Even as viewers spend more time with ad-supported streaming TV and ad inventory continues to grow, a disconnect is emerging between these trends and the share of ad budgets allocated to connected TV (CTV), a report from streaming technology provider Wurl says.

In “The CTV Trends Report—Addressing the Content Signal Gap,” Wurl cites the “dearth of information” ad buyers have on the content they’re buying against as a major reason for the disconnect.

Citing research Wurl conducted with AdExchange, the report said 79% of respondents pointed to “inefficiencies around data quality, fragmentation and interoperability” as limiting the scale and effectiveness of ad campaigns on streaming TV.

Wurl analyzed metadata transiting the CTV programmatic bidstream, revealing: 89% of ad requests lacked a usable program name; more than 3,600 different genre labels appeared in a two-hour window; and 35% of analyzed inventory carried a declared genre not aligning with what Wurl detected the actual program to be.

The report offers an example of the different genre labels revealed within the two-hour window. With regard to drama, genre labels could appear as “genre_drama” or “crime drama.” Similarly, reality shows might surface as “reality,” “reality shows,” “reality & game show” or “genre_reality_tv,” the report said.

“While this may be the result of a well-meaning effort to help advertisers find relevant content, on the flip side it places an operational burden on the ecosystem and risks limiting deal sizes,” it said.

Taken together, these findings reveal the basic challenge facing CTV. “The information buyer need to understand and value an impression doesn’t always make it into the bidstream,” according to Wurl’s report.

The ability to deliver greater audience granularity is a major benefit of CTV, but buyers cannot take full advantage of this strength without the “quality and availability of the signals attached to each ad opportunity,” the report argued, adding, “Today, those signals often paint an incomplete picture.”

Wurl offers streaming industry players a variety of products, including scene-level targeting of ad inventory.

PLANO, Texas—New Parks Associates research finds that high dynamic range (HDR) is a foundational component of premium video entertainment and gives television manufacturers, streaming services and content creators a way to differentiate themselves through picture quality.

The research is presented in “High Dynamic Range and the Future of Video,” a new Parks white paper developed in partnership with chief Advanced HDR by Technicolor supporter InterDigital.

“HDR gives the entertainment industry a powerful way to make improvements in picture quality,” Parks Director of Entertainment Research Michael Goodman said. “For manufacturers, it helps demonstrate the value of advanced displays. For streaming services and content owners, it provides an opportunity to deliver a more compelling experience and preserve the creative intent of their programming.”

According to the research, several developments are shaping the next phase of HDR, including:

Smart-TV penetration is rising, as 62% of U.S. internet households now have a connected TV device.

• Live sports and gaming is making HDR, with its ability to reproduce bright highlights, detailed shadows and realistic imagery, more relevant.
• Mobile viewing is extending HDR beyond the television, as 24% of weekly video consumption is done on mobile phones and 11% on tablets.
• Tech advances are improving delivery economics, as AI assists in image processing and next-gen codecs like Versatile Video Coding (VVC) simplify workflows. 

The research also identified challenges, including differences in HDR formats, device capabilities and service implementations.

“Consumers may not always know HDR by name, but they recognize the experience it enables: richer color, deeper contrast and a more lifelike picture,” Lionel Oisel, head of video labs at InterDigital, said. “As HDR expands across streaming, live sports, gaming and mobile, the opportunity is to make that premium experience consistent and efficient on every screen. Innovation in HDR, video compression and delivery will be fundamental to making that possible.”

Parks Associates and InterDigital will discuss the research at the Future of Video: Business of Streaming conference, Nov. 17-18, in Marina del Rey, Calif. Registration is available here.

PLANO, Texas—An increasing number of U.S. internet households are watching live events or sports through an on-demand streaming service, according to a new report from Parks Associates.

In its new report, The New Live TV Model: Skinny Bundles, Sports, News, the research firm says that 39% are doing so, illustrating the growing role of streaming services in delivering live programming. The expanding mix of options to watch video is changing how consumers find and watch sports, news, and events, as live video viewing is no longer synonymous with pay TV, Parks adds.

The report also found that 25% surveyed watch live video through free ad-supported television (FAST) services and 21% report they don't watch live video at all.

"Consumers value live content but struggle to find and access it," said Michael Goodman, Director, Entertainment Research, Parks Associates. "The challenge for providers is making live content accessible. Sports is a good example, with programming now distributed across multiple services and platforms."

Consumer interest in live sports is growing alongside broad-appeal entertainment. According to Parks Associates consumer research, comedy (60%), drama (56%), and news (50%) are the most popular content categories, while 48% report watching live sports. Subscription VOD (SVOD) services continue to add sports, news, and live events while FAST services build engagement through curated linear channels.

"Competition for viewers is increasingly about more than the content itself," Goodman said. "Providers need to deliver an experience that makes it easy for consumers to find, access, and move between live and on-demand programming."

LONDON—Despite recent turmoil in traditional regional sports networks (RSNs), the value of Major League Baseball’s (MLB) regional broadcast rights at $1.6bn in 2026, accounts for 43% of the league’s total $3.7bn broadcast rights revenue, according to a new report from Ampere Analysis.

The contribution remains substantial despite the disruption to regional sports networks (RSNs), which traditionally broadcast teams’ games to local audiences outside national television packages, the researcher said.

