication where demand is highest.

This means shifting away from repetitive one-to-one delivery toward more efficient distribution models where a single transmission can be broadcasted across the edge, rather than recreated millions of times over. Streaming the World Cup isn’t breaking the internet. It’s revealing that the internet has already evolved into a data network carrying video, and its physical architecture must now evolve to match.

MIAMI—Telemundo and Peacock continue to report record-setting audiences for FIFA World Cup 2026 matches, with the USA vs. Turkey match ranking the most-watched U.S. Men’s National Team (USMNT) FIFA World Cup match in Spanish-language history. The match attracted 7.4 million viewers in total audience delivery (TAD).

The June 25 match was also +111% greater than the USA’s final Group Stage match in the 2022 tournament (3.5 million TAD) vs. Iran.

With this match, Telemundo and Peacock have now seen three of most-watched USMNT FIFA World Cup matches in Spanish-language history with USA vs. Paraguay delivering a 7.0 million TAD on June 12th and USA vs. Australia delivering 6.8 million TAD on June 19th. Over its three Group Stage matches this year, the USA delivered an average 7.1 million TAD, up +83% over its average Group Stage TAD in 2022 (3.9 million).

In addition, the Ecuador vs. Germany match on June 25th delivered a 4.1 million TAD, becoming the third most-watched Ecuador FIFA World Cup™ match in Spanish-language history, behind the June 14th match vs. Ivory Coast (6.8 million TAD,) and the June 20th match vs. Curaçao (6.0 million TAD). Thursday’s match also delivered +120% growth vs. Ecuador’s final Group Stage match in 2022 (1.9 million TAD) vs. Senegal. Ecuador’s 2026 Group Stage performance averaged 5.7 million TAD, up +90% vs. the average from its Group Stage in 2022 (3.0 million TAD).

Meanwhile, Japan vs. Sweden delivered a 4.7 million TAD, an increase of +104% vs. Japan’s final Group Stage match in 2022 (2.3 million TAD) vs. Spain, while its 2026 Group Stage matches averaged a 4.6 million TAD, surging +230% vs. 2022 (1.4 million TAD).

TVTech and its sister brand TVBEurope and Caretta Research have joined forces to launch an industry-wide survey looking at where the broadcast industry is on the road to IP.

The survey aims to discover how broadcasters and vendors are transitioning to real-world deployments, and understand more about the extent to which operations are transitioning towards IP-based and software-defined infrastructure and live production.

It is open to vendors and broadcasters, with the results due to be published in the run-up to IBC.

“After a long period where the industry’s primary focus was investing in streaming, our market data clearly shows that broadcasters are now doubling down on live production. We are seeing a significant wave of investment in live infrastructure, particularly in IP and software-defined solutions,” said Caretta Research CEO Robert Ambrose.

“As IP technologies like ST-2110 firmly enter the mainstream, we’ve partnered with TVBEurope and TV Tech on this survey to reveal exactly how this shift is translating into real-world deployments across broadcast, production and service companies of all shapes and sizes.”

You can take part in the survey here.

As the 2026 FIFA World Cup moved into the 32-team knockout stage, Fox Sports said viewer interest in the tournament is still strong.

Fox’s June 19 coverage of four matches set an English-language record for the largest full-day audience of men’s World Cup coverage in the U.S., the network said.

The United States-Australia match attracted 16.217 million viewers, making it the second-most-watched English-language group stage telecast in the U.S. ever, followed by 9.174 million average viewers (10.548 million peak viewers) for Scotland-Mexico.

The day also saw 8.741 million viewers (9.894 million peak viewers) for Brazil-Haiti and 2.752 million viewers (3.157 million peak viewers) for Turkey-Paraguay.

Team USA’s 2-0 defeat of Australia had a peak audience of 21.219 million and was the top-rated Friday-afternoon telecast on broadcast TV since Fox’s Christmas Day Minnesota Vikings-New Orleans Saints NFL telecast in 2020.

It was also the second-most-watched U.S. men’s national team game since the U.S.-Paraguay group-stage World Cup match on June 12.

STAMFORD, Conn.—As part of a broader push to capitalize on the potential of AI in its ad sales and other operations, Charter’s AI and data commercialization business unit Spectrum Intelligence Ventures has announced its first product, a household intelligence platform called Latis.

Built on information spanning digital engagement, TV viewership, and connected device activity across approximately 30 million U.S. households and 500 million connected devices, Spectrum said that Latis is designed to transform real-world activity into intelligence that will help companies and organizations better understand consumer intent, context, emerging trends and shifting demand at national scale.

“The transition from data to intelligence is one of the most important shifts happening across technology and business today,” said John Lee, head of Intelligence Ventures for Spectrum. “Latis is designed to help power this next generation of AI-driven systems by transforming large-scale household signals into continuously evolving real-world intelligence that organizations can use to improve decisioning, automation, personalization and business outcomes.”

Spectrum reported that Latis continuously models household activities across digital, video and device signals, transforming household-level data into pseudonymized mathematical and privacy protected representations of household activity patterns.

This will help advertisers, companies and organizations better understand changing consumer intent, priorities, responsiveness and likely future actions across such industries as retail, automotive, financial services, travel, media, telecommunications and consumer goods.

For example, traditionally, a clear sign of a consumer’s interest in travel typically only becomes available only after a consumer has taken a clear transaction-oriented step, Spectrum explained.

Latis is designed to help identify emerging travel-related interests earlier in the consumer journey by transforming household-level activity patterns—such as destination research, engagement with travel-related content, and comparison of vacation options—into a pseudonymized and privacy protected sense of intent, interest, affinities and trends.

Spectrum also reported that Latis is designed to support a broad range of enterprise and AI-native use cases, including:

• Consumer insights and segmentation
• Media targeting, optimization and measurement
• Data clean room collaboration and enhancement
• Personalization and decisioning
• Model training
• Agentic AI acceleration

Spectrum said that Latus was designed with a privacy-forward architecture and governed access framework.

It enables organizations to obtain intelligence through secure collaboration environments, controlled integrations and governed infrastructure models designed to support enterprise privacy, security and governance requirements. Partners may use the intelligence outputs for permitted business purposes, such as advertising, marketing, measurement, research, customer engagement, analytics, personalization, and improving AI-driven tools and services, but the underlying household-level data stays within Latis’ controlled environment and is privacy protected.

Spectrum Intelligence Ventures is currently selecting a limited group of partners for beta participation. Beta programs include collaboration with Spectrum Reach to provide select partners early access to Latis intelligence combined with Spectrum Reach and wider media inventory to improve targeting and business outcomes. Broader availability is planned for the second half of 2026.

NEW YORK—Nielsen’s newest edition of the Ad Supported Gauge shows that the total share of ad-supported TV is holding steady in Q1 2026, representing nearly 73% of overall TV viewing while streaming captured a record share of ad-supported TV viewing.

In the quarter, streaming captured a record-high 46.6% share of ad-supported TV, driven by seasonal events including NBCU’s Super Bowl simulcast, Olympics coverage on Peacock, Amazon’s NFL playoff games, and additional episodes of blockbuster series like Stranger Things on Netflix, Landman on Paramount+, and The Pitt on HBO Max.

Overall, sports continue to be a driving force behind the consistently high share of ad supported TV. The fourth quarter, with its blockbuster sports schedule, retained the high water mark for share of ad supported TV, but there is less than a 1.8 share point difference between the highest and lowest quarter.