Rooted in linear cable, regional sports networks (RSNs) have come under increasing pressure from cord-cutting, as US households move away from traditional pay TV towards streaming. Over the past four years, 13 of MLB’s 30 teams have lost their regional sports network partner, including 12 following the bankruptcies of Diamond Sports and Main Street Sports Group.

Ampere estimates that US pay TV households will fall from 96 million in 2016 to 65 million by the end of 2026, while streaming households will increase from 57 million to 112 million over the same period.

MLB.tv has taken on responsibility for broadcasting local games for affected teams which has contributed to the robustness of the regional rights income. In the 2026 season, it holds regional broadcast rights for 14 of the league’s 30 teams. Most of the remaining teams have more lucrative regional television arrangements with the ones in the larger, more populous markets having a bigger pool of fans and potential regional sports network customers.

Ampere estimates that the Los Angeles Dodgers and New York Yankees alone account for 23% of total MLB regional rights fees and that in total, the 14 teams partnered with MLB.tv currently account for roughly 30% of all regional non-advertising TV revenue. These teams previously had more lucrative agreements with their regional broadcast partners, with MLB.tv currently providing an interim solution.

With labor talks threatening an all-out "strike" for the 2027 MLB season, Ampere adds that greater revenue sharing between teams may be introduced following the expiry of the collective bargaining agreement between MLB and the MLB Players Association at the end of this year. This could reduce the television revenue gap between teams in smaller and larger markets.

In the upcoming negotiations, MLB wants to centralize local broadcast rights at its next media rights cycle in 2028. This could allow the rights to be sold collectively to a streaming platform, potentially on a national basis, Ampere said.

In terms of the overall U.S. market, Ampere expects US pay TV households to decline further to 58 million by 2031, while streaming households will reach 120 million. A consolidated package of local MLB rights would offer a substantial volume of games to broadcasters interested in one of the ‘big four’ US sports leagues.

CAMBRIDGE, U.K.—According to a new report from Bango, a third of American viewers surveyed say they would rather watch highlights from a show than every full episode, rising to 43% among Gen Z.

The survey of 2,500 US adults raises a question about how viewers watch TV, according to Bango: Are audience attention spans shrinking, or are they simply looking for different ways to watch? Four in ten Americans (40%) say they would use streaming services more often if they offered short clips from their shows, rising to more than half (53%) of Gen Z, the researcher said.

That appetite is already reflected in reported viewing habits: 37% of Americans say they use their streaming service more often now that it includes vertical video clips, rising to 47% among Millennials.

But a taste for shorter viewing doesn’t necessarily mean less appetite for a good story. More than half (51%) say clips help them discover shows worth paying to watch. For some, the highlights are the attraction, but for others, those few minutes are what persuade them to settle in for the whole series.

Bundles Matter
How people access that entertainment matters too. Alongside the appetite for shorter viewing, 61% of Americans say they would be more likely to keep a subscription if they could get it for less through a bundle, giving streaming services and mobile providers two opportunities to explore: more ways to watch and more affordable ways to subscribe.

For families, the appeal of bite-sized entertainment comes with another question: can children enjoy short videos while spending less time on social media?

More than four in ten Americans (44%) see value in short videos from a brand they trust, while 37% say curated clips would help keep their kids off social media. That figure rises to 47% among Millennials.

The findings come as international restrictions on children’s social media access put alternatives to social platforms under scrutiny. Australia has banned under-16s from social media since December 2025, and the UK government has announced plans to follow suit in 2027, Bango said.

The U.S. findings from Bango suggest an audience for an alternative: curated clips from familiar streaming platforms, giving families another way to enjoy short videos.

That appeal could also contribute to what people feel they get for their money. Four in ten Americans (40%) say original or exclusive short videos could help justify the price of a streaming subscription.

The Story is Still the Thing
An appetite for highlights does not mean audiences have stopped caring about full-length stories, however. In the same survey, 65% of Americans say new episodes of shows they follow are important in their decision to keep paying for a streaming service.

The findings suggest there is room for both: something entertaining to watch in a spare moment and a series worth settling in for, according to Bango CEO Paul Larbey.

“It’s tempting to read these findings as evidence that nobody has the patience for a full episode any more," he said. "But people still value the shows they follow. The opportunity is to give them different ways to enjoy that entertainment, depending on the time and attention they want to give it as well as new ways to discover new shows without having to fully commit.

“For families, there’s another question: can children enjoy short videos without being drawn into a social media feed? Curated, age-appropriate clips from familiar shows could offer another option, particularly as restrictions on children’s social media access take effect.

“Streaming services have stories and characters people already love. Shorter formats could help audiences enjoy more of those catalogues, while getting a subscription through a phone, broadband or banking bundle could make it more affordable to keep. Together, streaming services with bundlers like telcos and banks can give people more ways to enjoy their favorite entertainment at a price that works for them.”

For telcos, short-form entertainment could strengthen the appeal of the streaming services offered through their bundles, giving customers more ways to enjoy the subscriptions they already pay for.

Younger consumers are already using bundles to manage costs: 21% of Gen Z say they have moved from paying for a service separately to getting it through a bundle to save money in the past year.

Consumers also see value in bundling streaming with other services: 23% say a music subscription would make a streaming service more valuable to them, followed by food delivery benefits (20%) and shopping memberships offering free shipping or discounts (19%).