Coming off a five-quarter high in Q4, broadcast captured a 28.2% share of ad-supported TV viewing in Q1, down 1.4 share points from last quarter and down 0.5 points year-over-year.

Cable rebounded to a 25.2% share (up 0.4 points from Q4), driven by the February 2026 Olympics and its traditional March Madness ratings surge.

In releasing the data, Nielsen noted that the published version of The Ad Supported Gauge has not migrated to the ARF DASH-based media related universe estimates which is planned for the fall. This is significant because this approach, while consistent with previous months of the Gauge, will have different results than production data.

DALLAS—In the wake of the news that Fox plans to pay $22 billion to acquire Roku, a new survey from Horowitz Research highlights how important streaming platforms have become in the connected TV ecosystem and reaffirms Roku's position as the most commonly used streaming platform among U.S. consumers.

According to "Horowitz Research’s State of Media, Entertainment, and Tech: State of Subscription’s 2026" report, nearly four in ten U.S. streaming platform users choose Roku to stream content, outpacing top competitors Amazon Fire TV and Samsung’s Smart Hub interfaces, each of which are used by almost one in three streamers.

While Roku leads in penetration and usage, the study also shows that consumers rate competing platforms more favorably across key experience measures.

For example, Amazon Fire TV outranks Roku on ease of finding content within the platform as well as lagging time, the ability to cast to screens, and the ad experience. Samsung outperforms on Wi-Fi connectivity and reliability. Both these systems outrank Roku on start-up speed and smart home integration.

While Google TV and Apple TV have less penetration within streaming households, both platforms fare better on key attributes compared to Roku.

“Roku’s acquisition by Fox is a strategic move designed to deliver younger viewers to the aging Fox demographic,” noted Adriana Waterston, executive vice president of insights and strategy for Horowitz Research. “But as the market for smart TV’s continues to evolve, we anticipate that consumers will increasingly choose their smart TV interfaces scrupulously, much like they do with their mobile devices. To continue to dominate the market, Roku will need to look not just as driving penetration but finessing their interface to meet the demands of Gen Z and younger consumers who will expect a robust, highly personalized, and tech-forward user experience.”

The study also found that “Roku’s new Ad Manager, which will enable smaller businesses to leverage hyper-local TV ads, is exciting because it democratizes access to CTV advertising for local and emerging brands,” she added. “However, it runs the risk of over-saturating the Roku viewing experience with repetitive, lower quality ads which could further alienate the younger audience that already has low tolerance for advertising.”

For more information about the "State of Media, Entertainment & Tech: Subscriptions 2026" report, visit: https://www.horowitzresearch.com/syndicated-research/state-of-media-subscriptions/.

The 2026 FIFA World Cup is on track to become the most profitable tournament in history. Expanded to 48 teams and 104 matches, it is creating more advertising inventory than any previous edition. The addition of hydration breaks has further increased inventory for some broadcasters, creating two extra advertising opportunities every match.

Yet despite the records being set in 2026, the industry is only beginning to unlock the full commercial potential of major live sports. The next wave of Dynamic Ad Insertion (DAI) innovation promises not only to improve the viewing experience, but also to create entirely new forms of inventory and measurement.

Better Viewer Experiences Create More Inventory

One of the most significant developments is Server-Guided Ad Insertion (SGAI), the next evolutionary step in DAI technology.

Because advertising is handled separately from the primary content playlist, SGAI makes long DVR windows easier and more cost-effective to support. Viewers can rewind further, while broadcasters gain new monetization opportunities through historic ad breaks being resolved dynamically at the point of viewing, which was previously much harder to do.

SGAI also enables addressable advertising without adding latency. As broadcasters push toward broadcast-comparable live streaming, the ability to combine low latency with addressable advertising ensures monetization can now evolve alongside improvements in the viewing experience.

The Rise of Non-Linear Advertising

Perhaps the biggest growth opportunity lies in non-linear ad formats.

Traditional commercial breaks remain highly valuable, but advertisers increasingly want formats that keep viewers engaged with the action. Industry efforts led by the IAB's Ad Format Hero initiative are standardizing overlays, lower-thirds, squeezebacks, side-by-side presentations, and other interactive formats.

Some 2026 World Cup viewers have already seen similar examples. During hydration breaks, Telemundo has displayed sponsored graphics on-screen while maintaining live match commentary. Standardized formats will make similar executions easier to buy, deploy, measure, and scale across multiple broadcasters and markets.

Importantly, these formats are not dependent on SGAI. They can also be delivered through existing Server-Side Ad Insertion (SSAI) deployments, meaning broadcasters are likely to benefit from them sooner rather than later.

Closing the Measurement Gap

The final missing piece is measurement. Viewability remains one of advertising's most important metrics but measuring it consistently across connected TV devices has proven difficult—particularly for syndicated channels and distribution partners where the rights-holder does not control the player environment.

Two emerging standards are helping solve this problem. SVTA’s ad creative signaling provides a standardized way for players to process tracking information without custom integrations. CMCDv2, developed by CTA WAVE, enables players to report standardized playback information such as playhead position and user interactions, allowing the DAI platform to perform the tracking.

Together, these approaches create a path toward reliable, IAB-certified measurement in environments where granular reporting has historically been difficult to achieve.

Records Today, Bigger Opportunities Tomorrow

The 2026 FIFA World Cup is delivering more matches, more viewers and more advertising opportunities and is already driving record revenues.

But the industry's next phase may prove even more significant. SGAI promises better viewer experiences and new monetization models. Standardized non-linear formats will create entirely new inventory around live events, while CMCDv2 and related initiatives will close long-standing measurement gaps and improve advertiser confidence.

While this World Cup may be the most profitable yet for rights-holders, the next era of Dynamic Ad Insertion is set to create an advertising ecosystem with more inventory, better measurement, and greater flexibility—further increasing the value of major sporting events.

In Australia, the patch bay is called a tail board. In the United Kingdom, the engineer responsible for matching cameras is often called a “racker” rather than a shader.

At the FIFA World Cup, those differences disappear remarkably fast.

The world’s largest sporting event brings together hundreds of broadcast professionals from different countries, cultures and technical traditions. Within days, engineers from Australia, England, the United States and beyond must operate as a single crew delivering one of the most recognizable sounds in sports.

They arrive speaking slightly different technical languages. The same piece of equipment or role can have multiple names. Yet by kickoff, those differences largely vanish. The audience hears one broadcast, not the dozens of production cultures working behind it.

What viewers remember is the roar after a goal, the tension before a penalty kick, the swell of a national anthem and the eruption of a stadium after a dramatic winner. They remember how the World Cup feels. Audio is a major part of that feeling.

Australian broadcast veteran Tim Stapleton, audio guarantee for Host Broadcast Services (HBS) in Kansas City, is one of the people responsible for creating that experience. A veteran of UFC, cricket, combat sports in the Middle East and the recent Milan-Cortina Winter Olympics, this is his first World Cup. The scale stood out immediately.

"The World Cup is unique because of the sheer number of moving parts," he said.

Big Event, Big Undertaking
Commentary facilities are handled by a completely separate company, with 10 dedicated booths inside the stadium. Outside, the production compound fills a parking lot with mobile rack rooms and support units from multiple vendors.