The survey is available here.

NEW YORK—Ads aired during Spanish-language television broadcasts were 50% more impactful than English-language TV ads over the past year, according to research released today from EDO.

The research, presented in the analytics firm’s third annual “Spanish Language TV Outcomes Report,” is based on 1.3 million ad airings and 332 billion impressions across 631 brands. EDO said it applies the same measurement standard to each advertiser, network and language, giving the industry a single, comparable view of what's actually driving outcomes across an increasingly fragmented TV landscape.

The report comes following 2026 FIFA World Cup coverage and Puerto Rican rapper Bad Bunny performing a solo headline Super Bowl halftime show—two contributors to a landmark year in Latino culture, EDO said.

The average Spanish-language ad was 24% more effective than the average English-language ad on a per-person, per-second basis—even after controlling for audience size. That edge held across genres, with Spanish-language content outperforming English-language programming by 44% in scripted entertainment, 48% in news and 9% in reality programming.

“Spanish-language TV (SLTV) is no longer just the most overlooked opportunity in advertising—it’s also one of the fastest-growing,” said Laura Grover, senior vice president and head of client solutions at EDO. “For years, the average SLTV ad has delivered more bang for the marketer’s buck by driving stronger engagement than the average English-language TV ad. But over the past year, this delta has grown even wider, delivering stronger outcomes across brand categories and measurable business impact for advertisers.”

The report also highlights standout brand performance during the World Cup. Telemundo's on-screen hydration-break sponsorships, a first for the tournament, drove 39 times as much impact as a typical ad on English- or Spanish-language TV.

McDonald’s ads during the hydration break were 438% more effective than the average SLTV World Cup advertiser, while creative from Airbnb and Ford both outperformed the World Cup field by triple digits.

The value didn't end when the final whistle blew. Only 19% of creatives that debuted during the World Cup ran elsewhere on SLTV afterward, EDO reported, but those that did kept performing, driving 43% greater effectiveness than the SLTV average when airing during soccer coverage post-tournament and 15% more during nonsoccer programming.

The “Spanish Language TV Outcomes Report” is available for download.

HUNTSVILLE, Ala.—A majority of state residents polled wants Alabama Public Television (APT) to continue its relationship with PBS, but among those who expressed an opinion slightly more than half perceived a political leaning in its coverage.

The findings, part of a poll conducted by the firm Cygnal, were released Sept. 29 coinciding with a public meeting of the Alabama Educational Television Foundation Authority (AETFA).

An article by Ben Sessoms on the website Alabama Reflector website reported that at an October 2025 meeting of AETFA, an authority commissioner said he opposed PBS programming due to perceived political bias.

According to the Cygnal poll, of the 363 respondents that offered an opinion, 32% said APT programming leans politically liberal, 20% perceived a conservative bent and 47% said the programming is generally balanced. A total of 237 of the poll’s 600 respondents were unsure.

The poll also asked respondents about whether or not APT stays within the bounds of state law prohibiting the broadcasters from carrying propaganda, attempting to influence legislation or engage in political campaigns. Of the 341 respondents answering the question, 218 said the broadcaster stays within the requirement. A total of 123 said it does not, and 259 were unsure.

When it comes to news fairness, respondents gave APT high marks. Among those who watch APT coverage of the state legislature, “PBS NewsHour” and “Capitol Journal,” 158 found coverage to be fair and even-handed, while 73 thought it was unfair or one-sided. A total of 202 said they do not watch APT news programming, and 167 were unsure.

Despite the mixed bag when it comes to political leaning and news fairness, most respondents (54%) said they favored maintaining support for PBS programming, while 18% were against it, and 28% were unsure.

The poll of 600 Alabama citizens was conducted Sept. 20-23. It has a margin of error of plus or minus 4%. Known registered voters were interviewed via live phones and SMS, and the survey was weighted to a general population universe, Cygnal said.

ESPN delivered its most-watched WNBA regular season ever in 2026, marking the third straight year that regular season viewing set records.

Across 29 games, the WNBA on ESPN networks averaged 1.37 million viewers, up 17% year-over-year.

ESPN presented 17 games this season, averaging 1.24 million viewers, up 32% year-over-year, while 12 games on ABC averaged 1.56 million viewers, up 9% year-over-year.

The historic season also delivered significant growth among younger audiences. Viewership among persons 2-17 increased 29% year-over-year, while persons 18-24 grew 27%.

Non-Indiana games averaged 984,000 viewers, up 24% year-over-year and its WNBA Countdown show averaged 595,000 viewers, up 27% year-over-year.

The record-setting season was highlighted by five games averaging more than 2 million viewers. Those games were:

• Indiana Fever at Atlanta Dream – Aug. 16, ESPN: 2.58M viewers
• Indiana Fever at Chicago Sky – Aug. 8, ABC: 2.56M viewers
• Indiana Fever at Minnesota Lynx – Aug. 2, ABC: 2.52M viewers
• Dallas Wings at Indiana Fever – May 9, ABC: 2.49M viewers
• New York Liberty at Indiana Fever – Aug. 11, ESPN: 2.01M viewers

Indiana Fever-Atlanta Dream on Aug. 16 led all WNBA games across ESPN networks this season and became the most-watched WNBA regular-season or postseason game ever on cable.