The biggest difference from a normal match is the atmosphere. “The crowd makes it sound like a magical moment, not a regular weekly game,” Stapleton said. “You can tell it is something special.”

HBS deploys a standardized audio plan across all venues while adapting to each stadium's characteristics. In Kansas City, the bowl design allows crowd noise to rise naturally, giving the mix team exceptionally clean audience capture.

Capturing that atmosphere requires far more than the standard soccer microphone package. The foundation remains familiar: pitch microphones positioned around the field to capture ball strikes, player movement and referee whistles, along with microphones mounted on cameras to follow the action.

Beyond that foundation, the World Cup expands significantly. Additional crowd microphones and immersive audio arrays are deployed throughout the venue to capture the atmosphere that defines the tournament. In Kansas City, ambient microphone arrays are positioned on the roof, camera deck, and pitch level, allowing the team to capture everything within the roar of the stadium.

The goal isn't simply to make the crowd louder. It's to make viewers feel present.

GEHA Field at Arrowhead Stadium (or, FIFA is calling it during the tournament, Kansas City Stadium) presents a unique advantage in that regard. Stapleton noted that the stadium's bowl design allows crowd noise to rise naturally through the venue, creating excellent opportunities to capture clean audience reaction.

A Mix That Tells a Story
For Stapleton, however, the technical design is only part of the equation. His approach to mixing is rooted in storytelling. Rather than simply balancing levels, he actively follows the action around the field, searching for sounds that draw viewers deeper into the match. The crowd remains a constant emotional foundation while individual moments are allowed to breathe naturally. "You're telling a story," he said.

Goals are allowed to build organically rather than exaggerated artificially. As the action moves around the field, microphones mounted on handheld cameras, Steadicams and other mobile systems help bring viewers closer to the moments they are seeing on screen. There is even a microphone mounted on the referee, though it is only used during specific review situations.

The Lionel Messi hat trick in Kansas City was a perfect example. “The reaction inside the stadium was immediate and overwhelming,” Stapleton said. Moments like that are exactly why so much effort is placed on crowd capture. The goal isn't simply to hear the reaction; it's to transport viewers into the stadium and allow them to experience the emotion of the moment alongside the fans in attendance.

The technology behind those moments may be sophisticated, but for many of the visiting engineers, the most memorable part of the World Cup has been adapting to life in the United States.

For Felix Harris, an HBS A2 from London with extensive Premier League and Club World Cup experience, the technical approach feels familiar, just on a larger scale. American stadiums, compounds, and travel distances are noticeably bigger than what he's accustomed to in the U.K.

"It's really tomato-tomah-to as far as nomenclature goes," Harris said. "But it's definitely a bit more." A lot more.

Andrew Lilley, another U.K.-based HBS A2, pointed to one practical difference: U.K. vehicle-length restrictions limit how much equipment can fit in a mobile unit. American trucks simply have more room, allowing for larger technical footprints and expanded microphone deployments. “A good tech sheet keeps everyone on the same page,” Lilley said.

Teamwork Comes Quickly
While terminology and workflows may vary, crews quickly find common ground. According to Stapleton, the real key to building a successful crew has nothing to do with technology.

“The first few days are essential,” he said. Crews learn each other’s strengths. They figure out how people communicate. They discover who works best in which roles. Shared meals, a drink after work and long production days help transform a group of strangers into a functioning team. “You spend so much time together that you become a family.”

Harris described the welcome from U.S. crews as warm and accommodating. Lilley joked about adjusting to the food, the lack of public transportation and a level of humidity that felt different from anything he experiences at home. “You do not do green vegetables in the States,” he joked. “And everything is on a bun.”

Stapleton has been impressed by Kansas City itself. “The best part is the locals,” he said. "Everyone has been friendly and willing to help.”

By kickoff, the terminology has been sorted out. The accents have become familiar. The workflows have aligned. Engineers who arrived from different continents are now focused on a single objective, helping billions of viewers feel connected to a match happening thousands of miles away.

Shared meals, long production days and countless hours spent solving problems together have transformed a group of strangers into a crew. The microphones, trucks and technology make that possible. The people make it memorable.

Together, they create the sound of the World Cup.

ATLANTA—Hoping to tap into growing political ad spending on digital platforms in what promises to be a record breaking election year, Gray Media has launched a new political digital advertising platform powered by Aristotle, a provider of political data and analytics.

The offering integrates Aristotle's political and consumer data into Gray's Political 360 go-to-market strategy that aims to provide candidates, issues, and advocacy organizations ways to reach constituents with greater precision across digital channels.

"We're excited to bring this advanced capability to our stations and to the candidates and media buyers we serve," said Mike Braun, Gray’s chief digital officer. "By combining Gray's local market strength and expertise with Aristotle's trusted, continuously updated voter intelligence, we can help campaigns engage their right voters at the right time with the right message."

The new Political 360 strategy is designed to help advertisers to move beyond broad demographic targeting and activate more precise voter audience segments. The data-driven approach improves campaign efficiency across devices and platforms and reduces wasted impressions, which Gray hopes will set it apart in the competition for what promises to be a record setting political advertising year.

"Successful campaigns depend on reaching the right voters with the right message at the right time," said Aristotle executive vice president of data Andrew Tavani. "By combining Gray's unmatched local market presence with Aristotle's trusted voter and consumer data, Political 360 gives campaigns a smarter, more efficient way to connect with the audiences that matter most."

Through Political 360, Gray leverages Aristotle's large national databases, including:

• The National Voter File, covering more than 235 million registered U.S. voters and sourced from more than 4,000 election jurisdictions.
• The National Consumer File, built from more than 267 million consumer records and enriched with demographic and lifestyle attributes.

These datasets enable Gray to support campaign strategies such as targeting party-specific voters within a district during a primary window. Gray’s Political 360 helps campaigns focus their spend where it matters most, drive frequency, and build awareness and advocacy in the runup to Election Day.

PORTSMOUTH, N.H.—A new study finds the long-term rise in ad acceptance continues, with ad intolerance falling to a record low across all age groups, and that viewers are supportive of AI tools if they are used to improve discoverability and the viewing experience.

In particular, Hub Entertainment Research’s semi-annual "TV Advertising: Fact vs. Fiction" study found that Gen Z viewers are more accepting of ads when they help reduce the cost of streaming services. Younger viewers also place a higher value on ad relevance and are more open to targeted ad experiences even though they are more likely to be multitasking and potentially distracted while watching TV.

Overall the study found that ad acceptance has reached a five-year high. As subscription prices have risen and ad-supported options have proliferated, the numbers of viewers who would pay to avoid ads, and the number who say they cannot tolerate ads are at all-time lows.

Just under one third of viewers expressed a preference to pay an extra $4-5 dollars per month to avoid ads.

“In the past few waves of this TV Advertising study, we’ve seen viewers concerned with costs and the general direction of the economy,” said Mark Loughney, senior consultant at Hub. “Those concerns have led to more viewers looking for ways to reduce costs. The TV advertising marketplace stands to benefit from consumers’ increased openness to advertising as a means of saving money on subscriptions. If streamers can continue to use tools at their disposal to make the ad experience better by including AI, it’s a win for both them and their viewers.”

At the same time, in the most recent wave, only one in ten viewers said they “can’t tolerate” ads.

When presented with a higher ad load in exchange for lower subscription costs, Gen Z viewers are significantly more likely than older audiences to choose savings over fewer ads.

Gen Z viewers are more likely to prefer fewer, but more targeted ads.

Just over a third of Gen Z viewers say they would prefer to see fewer ads that are targeted to them, significantly higher than older viewers.

Among all viewers, comfort levels vary significantly depending on the type of data used for ad targeting. Audiences are most willing to share information related to their viewing habits, as well as basic demographic details such as age and gender. In contrast, there is considerably less willingness to share more personal information, including social media activity, income, and AI chat history.

Although Gen Z viewers are more likely to multitask during ad breaks, they remain aware of the ads that play.

Nearly all Gen Z viewers report using another device at least occasionally during commercial breaks – significantly more than Gen X and Boomers. The good news for advertisers is that despite this divided attention, eight in ten say they continue listening to ads while engaging with other screens.

As a result, Gen Z viewers are more likely than Gen X or Boomers to report that they are aware of TV ads during breaks.

Across all ages, TV advertising holds a trust advantage over social media when it comes to the use of personal data, with older audiences expressing higher levels of trust.

The majority of Gen Z, Gen X, and Boomer viewers believe TV services will be more responsible than social media platforms in using personal data for targeting. In turn, the targeted ads viewers see on TV feel more appropriate than those that appear in social media.

However, when it comes to ad impact, TV ads deliver better for older viewers. Gen X and Boomers are more likely to say TV ads are more memorable, attention-getting and fun to watch, while Gen Z viewers rate TV and creator videos equally.

AI tools that improve the ad experience are welcome, especially among young viewers. Gen Z are more likely than older viewers to consider generative AI tools as a positive thing.

Regarding TV advertising, the majority of all viewers believe AI can be used in a positive way if it makes the viewing experience better by reducing ad repetition, or making ads feel less interruptive.

Viewers are also positive toward the use of AI if it enhances other aspects of the TV viewing experience by improving content suggestions or making ads more relevant and contextually appropriate.

However, when it comes to the use of AI to create advertising messages, viewers are more skeptical. Over a third are somewhat or very negative toward the idea of commercials or trailers generated by AI tools.

These findings are from Hub’s 2026 “TV Advertising: Fact vs. Fiction” report, based on a survey conducted among 3,000 US consumers age 16-74, who watch at least 1 hour of TV per week. Interviews were conducted in April, 2026 and explored consumers’ attitudes toward advertising, how it differs across video platforms, and how ad strategy affects viewer engagement. A free excerpt of the findings is available on Hub’s website. This report is part of the “Hub Reports” syndicated report series.

Over the years we have all gone through numerous video content format introductions with new formats raising the bar as the world moved from black and white to color and then the subsequent format and technology increases in quality—sometimes major and at other times incremental—in resolution, frame rate, color sampling, dynamic range, overall color palette and so forth. Some have been easier than others depending on what is needed at each step in the path from content creation to viewing on the display at the end of the chain.

That said, they all involved a collection of components to hold up the advancement’s three-legged stool. One is the bucket of things needed to create content, including cameras, mixing/processing, post and editing. Another is the devices needed to display the content for audio and video; amps speakers and display screens and projectors.

The third leg is often overlooked, but without it the other two can’t hold things up. After all, even when the content is superbly created and devices are available to show it with pristine clarity, you have to have a means of distribution. Imagine farmers, bakers or ranchers with all the things needed for meals and a restaurant on other end ready to cook, prepare and a table to serve without the trucks and other transportation routes to get everything from one end to the other.

The Missing Link
That brings us to 8K. It’s not new. All the elements of the content side and display sides of the stool are there, but for the consumer market that middle segment has for the most part been missing: the delivery playback means to get the content to its end destination.

Now, that has changed with the introduction of the Kaleidescape Strato K Movie Player, the first consumer storage and playback product that can deliver 8K content as part of an ecosystem that will offer a wide range of content in resolution up to 4320/30p. Equally important, with Kaleidescape’s new 4K Cinematic format, this is the first consumer device capable of playing back content in 4K with full 4:4:4 chroma sampling and up to 2160p/60/12-bit delivery.

Fine, you might say, but you’re reading TV Tech from the perspective of a professional, and likely high-end, content creator, not as a home entertainment purveyor or installer so why should you care about this new device? Let’s go into the details before answering the question and hopefully the answer will reveal itself.

If you are not familiar with Kaleidescape they are a 25-year-old company that offers high-end content playback devices that deliver reference quality video and lossless audio with a huge library that includes movies, concerts, TV series and more that are downloaded to the device rather than played from an optical disc or streamed.

Using a “rental or purchase” model, once downloaded, the content is stored locally so there are no compression artifacts, no buffering, and course, no ads. Combined with a masterfully simple user interface, Kaleidescape products have become the de facto standard for content playback in high end home theaters.

The product in question is the new Strato K Movie Player from Kaleidescape.

The Strato K Movie Player’s ability to deliver two media playback formats to consumers that have not previously been available outside of your control and mastering suites is important as it helps justify the complaints about the added file size requirements for 8K and 4:4:4 versions of the content you are involved. It enables the Premium Large Format experience beyond specialized theatrical exhibition that we see with the likes of Dolby Cinema, PRIME and XL at AMC venues and PRX and PLF at Regal Cinemas. What is in large part is now driving the theatrical side of the distribution market is now available in the home.

The Details
As you will see going forward in my new “From The Other Side” articles in TV Tech starting next month, there is another important reason to bring this to your attention. As a content business professional you are someone that friends, relatives, co-workers and those C-Suite executives that depend on you will look at for expert knowledge on how they can get the best images and sound not only in the office and facilities you work in, but also in their homes. For that reason, some additional details on this breakthrough product are in order.

The Strato K is available now and 8K content will soon be available in SDR and HDR10. For the 4K Cinematic format there are already well over 150 movies already available, and it is worth noting that the 4:4:4 material is newly rendered out to 4:4:4 and is NOT interpolated.

The Player itself, can play out immersive audio formats as Dolby Atmos and DTS:X along with other lossless audio such as Dolby TrueHD and Dolby MAT, DTS-HD High Resolution and linear PCM at 96kHz/24 bit. On the video side there is HDR10 up to 8K (SMPTE ST 2084 and ST 2086) and Dolby Vision up to 4K (of course, all formats are dependent on the specific content). Color spaces up to BT.2020 are supported as are a variety of aspect ratios including 1.78:1 and 2.35:1 with automatic or user interface selectability.

For those already familiar with Kaleidescape, while the 4K Cinematic 4:4:4 titles will obviously have a larger file size, the rental or purchase price is the same as the standard 4:2:0 versions. Even better, if a current Kaleidescape owner upgrades to a Strato 4K there is no extra charge to download the newer version. 8K titles will, however, require a new download at a higher price.

On the storage side, the Strato K has enough onboard storage to hold seven 4K Cinematic files or 10 standard 4K files on its internal drive. Additional storage may be added via the Terra or Terra Prime servers or previously downloaded movies that were purchased, rather than rented, from Kaleidescape may be downloaded again.

There is no front panel display as most installations will use Kaleidescape’s own control system over ethernet through the likes of Crestron, Control4 or other systems or with a smartphone app or an optional remote. From an installation standpoint note that the Strato K requires a wired Gigabit network connection drop for the main unit and any additional Strato K or other Kaleidescape players in a multi-zone system.