SAN FRANCISCO—Local television news faces a stark generational divide, according to new consumer research released by #FutureOfTV.Live, a quarterly research initiative from Ring Digital.

Just 10% of 18–24-year-olds watched local TV news during the previous week, compared with 64% of adults 65 and older—a 54-point gap.

Daily television viewing shows a similarly large divide: 31% among 18–24-year-olds versus 81% among adults 65 and older.

The findings are part of the Fall 2026 #FutureOfTV.Live Report, based on a September survey of 1,376 U.S. adults, weighted by age and gender to U.S. Census population data.

"The challenge for local broadcasters isn't simply that pay TV is declining. It's that the next generation of viewers is developing an entirely different relationship with news and television," said Brian Ring, founder of Ring Digital and #FutureOfTV.Live. "The question is increasingly how broadcasters bring their programming into those new viewing behaviors—and then turn discovery back into tune-in."

The Fall 2026 research is sponsored by Big Blue Marble, a cloud and streaming solutions provider serving sports, news and broadcast clients globally.

The report covers a range of topics—vertical video, interactivity, and mobile video news—as part of a larger exploration of news audience behavior.

Among respondents who watched a local newscast, 35% said they last watched through a pay-TV service, compared with 18% through social media or YouTube, 13% through a free streaming app, and just 7% through the station's own app.

The report also found mobile news consumption is substantial. Based on the data, #FutureOfTV.Live estimates 108 million U.S. adults watch news video on their phones daily. Among surveyed mobile news-video viewers, Facebook and YouTube Shorts each reached 46%, followed by TikTok at 37% and Instagram Reels at 33%.

The research also tested possible solutions to the challenges this shift presents. It reports a positive audience reaction to low cost, high ROI interactivity used in CNN's late-night programming. It also tests a "TikTok meets TV Guide" concept designed to use short-form, vertical video discovery to drive viewers into live and linear programming.

The full report is available here. Read the full research and analysis at #FutureOfTV.Live.

New data from Parks Associates shows that the number of standalone streaming services continues to decline in the U.S. market, with the research company’s Streaming Video Tracker reporting ten US streaming service profiles were phased out in Q2 2026 as many services rebrand and reorganize their content and brands.

Notably, Paramount Skydance ended BET+ as a separate service and consolidated that content within its flagship Paramount+ streaming service.

The Streaming Video Tracker also started tracking two new services last quarter, OG Network and TrueTVplus.

Overall, there were 336 standalone streaming services in the U.S. down from 366 in 2022.

Recent market changes highlight an active streaming market where services are closing, consolidating, or moving content to different distribution models, the researchers noted.

In particular, the market has been active regarding sports content, as providers experiment with the best strategies to capture sports fans and viewers:

For example, FIFA+ moved to DAZN, RidePass now operates solely as a FAST channel and FanDuel Sports Network shut down its television channels and streaming operations.

“Streaming services continue to experiment with the best ways to reach and monetize audiences,” said Michael Goodman, director, Entertainment Research, Parks Associates. “The movement of content from standalone apps to larger platforms and FAST channels shows how quickly distribution strategies are changing.”

In its monthly updates, the Streaming Video Tracker analyzes the strategies and emerging market trends when providers move content into larger offerings or launch new services:

• BET+ has been phased out by Paramount Skydance, and its content library has migrated to Paramount+ under a dedicated BET Hub.
• CTV Throwback and Movies moved to Crave.
• OHL Live transitioned its digital streaming content to FloHockey.
• Barça One was replaced by Barça Play, which is integrated into FC Barcelona’s app and website.
• OG Network and TrueTVplus were added to the tracker in Q2 2026. OG Network operates as an AVOD and FAST service, while TrueTVplus launched as a FAST platform with programming across sports, independent films, documentaries, and lifestyle content.

Parks Associates will host the industry webinar “Streaming Video: Churn, Loyalty, and Competition” on September 24, where the firm’s analysts will share research and comment on market trends and the implications for service providers and content owners.

As major streaming services work to control programming costs, a new study finds that streaming series are struggling with cancellation rates that are higher than broadcast TV.

“The Show Must Go Off," a new report from Luminate that takes a closer look at renewals and cancellations in a post-peak TV landscape, finds only 44% of streaming series were being renewed by the major SVODs.

In contrast broadcast networks’ renewal rates are now significantly higher than those of streaming services and cable channels, a reversal of the once-conventional wisdom that series would have an easier time surviving on streaming than on broadcast TV.

The networks renewed 65% of their output in 2025, Luminate reports.

New streaming hits are also in serious decline, with freshman series falling from half of U.S. scripted output on the major SVODs in 2022 to 42% in 2025. HBO Max was the only major service where freshman series increased as a share of total premieres in 2025, while only Apple TV and Prime Video increased their number of new shows.

That figure, however, excludes limited series.

The study also found that despite its reputation for aggressive cancellations, Netflix actually renewed the most shows among the major SVODs from 2022 to 2025, renewing about 50% of its U.S. slate on average.

Audience retention across a full season is the single strongest predictor of renewal or cancellation when it comes to streaming series. Shows have a much stronger chance of renewal if more than half of the viewers who start a season end up finishing it, with cancelled series in our dataset averaging 44% retention.