By providing the needed third leg of the 8K ecosystem stool as well as giving home viewers higher quality image reproduction thanks to the 4K Cinematic mode, professionals may now have yet another rationale for 8K or high-color sampling content creation as a means of playing it back in the home—or in your viewing rooms—is now available.

The price? At $5,000 US, with availability in Canada at $CN7,05, the UK at £4500 GBP or in Australia at $AUS $7,999. For applications that don’t require 8K or 4:4:4 content delivery/display, the price of the existing Strato V has been reduced to $3,995.

Since its introduction, 8K has been derided by some as having great pictures that can be displayed on large projectors, dvLED walls or the growing segment of 88-to over 100-inch flat panel displays but no way to get native or new 8K scanned transfers, not upscaled, content.

The arrival of the Kaleidescape Strato K puts that objection to rest once and for all as those displays now have viable, certified, way to have a library of that long sought after 8K content delivered. For you, as a TV professional, the excuse no longer holds water. 8K as an end-to-end ecosystem is truly complete and those beautiful displays and projectors will no longer be starved for feature content.

NEW YORK, NY—WunderKIND Ads has released a new study analyzing the impact of Pause Ads compared with traditional CTV spots that show Pause Ads delivered nearly two times higher attention than standard 60-second CTV ads.

Pause Ads are ads that appear when users pause programming on CTVs.

Utilizing TVision attention data, the study analyzed millions of programmatic CTV impressions from WunderKIND Ads campaigns run via the OpenGlass platform. The data spanned top verticals—including Auto, QSR, CPG, and Travel—and covered hundreds of premium publishers across Dish, Philo, Plex, and more.

When broken out by category, Pause Ads outperformed traditional 60-second CTV spots across all 13 verticals analyzed. Automotive delivered the strongest results, generating 34.2 seconds of Attention Time versus 12.2 seconds for standard CTV video (+180.3%), followed by Technology at 33.3 seconds versus 12.8 seconds (+160.2%) and Restaurants at 34.0 seconds versus 13.5 seconds (+151.9%).

"Yes, these benchmarks are based on our campaigns, but the scale of the measurement analysis makes it incredibly valuable to the industry at large,” said Adam Gendelman vice president, head of sales, supply and operations at WunderKIND Ads. “We’re moving into the next phase of CTV advertising, where user-first formats are undoubtedly more effective than the historical foundation of interruptive fifteen- and thirty-second video spots.”

WunderKIND Ads’ programmatic solution, offered through OpenGlass’ advanced CTV platform, expands the company’s advertising footprint. These units seamlessly appear the moment a viewer pauses content, transforming a passive screen into an intentional, high-attention ad experience without disrupting the user experience.

More information is available at www.wunderkindads.com/

NEW YORK—Smartly, an AI-powered ad tech platform, and Roku have announced that they are working together to offer tools that will bring the speed, precision, and measurability of social advertising to CTV.

At the core of this partnership is a direct connection between Smartly and Roku Ads Manager, Roku’s outcomes-driven CTV platform, via the Roku Ads API. This allows marketers to run CTV campaigns using the tools they already use for social, making it easy to activate campaigns on TV quickly and reach new audiences with greater ease and measurable impact.

“CTV’s performance era is here,” said Laura Desmond, CEO of Smartly. “The best advertising follows attention across every screen, and streaming is where we can now finally unlock the same proven results. Partnering with Roku brings the same rigor, scale, and incrementality advertisers have built on social to the biggest screen in the home. Together, we are creating a structural shift in how brands grow.”

The partnership also streamlines creative development and execution, allowing advertisers to adapt existing social assets for the TV screen. This saves both time and resources by eliminating the need to rebuild separate ads for each platform.

“Advertisers want CTV to work as hard as their best-performing channels,” said Patrick Harris, SVP, Global Advertising Sales & Partnerships, Roku. “At Roku, we are strategically positioned to deliver that at scale. This partnership with Smartly makes it simple for brands to bring the speed and precision of social into TV, enabling them to turn proven strategies into measurable growth on the biggest screen.”

For more information, visit advertising.roku.com or smartly.io.

New data from Nielsen shows the New York Knicks triumph over the San Antonio Spurs in the NBA Finals attracted the largest audiences since the Michael Jordan era in 1998, with all five games averaging 20.6 million for ABC and ESPN. That was up 157% over last year.

Saturday’s NBA Finals Game 5 on ABC delivered an average audience of 24.5 million viewers and peaked with 33 million viewers watching the closing moments of the New York Knicks Championship victory, the teams first in 53 years. It was the most-watched NBA Finals Game 5 since 1998 as well.

Game 5 also generated the largest viewing audience of the day across all of television and in every key male and adult demo, according to Nielsen Big Data + Panel.

The Game 4, which saw the Knicks make a record breaking comeback from a 29 point deficit, was up 123% from last year’s Game 4 with 20.9 million viewers and peaked with 23.2 million viewers at 11:15 p.m. ET.

Fox Sports is reporting record viewing for early matches in the FIFA World Cup 2026, with 15,986,000 people watching the U.S. men’s national team beat Paraguay 4-1 across Fox, Fox One and Tubi on Friday June 12.

That made it the most watched USMNT FIFA World Cup English-language telecast in U.S. history, Fox reported, beating out the 7,763,000 people who watched USMNT playing Wales on November 21, 2022.

The 2026 match audience peaked at 18,860,000 viewers at 10:45-11 p.m. ET.

It was also the most streamed English language USMNT match on record, with 1,130,000 people viewing it on Tubi.

Fox also said Mexico beating South Africa 2-0 was the most watched opening English-language FIFA World Cup telecast in U.S. history with 6,309,000 viewers. The match peaked at 8,014,000 viewers.

With the FIFA World Cup 2026 now underway, a new study from Harris Poll finds that half of Americans plan to watch at least one match on TV, streaming, or social media over the next 39 days and that the World Cup is driving increased interest in soccer among Americans.

Slightly more than half (52%) of Americans say hosting major international sporting events in North America is making them more interested in sports they would not normally follow, a figure that is much higher among millennials (70%) and Hispanics (70%).

In the case of soccer, the presence of the FIFA World Cup 2026 in North America is driving a large new fan base for soccer. More than one quarter (26%) said they only recently started getting more interested in soccer and that their interest was specifically as a result of this year's World Cup.

Of this new U.S. fan base, 72% said it was because they watched matches on TV or streaming and 65% said they wanted to support the U.S. team.

The study also found that even before the start of the World Cup this summer, 39% of U.S. adults are already interested in the 2026 FIFA Women’s World Cup in Brazil.

Overall the study found that 27% of Americans are more interested in soccer than they were a year ago. Among this audience, millennials are the core audience, with 62% interested in the World Cup compared to 57% of Gen Z and only 24% of boomers. Hispanics are the most engaged group, with 63% interested compared to 37% of white Americans.

It’s no secret that the broadcast engineering community continues to age with fewer younger engineers entering the ranks, and that fact was on full display in April at the 2026 NAB Show in Las Vegas.

I can remember commenting to one of my friends at the show that one day soon I wouldn’t be surprised to see the walkways between the halls looking like a NASCAR track as ageing engineers vie for position in their motorized scooters.