The Luminate streaming viewership data also indicated that SVOD shows with more than 50% audience retention between their season premiere and finale are usually renewed, but each service has a different benchmark for what they’ll accept; Apple TV appears to accept the lowest retention, particularly for prestige series like The Studio (28% over 120 days).

WASHINGTON—America's broadband providers invested $92.6 billion in U.S. communications infrastructure in 2025, a 3.4% increase over 2024 and the third-highest annual total since 2003, according to the 2025 Broadband Capex Report released by USTelecom – The Broadband Association.

Cumulative industry investment now approaches $2.3 trillion since 1996, extending the strongest sustained era of network investment on record.

The report ties this investment to a fundamental shift in how networks are used.

Average monthly broadband usage reached 767.4 gigabytes per subscriber in 2025, up 9.9% year-over-year, and Cisco projects AI and agentic AI adoption could drive a 6.6-fold increase in consumer network traffic by 2035.

More strikingly, upstream usage—prompts, photos, video and sensor data flowing back into the network—rose 21.7% in 2025, more than double the growth rate of overall traffic, as networks built for one-way streaming adapt to an increasingly two-way, AI-driven internet. Fiber's ability to deliver matching capacity in both directions, the report notes, makes it central to that shift, along with the 5G, fixed wireless and satellite networks that depend on fiber backhaul.

“Fiber isn't just wiring for today's internet – it's the load-bearing infrastructure for whatever comes next,” said Jonathan Spalter, president and CEO of USTelecom.

“In 2025, providers extended an era of historically high broadband industry investment—expanding rural reach, modernizing wireless networks, adding capacity, and pushing fiber deeper into communities,” the report states. “At its core, this investment reflects broadband providers' sustained commitment to ensuring that the opportunities created by American innovation reach every community.”

The full report is available here.

PORTSMOUTH, N.H.—New research indicates that in the streaming subscription businesses, not all subscribers are equally valuable. According to Hub Entertainment Research’s “Decoding the Default” 2026 study, the more engaged users are, the more likely they are to stay and the less likely they are to churn and drop subscriptions.

This has important implications for the problem of subscribers churning in and out of subscriptions, which increases marketing and retention costs.

The HUB researchers found that the clearest signal of that engagement is whether a viewer considers a service their default, which is to say it is the service they turn on first when they want to watch something.

Being the default service not only drives usage. The new Hub data indicates that across paid streaming, free ad-supported services, and live TV, a viewers' default services are far less likely to be canceled, often remain in households for years, and are the ones consumers are most likely to personalize and make their own.

More specifically the survey found that viewers’ default source is the last one to get cut. When viewers are forced to imagine keeping only one service, being someone’s default source is worth two to six times as much loyalty as simply being used.

Among all Netflix users, 28% say they’d keep it if they could only keep one service. Among users who call Netflix their default, that jumps to 62%. The gap is even wider for Disney+: 10% of all users would keep it alone, versus 61% of users for whom it’s the default — more than six times as loyal.

“This data illustrates why streaming’s metric of success is shifting from subscriber numbers to engagement,” said Jon Giegengack, principal at Hub Entertainment Research and one of the study authors. “It also suggests the benefits that might come from combining Fox and Roku, and partnerships like Peacock and YouTube Premium, or Netflix and TF1 in Europe. These all create combined services that have more than one ‘starting point’ than either platform does by itself. And if you give viewers a compelling reason to start with your service, they will use your service more and stick around longer.”

Default services are also long-lived: nearly 70% have kept the same one for more than two years, Hub reported.

The no-contract streaming era has made viewers notoriously fickle when it comes to subscription-hopping. But once a service becomes “home base” for TV, that relationship is much more stable. More than two thirds (69%) say they have subscribed to their current default source for more than two years.

The survey also found that viewers invest time to make their default “their own," which in turn makes them more sticky.

Most viewers say they’ve spent time making their default service “their own,” by creating profiles, building watchlists, and customizing the app settings. This is especially prevalent among younger viewers (a segment particularly hard to retain).

More specifically, two-thirds (68%) of viewers overall agree they’ve made their default source “their own” through a profile, watchlist, or saved preferences. Among viewers under age 35, that rises to 79%, compared with 62% of viewers 35 and older.

These findings come from Hub Entertainment Research’s “Decoding the Default” 2026 study, based on a survey of 1,600 U.S. TV viewers ages 16-74 with broadband access, U.S. census balanced, conducted in August 2026. It is part of Hub’s ongoing series of syndicated Hub Reports.

As live sports proliferates on streaming platforms and more viewers are watching live sports, new research from Premion and Advertiser Perceptions finds that demand for live sports streaming/CTV ad inventory is also growing.

The survey found that nearly three-quarters (73%) of advertisers plan to allocate budget to live sports streaming/CTV advertising over the next 6–12 months, driven by engaged fans and major live events. Agency demand is even stronger, with 79% planning to invest, compared with 65% of marketers, the study found.

At the same time, the study also indicated that advertisers also want better measurement, stronger proof of ROI and simpler ways to navigate an increasingly fragmented sports marketplace as they ramp up those investments.

“Live sports continues to deliver something incredibly valuable for advertisers: passionate audiences showing up in real time,” said Blake Hebert, head of publisher operations, Premion. “As more sports viewing moves to streaming, advertisers want to capture that engagement with greater precision, accountability and local relevance. The opportunity now is to make live sports easier to access, measure and prove across an increasingly fragmented landscape.”

Six in 10 advertisers (61%) say reaching highly engaged sports fans during live events is a top reason for investing in live sports streaming, making it the leading investment driver. More than half (52%) also point to capitalizing on live sporting events that draw large audiences.

The appeal goes beyond engagement and scale. 41% cite aligning their brands with premium live sports content, while 40% are looking to extend the reach and impact of linear TV campaigns and 37% want to connect with streaming-first or cord-cutting sports fans. The findings reinforce streaming’s growing role in extending linear reach and connecting advertisers with shifting sports audiences.

57% of advertisers rank audience delivery and geographic reporting down to the local market among their most important measurement capabilities, higher than any other capability tested. That local focus signals that advertisers want to know not only that they reached sports fans, but that they reached the right audiences in the markets that matter, the researchers reported.

Accountability also ranks high. 52% prioritize attribution following exposure to live sports advertising, while 49% prioritize transparent reporting across publishers and inventory sources. Another 49% prioritize measuring incremental reach beyond linear TV. The expectation is clear: prove audience delivery, quantify streaming’s incremental reach and connect exposure to outcomes.

The survey also found that four in 10 advertisers (40%) are investing in live sports streaming to extend the reach and impact of linear TV campaigns, while nearly half (49%) prioritize measuring incremental reach beyond linear TV.

The findings underscore how streaming and linear are increasingly working hand in hand. As sports audiences spread across screens, streaming helps advertisers extend linear reach while adding greater targeting and measurement, the researchers said.

In terms of barriers to investment, the survey indicated that cost is the top obstacle to greater live sports streaming investment. That factor was cited by 44% of advertisers, with difficulty measuring campaign performance and ROI close behind at 41%.

Other hurdles reflect the complexity of today’s sports marketplace. 35% cite a lack of transparency into campaign delivery and reporting, while 34% point to the complexity of buying across multiple publishers and platforms. Another 34% cite limited access to premium live sports inventory.

Notably, just 23% cite difficulty reaching sports audiences at sufficient scale, the lowest-ranked challenge. The gap is telling: reaching sports fans isn’t the primary obstacle. Cost, proving performance and navigating a fragmented marketplace are the bigger hurdles to greater investment.

“Our research shows advertisers already recognize the value of live sports streaming. The next step is removing the friction that can hold back greater investment, from buying complexity to transparency and ROI. Solving those challenges will help advertisers get more from live sports,” added Hebert.

Premion commissioned Advertiser Perceptions to survey 302 U.S. advertising decision-makers from August 3–11, 2026. Respondents were involved in media brand selection decisions and represented companies or clients with at least $1 million in planned advertising spend over the next 12 months. The sample included both agency and marketer respondents from the Advertiser Perceptions AdPROs Community and trusted third-party partners.

The full report is available here.

ESPN is reporting strong viewing numbers for its U.S. Open coverage, with Sunday’s US Open Men’s Championship match between Ben Shelton and eventual champion Alexander Zverev attracting an average audience of 3.2 million viewers on ABC, the largest viewership on record since ESPN began televising the tournament in 2009.

Viewership peaked at 4.0 million from 5:30-5:45 p.m. ET.

Earlier, Saturday’s Women’s Championship, won by Elena Rybakina over Aryna Sabalenka, averaged 2.7 million viewers, peaking at 3.2 million from 6:30-6:45 p.m. The audience was up 13% year-over-year (YOY) and was ESPN’s largest since 3.4 million watched Sabalenka and Coco Gauff in 2023.

The Men’s and Women’s championships combined to average 3.0 million viewers, up 9% YOY.

The All-American Friday night Men’s semifinal match between Shelton and Frances Tiafoe averaged 3.1 million viewers, peaking at 3.7 million between 10:45-11 p.m., the largest Men’s semifinal audience on record for ESPN. The earlier semifinal match with Zverev defeating Karen Khachanov averaged 1.2 million, with the two semifinals combining to average 2.2 million viewers, up 19% YOY.

Overall, the event ranks as ESPN’s most-viewed US Open since 2022. The two-week long tournament across ESPN networks (ABC, ESPN, ESPN2) averaged 1.2 million viewers, a 4% increase YOY.

Other key viewing figures include:

• ESPN delivered its largest US Open opening day audience ever on ESPN, ESPN2 and ABC, 914K avg. viewers, up 13% YOY. Action on ABC averaged 1.25M avg. viewers, up 7% vs. 2025.
• The second round drew 834K avg. viewers on ESPN/ESPN2
• Third round across ESPN and ESPN2 averaged 1.1 million, up +27% from last year and also standing as the most-viewed since 2022. ESPN2’s Saturday daytime telecast averaged 1.0 million viewers, up +31% from the comparable telecast last year, while ESPN2’s prime window (1.1 million viewers) was up +43%.
• Through the completion of the third round on Saturday, Sept. 5, ESPN had recorded its most-viewed since 2022 (avg. 846K)
• Third round viewership was boosted by Serena and Venus Williams competing in doubles during primetime, attracting an average audience of 1.2 million (peak 2.2 million from 10-10:15 p.m.) as they lost a three-set match to Hao-Ching Chan and Maya Joint.
• Tournament average (through Women’s Semifinals): 1.0 million viewers, up 2% YoY, ESPN’s most-viewed US Open since 2022
• Quarterfinals average: 1.3 million viewers
• Tuesday primetime Quarterfinals window (7:30 p.m. – 3:40 a.m.): 1.6 million viewers, featured latest-finishing match in US Open history
• Women’s Semifinals: 2.2 million viewers, up 24% YoY, most-watched US Open Women’s Semis in ESPN history
• Women’s Semifinals peak (9:45-10 p.m. ET, Gauff vs. Rybakina): 2.6 million viewers

As traditional cable operators and telcos grapple with increased competition from satellite and fixed wireless broadband providers, new data from S&P Global Market Intelligence delves into who is cutting the broadband cord and why they are choosing wireless alternatives.