Little did I know that I might be joining their ranks—far sooner than I ever would have imagined.

In May, I suffered a stroke that took me off my game for the better part of two weeks. Looking back, it was the oddest thing in the world because as I was going through it, the thought never occurred to me that I was having a stroke—even though years prior I happened to be present when a loved one was having a stroke and clearly recognized what was going on looking at it from the outside in.

All I knew was that my legs felt so weak I could not stand (as it would turn out that “weakness” was likely due to my lack of control on the left side of my body). Normally, my crashing to the floor would have alerted my wife that something was seriously wrong, but she happened to be on a plane at that time returning from vacation.

A call to 911 summoned the paramedics and firefighters who arrived, evaluated me and took me to the hospital.

As my case progressed, the doctors wanted to find out the source of the clot that caused the stroke, which led to a cardiac catheterization that uncovered serious cardiac artery disease. At this writing, I am days away from open heart surgery to revascularize my heart.

All of this to communicate two points. First, while most would regard having a stroke as a major negative life event, I look at it now as a bit of good fortune because it led to uncovering a serious health condition that could end my life. Now, that can be addressed. Plus, as it turns out the stroke has not left me with any noticeable deficits.

Second, as I mentioned at the top of this column. None of us is getting any younger, so it might be worthwhile to learn the acronym the medical community has given to recognizing a stroke and taking action: B.E.F.A.S.T. Or,

B –Balance, sudden loss of balance or coordination.

E –Eyes, sudden change in vision.

F –Face droop on one side or numbness.

A –Arm weakness or numbness.

S –Speech is slurred.

T –Time to call 911.

I am looking forward to successful heart surgery, rehab and getting back in the swing of covering this ever-changing industry. See you then.

A policy scholar at a prominent conservative think tank says the government needs to rethink the philosophy behind the public interest obligations of U.S. broadcasters, criticizing the current rules as outdated and incompatible with current media technologies. The author even doubts the validity of using the “scarce spectrum” as a valid argument.

In a blog post titled “The FCC’s Public Interest Notice Is a House of Cards,” the Cato Institute's David Inserra says the commission’s recent revival of invoking “public interest” obligations when criticizing late-night comedians like Stephen Colbert and Jimmy Kimmel threatens broadcasters’ freedom of speech and ignores the current media landscape.

“The FCC can cite decades-old laws and precedents and pretend that its public-interest standard is necessary because broadcast spectrum is technically scarce,” Inserra writes. “But that argument ignores the radically abundant media options available to modern consumers.”

Inserra says the commission’s insistence of requiring broadcasters to provide equal time to opposing political candidates—as illustrated by its recent battle with Colbert, former host of CBS’s “The Late Show With Stephen Colbert,” over a planned interview with a Texas Democratic politician—highlighted the current dilemma facing broadcasters when it comes to free speech.

“This has resulted in frankly ridiculous outcomes, such as when Stephen Colbert was unable to air his interview with Democratic Senate candidate James Talarico because of concerns over the FCC’s equal-time rule,” Inserra wrote. “This rule generally requires broadcasters that provide airtime to one legally qualified candidate to give opposing candidates for the same office an equal opportunity to seek comparable airtime.

“In response, Colbert told viewers that he had posted the interview to his YouTube channel, where it received over 5.3 million views in less than 48 hours, about double the 2.7 million viewers who tuned in on average to his show on CBS,” Inserra continued. “FCC regulations are now the butt of jokes, with comedians mocking how antiquated and censorious they are.”

Inserra doesn’t buy the argument over spectrum either, citing the famous 1969 Red Lion Broadcasting Co. v. FCC, in which the Supreme Court affirmed that FCC regulation was justified by spectrum scarcity,

“Just because a resource is finite and geographically limited does not mean that markets cannot operate; real estate is the most obvious counterexample,” he wrote. “Second, the Court was blind to the broader media landscape. Newspapers, theaters, movies, and other forms of communication were not subject to the same technical constraints as broadcast spectrum, but they were substitutes.”

Inserra suggests that steps be taken to restrict or better define broadcasters' public-interest obligations, including ending rules on news distortion and equal time.

“The FCC does not need to micromanage spectrum, and it certainly does not need to use spectrum licenses as a lever for editorial control,” Inserra writes. “With the FCC’s control over licenses removed, broadcast speech would be far freer from government manipulation and jawboning.”

The 2026 FIFA World Cup will be one of the most-watched sporting events in streaming history. It will also be one of the most complicated for viewers to navigate.

For fans, the question sounds simple: where do I watch the match? But across connected TV, the answer is no longer as straightforward as turning on a channel. Viewers may encounter the tournament through a smart TV home screen, sports hub, streaming app, platform search, voice navigation, YouTube preview, or AI-powered recommendation.

With 104 matches and 48 teams, combined with multilingual coverage across multiple platforms, YouTube’s first 10-minute viewing window, and connected TV operating systems playing a larger role in content discovery, the tournament is shaping up to be a major test of the modern streaming experience.

The Home Screen Is the New Sports Guide
Today, the TV home screen is becoming the front door to live sports. The apps a viewer sees first, the events promoted in hero banners, the matches surfaced in live sports rows, and the results returned through search can all influence where audiences go and what they watch.

That matters because live sports discovery is different from entertainment discovery. A movie can be found later. A series can sit on a watchlist. But a live match has a start time, a halftime, and a final whistle. If fans cannot quickly find the right destination, the moment may be missed.

Because of that urgency, placement, timing, accuracy, and context all matter. A World Cup match prominently promoted on a TV home screen has a very different discovery advantage from one buried behind multiple clicks or unclear app navigation.

Live Sports Merchandising Is More Complex
The scale of the World Cup will make this even more complex. The tournament will include multiple daily matches, different kickoff times, national teams with varying levels of audience demand, and different viewing preferences across language, region, and platform. FIFA has predicted that 6 billion viewers will watch the tournament.

A fan searching for “Mexico live,” “World Cup highlights,” “soccer on now,” or “watch Argentina” may expect an instant answer. Whether that answer appears clearly will depend on how well platforms organize, tag, promote, and surface live sports content.

Apps still matter, but operating systems increasingly shape the path viewers take before they ever open an app. Sports hubs, recommendation rows, search tools, voice assistants, and AI-driven prompts can all guide fans toward one viewing path over another.

YouTube Could Reshape the Funnel
For the 2026 World Cup, match discovery could increasingly begin on YouTube, where official media partners will have the option to stream the first 10 minutes of every match on their YouTube channels.

That model adds an important new dimension to the viewing journey. By giving rights-holding broadcasters a way to showcase the opening minutes live on YouTube, FIFA is creating a new top-of-funnel entry point for fans who may encounter matches through previews, clips, creators, search, or algorithmic recommendations.

YouTube could become a powerful discovery channel, particularly for younger viewers and casual fans. But the real test will be the handoff: once the preview ends, can viewers easily find the full match on the correct app, language feed, or platform destination?

The more friction involved, the greater the risk that viewers drop off before reaching the full match experience.

Small UI Errors Can Create Big Problems
The 2026 World Cup will also expose the operational challenges behind live sports merchandising. At Looper Insights, our data has found an average of 1.3 user interface errors per live sports event. These can include incorrect tiles, incorrect start time listings, outdated promotions, missing event information, broken navigation paths, or inconsistent placement across devices.