According to S&P Global Market Intelligence Kagan’s Q1 2026 MediaCensus consumer survey, 16% of respondents do not subscribe to a traditional wired home broadband service, choosing instead fixed wireless, satellite, mobile data, or forgoing home internet entirely.

Among those without a wired connection, 28% report they have never subscribed to a wired broadband service, while 38% severed their wired connection more than 12 months ago.

Non-wired home internet adoption is led by fixed wireless services at 9%, followed by satellite home internet at 2%, smartphone-only home internet users at 2%, and households with no home internet service at 3%, the S&P Global Market Intelligence Kagan’s Q1 2026 MediaCensus consumer survey found.

Younger consumers demonstrate the highest rate of broadband cord-cutting, with 23% of 18- to 24-year-olds lacking a wired internet connection, compared to just 11% of consumers aged 65 and older. Furthermore, younger cord-cutters and cord-nevers favor satellite internet while older cord-cutters lean toward fixed wireless or no household internet service.

The research also indicates that rural access and mobile bundling serve as key drivers for alternative internet adoption: 43% of satellite internet subscribers cite living in a rural area without wired options as their main reason for not subscribing to wired broadband, whereas 37% of fixed wireless subscribers report being motivated by bundled deals tied to their mobile plans.

In another notable finding, the study found that smartphone-only internet users rely heavily on mobile feature sets, with 52% citing an unlimited data plan and 37% using their phone as a hotspot. Notably, 24% of smartphone-only users claim local wired options are too expensive, compared to 14% of those with no internet service at all.

Satellite subscribers represent the largest share of recent broadband cord-cutters, with 61% having dropped wired broadband in the past 12 months whereas fixed wireless subscribers are more established cord-cutters, with 44% having dropped wired service more than a year ago.

NEW YORK—Nielsen has launched a data-enrichment solution within Nielsen Marketing Cloud to help publishers and brands combine their customer data with Nielsen's insights inside secure data clean rooms to sharpen ad targeting.

The solution became available on Sept. 15 for Nielsen Marketing Cloud clients in the U.S., Canada and the U.K.

“Every company has valuable customer data, but there is often a massive blind spot about key audience attributes beyond their store, website or platform,” Nielsen Marketing Cloud General Manager Kirsten Cummings said. “For the first time, we’re allowing clients to use our deep Nielsen Marketing Cloud audience intelligence in their own secure cloud environments to build a more accurate picture of that customer so they can better personalize and target their campaigns. This marks the beginning of a broader initiative to make Nielsen Marketing Cloud’s media intelligence more accessible, actionable, and interoperable than ever before.”

In recent years, the industry has seen a shift toward the use of first-party data, which can often be incomplete or fragmented, Nielsen said. The solution will help customers maximize their use of Nielsen Marketing Cloud’s media intelligence database including consumer habits and media consumption data. This results in audience profiles that are ready for targeted campaigns and leads to more accurate segmentation, optimized campaign planning, and better programmatic ad inventory management, Nielsen said.

The solution is backed by Nielsen Marketing Cloud’s intelligence, which has more than 60,000 behavioral, demographic, media consumption and psychographic attributes, the company said. It also utilizes Nielsen Marketing Cloud’s ID spine, which helps resolve device fragmentation so brands can reach the right audience across their screens.

PORTSMOUTH, N.H.—The tendency of younger viewers to spread their disposable time across more platforms and types of content than any other generation hasn’t reduced their interest in watching sports, according to Hub Entertainment Research.

Hub’s latest wave of “Evolution of Sports: What’s the Score?” research finds sports viewership is up, and it's rising fastest among younger fans.

Fans age 18 or younger are about seven times more likely to say they're watching more sports on TV than they were a year ago, rather than less—more than double the ratio seen among fans overall.

Among teens who say they're watching more, more than two in five respondents credit a genuine, growing interest in sports overall or in a specific team or athlete.

Older fans (age 55–74) are more likely to point to simply having more free time—not rising interest—as the reason for increased viewing.

“One factor driving the success of sports today: younger fans are just more interested than the generation before them,” said Jon Giegengack, a principal at Hub and one of the study authors. “But as with scripted content, their fandom is diffused across multiple kinds of media and content. It shows up as a YouTube stream, a group chat during the game, watching live stats on social while the game is on. The industry is built to reach the fan who plans their Sunday around kickoff. Now they need to adapt to fans that watch the game on TV and spend the rest of the week following it everywhere else.”

The research also suggests fans are finding sports through creators and social platforms, not appointment viewing. For younger fans, social platforms aren't a supplement to sports coverage, they're becoming the main event, Hub said.