For general entertainment, these issues are frustrating. For live sports, they can be costly. When a fan is trying to find a match already underway, even a small error can mean missed viewing time, confusion, or abandonment.

The impact extends to advertisers as well. If fans miss the opening minutes of a major World Cup match because the game is difficult to find, brands lose access to some of the most valuable live viewing moments: pre-game build-up, kick-off, early in-game attention, and the shared urgency that makes sports advertising so powerful. For sponsors and media buyers investing in marquee matches, discovery friction can weaken the value of campaigns that depend on audiences arriving on time and at scale.

That is why verification will matter as much as promotion. Broadcasters, streamers, rights holders, and platforms will need to know whether placements appeared as planned, whether event information was accurate, and whether issues were resolved before they affected viewers. At the World Cup scale, a missing tile, outdated promotion, or incorrect start time can affect tune-in, advertiser value, and the overall fan experience.

The Winners Will Make Discovery Effortless
The companies that perform best during the World Cup will not simply be those with the biggest campaigns. They will be the ones that make the viewing journey effortless: surfacing the right match at the right time, guiding fans from previews to full-match viewing, and ensuring promotions accurately reflect what is live now.

As streaming becomes more fragmented, visibility becomes more valuable. For live sports, visibility is not just about awareness. It is about access, timing, and conversion.

The match may start on the pitch, but for millions of viewers, the journey will begin on the home screen.

NEW YORK—Nielsen has released a new study documenting the growing influence and size of the North American soccer fan base with data showing there are over 136 million soccer fans in North America, up 10.9% from 5 years ago, and that the U.S. now has the fourth largest soccer fanbase in the world with 62.5 million fans.

“The Fans Behind The Game: FIFA World Cup 2026 Edition” report examines audience, engagement, content and format and utilised trended data to explore the current fan landscape in the USA, Canada and Mexico.

Key findings include:

• Over the past 5 years soccer fandom in North America has experienced significant growth - with a 10.9% leap from May 2020 to May 2025, marked by surging viewership of TV broadcasts.
• The US has the fourth largest soccer fanbase in the world with 62.5 million fans
• 64% of fans expect their interest in soccer to keep climbing
• Soccer is the world’s most popular sport and the most popular sport in Mexico (63%) with the average Mexican fan following the sport for around 14 years. In the US and Canada, soccer faces more competition. It ranks 3rd (37%) in Canada and 4th (31%) in the USA, trailing to domestic sports like ice hockey, and American football.

• About a quarter of soccer fans in North America became a fan in the last 5 years, with the majority (68%) of fans claiming their interest has increased in the last 3 years as the build up to the FIFA World Cup 2026™ intensified.
• Soccer fans in the U.S. are younger (33) and more affluent than the US general population.
• 76% of U.S. soccer fans are Millennials or Gen Z
• Higher female engagement is a key differentiator in North America vs Europe (43% vs 36%)
• Across North America, soccer plays a significant / extremely significant role in the livelihood of individuals including personal enjoyment (29%), social connection and community (14%), family bonding and tradition (12%), and physical fitness and health benefits (11%).
• North America follows similar media engagement patterns to Europe, with 72% watching the game via TV or streaming platforms (47%) with social media (47%) being the next most popular.
• More Mexicans (51%) are likely to watch broadcasts of live matches - usually with family and friends (the ones that brought them into the sport) at home.
• Canadians lean into short-form content (33%), preferring to watch highlights and social media content.

The report also delved into the economic impact FIFA can create.

For example, the FIFA Club World Cup last summer (June 14 to July 13, 2025) in major U.S. cities was a huge commercial success with the economic outcome generating a Gross Output of $17.1 billion and contributing $9.6 billion to the Gross Domestic Product in the U.S. The research shows the event created 105,000 Full-Time Equivalent jobs and generated $5.8 billion in Labor Income. The event is projected to generate $1.9 billion in direct and indirect taxes for the government.

More information on “The Fans Behind The Game: FIFA World Cup 2026 Edition” can be found at Nielsen.com.

NEW YORK—While U.S. interest in soccer continues to grow and viewing of the FIFA World Cup 2026 is projected to rise, new survey data across seven major markets shows the nation still lags the Europe and Asia-Pacific regions in men’s World Cup viewing, according to S&P Global Market Intelligence.

Only 13% of U.S. online adults surveyed said they “typically” watch World Cup matches, compared to nearly half of U.K. respondents and 28–43% of respondents in other surveyed markets.

Demographic patterns reveal a male-heavy audience, with splits approaching 70% men and 30% women in the U.S. and China and 57%-43% in India.

Cross-sport engagement is extensive. U.S. World Cup fans heavily favor football (78%) and basketball (70%), while cricket dominates India (89%), baseball peaks in South Korea (64%) and European markets show the strongest overlap with tennis viewership.

Younger cohorts show a more balanced gender mix, but the gap widens substantially among older viewers

SAN JOSE, Calif.—Despite current economic pressures, consumers are watching more video entertainment than in the previous five years, but in a more fragmented media environment, according to TiVo’s Q4 2025 Video Trends Report.

Consumers are watching more video daily than at any time since the 2021 pandemic era, with households returning to an average of more than 10 video services in Q4 2025, TiVo said. This represents peak media consumption following a brief decline in 2024. For the quarter, viewing surpassed five hours per day and monthly entertainment spending rose to $161, reflecting year-over-year growth after a post-pandemic dip.

Looking at consumed content, local programming accounts for nearly 30% of total viewing time, an increase of approximately five percentage points year over year. Sports also remain a key driver of engagement, with nearly 60% of sports viewers relying on pay TV as their primary source. Live and local content continues to anchor viewing behavior in a notably fragmented environment.

“The findings reinforce that video serves as a historically resilient, high-priority category, even as the entertainment landscape grows increasingly fragmented and competitive,” TiVo said.

As entertainment ecosystems continue to expand, viewing preferences remain relatively stable. About half of respondents prefer that streaming services release an entire season at once, compared to roughly 20% who favor a weekly episode rollout, underscoring continued demand for convenience and flexible viewing experiences.

“Consumers are watching more video than ever before, but they’re enjoying that content across an increasingly fragmented mix of platforms and services,” said Geir Skaaden, chief products and services officer at Xperi. “As the entertainment ecosystem continues to expand, helping viewers easily discover and access the content they want has become more important than ever. For advertisers and platforms alike, delivering simple, seamless viewing experiences will be critical to reaching audiences and keeping them engaged.”

While viewing continues to expand across platforms, content discovery remains a growing challenge. As households manage more services, viewers are navigating a complex content ecosystem, with 40% of consumers checking two to three different apps before deciding what to watch. Discovery is also shifting beyond the platforms themselves, with word of mouth (49%) and social media (40%) most often influencing viewers. This reliance on external inputs, combined with increased fragmentation, is making content discovery less efficient and more frustrating for viewers.

“The number of viewing options available to consumers continues to grow, but what is most notable is how audiences are responding to that expansion,” Alan Wolk, TVREV’s co-founder and lead analyst, said. “Consumers are becoming more selective about where they spend their time and money, and entertainment services remain a priority. Live sports and local programming serve as important anchors, while the broader market is shifting toward simpler, more value-conscious viewing choices. The industry is entering a phase where effective curation and discovery matter just as much as scale.”

Additional report highlights:

• Ad-supported growth: More than half of consumers (54%) now use ad-supported subscription tiers, while AVOD/FAST adoption rose to 70% in Q4 2025, up five percentage points year over year. AVOD and FAST services now account for 13% of total viewing time.
• FAST audiences are watching more: The average FAST user now watches 7.5 channels, up more than two channels year over year. Pluto TV, Tubi, Roku Channel and Amazon Prime Video remain the leading FAST destinations.
• Discovery extends beyond apps: Smart TV home screens are becoming increasingly important gateways for content discovery and advertising, with owners spending 57% of their non-viewing time on the home screen.
• Consumers are prioritizing value: More than 35% of consumers routinely reassess subscriptions and viewing choices to balance cost, access and content availability.
• Fragmentation fuels discovery challenges: As the number of services grows, 40% of consumers report checking multiple apps before deciding what to watch.

The latest TiVo Video Trends Report (available here) surveyed 4,493 adults 18 and older living in the U.S. and Canada during the fourth quarter of 2025.

For decades, television operations were designed around predictability. Channels followed relatively fixed schedules, distribution paths were well understood, and programming decisions moved at a deliberate pace. Scheduling systems evolved to support that environment efficiently, optimizing around timing precision, transmission readiness, and operational control.

Today, the foundations of that operating model are being challenged by the economics, scale and fragmentation of modern video distribution.

Media companies are now managing expanding portfolios across linear television, FAST channels, streaming services, VOD platforms, regional feeds, social media and digital video environments in parallel. A single piece of content may exist across multiple business models, geographic markets, and audience segments simultaneously, each governed by distinct rights windows, metadata requirements, monetization strategies, and promotional priorities.

Operational complexity has expanded dramatically, yet many of the workflows supporting programming and scheduling still reflect assumptions from a much simpler broadcasting environment. This growing disconnect is beginning to reshape how the industry thinks about channel and platform operations.

Scheduling Is Evolving From Execution to Continuous Optimization
Much of the industry’s focus over the last decade centered on automation. FAST channel creation, playlist generation, continuity workflows, and multi-platform distribution have all become significantly more efficient as broadcasters and streaming operators scaled their digital operations.

Those advances delivered meaningful operational gains. However, scale alone is no longer the defining challenge.

Modern channel environments are increasingly influenced by live audience behavior, dynamic advertising models, changing consumption patterns, and real-time performance expectations. Programming decisions that were once planned weeks in advance are under pressure to adapt continuously to changing audience demand and monetization opportunities.

Historically, scheduling has always been a strategic discipline balancing editorial objectives, audience expectations, rights constraints, commercial priorities, and operational execution. The expansion of fragmented, multi-platform distribution has significantly increased both the complexity and operational speed of those decisions.

That evolution is particularly visible in FAST and streaming environments, where operators have greater flexibility to adjust schedules, rebalance content lineups, and respond to audience performance far more dynamically than traditional linear models ever allowed.

The operational challenge now centers on how programming environments adapt continuously across fragmented audiences, platforms, and business models while remaining commercially sustainable in an environment where distribution costs are rising, and platform margins can be extremely thin.

Metadata Has Become a Critical Enabler of Scale
Metadata has always been fundamental to media operations. Accurate content, rights, and scheduling information have long been essential to getting content to air, managing libraries, and supporting distribution.

The expansion of multi-platform distribution has dramatically increased the volume, complexity, and operational dependency placed on metadata workflows.

As media companies expand across linear, FAST, streaming, VOD, regional variants, and digital platforms, content information needs to move reliably across a growing number of systems, teams, and operational workflows.

When title information, rights data, and metadata become fragmented or inconsistent, teams spend more time validating, correcting, and coordinating work. That impacts scheduling accuracy, delays distribution, increases compliance risk, and makes it harder to operate efficiently at scale.

This reflects a broader shift across media organizations. Programming operations are becoming more interconnected with audience insight, rights decisions, advertising models, and increasingly personalized content experiences. Reliable metadata is becoming a prerequisite for making those processes work together effectively.

This is one reason richer content understanding is becoming important across scheduling and programming environments.

By combining structured metadata with broader contextual understanding of content, including themes, relationships, audience fit, and editorial relevance, organizations can make more informed programming decisions and reduce the operational effort required to manage large content portfolios.

As scale increases, metadata becomes less about organizing content and more about enabling organizations to operate, adapt, and optimize effectively.

FAST Accelerated a Structural Shift in Operations
FAST channel growth accelerated operational demands that were already emerging across the industry.

The economics of FAST reward speed, flexibility, and scale. Operators are expected to launch channels quickly, maintain fresh programming lineups, adapt to audience behavior, and manage large channel portfolios without proportionally increasing operational overhead.

Traditional scheduling workflows were not designed for that level of responsiveness.

Rules-based automation remains essential for handling repetitive scheduling tasks, but scale now depends on the ability to optimize dynamically across multiple variables simultaneously. Audience behavior, content performance, and advertising objectives all influence programming decisions in real time.

In some environments, programming decisions that once changed quarterly are now being adjusted weekly or daily based on audience performance, rights availability, and monetization priorities.

This is forcing media organizations to rethink the architecture supporting channel and platform operations.

Programming systems are evolving beyond static scheduling engines into adaptive operational environments capable of continuously balancing competing priorities. Audience intelligence, contextual performance data, and monetization opportunities are beginning to shape scheduling logic directly rather than functioning as separate downstream analytics.

The distinction between scheduling, personalization, and audience engagement is becoming less defined.

AI Is Reshaping Operations Through Optimization
Artificial intelligence is already beginning to influence how programming operations scale, although its most practical applications are emerging in areas tied to specific optimization rather than fully autonomous decision-making.

Metadata enrichment, semantic analysis, audience clustering, search, content matching, and scheduling optimization are all benefiting from AI-driven workflows that improve operational speed and precision. These capabilities help programming teams manage growing complexity while surfacing patterns and opportunities that would be difficult to identify manually at scale.

At the same time, programming decisions remain highly contextual. Editorial judgment, brand positioning, regional market nuance, and live event management still require human oversight and strategic direction.

The operational model emerging across the industry is increasingly hybrid in nature, with automation handling repetitive execution, optimization systems processing audience and performance signals at scale, and programming teams focusing more heavily on editorial strategy, curation, oversight, and differentiation.

That balance between operational intelligence and human judgment is likely to define the next phase of channel operations.

Scaling Distribution Was the First Challenge; Scaling Operational Intelligence Is the Next One
The media industry spent the last decade scaling distribution. The next phase of transformation will focus on scaling operational intelligence, enabling organizations to make better programming decisions faster and execute them more efficiently.

As audiences fragment across platforms and consumption models continue to evolve, the organizations that succeed will likely be those capable of responding to audience and business demands more dynamically rather than operating through static scheduling cycles built for a different era.

Channel operations are now shaped by how effectively media organizations can connect audience intelligence, metadata, monetization strategy, and programming workflows into an operating model that improves responsiveness, reduces manual effort, and accelerates speed to market.

Channels and platforms have become relatively straightforward. Managing those environments intelligently, responsively, and profitably at scale is becoming the defining operational challenge of modern media.

The organizations that succeed will not necessarily be those operating the most channels, but those able to adapt programming strategies quickly, scale operations more efficiently, and continuously optimize programming decisions across an increasingly complex distribution landscape.