The survey found that 45% of fans under 35 get “most” or “all” of their nonlive sports content from social media, more than four times the rate among fans 55 and older.

In addition, creators are increasingly carrying the games themselves, not just the highlights: during the FIFA World Cup, a single YouTube channel in Brazil streamed 104 matches—more than twice as many as the country's national broadcaster.

For younger fans, the second screen is part of the game, not a distraction from it, the study found.

With scripted TV, a phone in hand usually means divided attention. Sports works the other way: the second screen is mostly pointed back at the game. And that is far truer for young fans than older ones.

Among fans 13–34 who use social media during a live game, 62% say what they are doing on that second screen is about the game itself. Among fans 55–74, only 33% say the same.

The gap is widest on the most-social behaviors: 65% of younger fans posting to social during a game are posting about that game, versus 29% of older fans. Purpose-built tools are game-related for nearly everyone, with 89% of 13-to-34-year-olds and 85% of 55-to-74-year-olds following live stats saying it is about the sport they are watching.

These findings are from Hub's “Evolution of Sports: What’s the Score?” Wave 6 report, based on a survey of 3,814 U.S. sports fans ages 13–74, conducted in July.

LONDON—A new study from Omdia finds that nearly three in four U.S. TV viewers regularly use their smartphones for other media while watching television. The finding highlights the growing competition for audience attention between TV and mobile video, the research firm said.

The study also found that this isn’t simply an issue for younger age groups. Simultaneous media use is becoming increasingly widespread across older age groups, Omdia reported:

• Among 55-to-64-year-olds, simultaneous media use has risen from 42% in 2023 to 56% in 2026.
• Among 45–to-54-year-olds, it has increased from 62% to 73% over the same period.
• Among 35-to-44-year-olds, the direction is also upward, from 69% to 76% over that span.

The findings highlight how competition for viewers’ attention is extending beyond TV programs and streaming services to the smartphone screen. Short-form video, in particular, is increasingly competing for viewers’ attention even while the television remains on.

“We don’t have a content problem. We have an attention problem,” said María Rúa Aguete, global head of media and entertainment at Omdia. “Three in four U.S. TV viewers are using their phones while watching TV, and increasingly what they are doing is watching more video. The battle is no longer simply TV versus mobile. Both screens are on. The question is, which one has your attention?”

Short-form and vertical video are playing an increasingly significant role in this shift, the data shows.

Viewers are becoming accustomed to highly personalized, instantly accessible video experiences on smartphones, adding another source of competition for traditional television and streaming services.

For broadcasters, streaming platforms, advertisers and content owners, this changing behavior reinforces the need to consider TV and mobile as part of the same viewing experience, as audiences increasingly move their attention between the two, the Omdia researchers explained.

“The future isn’t TV versus mobile. It’s TV and mobile,” Rúa Aguete said. “The companies that understand how audiences move between those screens, and how to capture attention on both, will be best positioned to win.”

The findings are based on Omdia’s latest research into changing video consumption habits, the attention economy and the growth of short-form and vertical video, presented by Rúa Aguete at IBC2026 in Amsterdam.

VIENNA—In the runup to IBC2026, the 10th annual Video Developer Report from video streaming solution provider Bitmovin highlights some of the major issues facing streaming media that will be top of mind at the show, with live latency and costs ranking as the industry’s top two problems.

The report finds that low latency for live streaming has overtaken controlling costs and is now the number one concern for 36% of respondents, making it the top challenge facing video teams today. This is followed by controlling costs at 35% and maintaining consistent monitoring and analytics at 28%. Finding the root cause of streaming issues and ad insertion are also major challenges for video providers today (both at 27%).

The latest edition of the report also indicates that AI has stopped being an add-on feature and is now deployed across the entire stack, often with agents operating the workflow.

Of the 486 respondents, 98% report using AI or ML for video with nearly half (46%) using AI tools every day. Only 2% report no plans for AI at all, with 4% of respondents not AI tools at all.

Audio transcription, translation and foreign dubbing are the most common applications cited by respondents (48%), followed by content recommendations (34%), visual quality and optimization (30%), and then tagging and categorization, personalization, and scene, shot boundary and ad placement opportunity detection, all come in joint fourth place (28%).

The report also highlights how expectations around low latency have shifted over time as the cost and complexity of delivering low latency has become clear.

In 2020, 60% of respondents expected low latency of less than five seconds, but that's now down to 16%, while 28% expect latency under 10 seconds. That said, sub-second latency still matters in certain use cases such as live sports, betting, auctions and interactive formats. It is this commercial need for more efficient video delivery that is driving the interest of MOQ. The report highlights that 28% of respondents plan to use MOQ in the next 12 months.

“It’s hard to believe that we’ve been producing this report for 10 years, and what a rollercoaster ride the last decade has been for the video industry,” Stefan Lederer, CEO and co-founder, Bitmovin, commented. “As we proudly present the 2026/27 report, it’s clear that AI is running the video stack, advertising is the primary revenue engine, QoE and observability have become foundational layers, and the business case for MOQ has never been stronger. But what really stands out this year, is just how fast the technology is developing - the last 3 months alone have reshaped what is possible for video developers to build and achieve. I can’t wait to see what another 10 years of the Video Developer Report will bring.”

This year's edition draws on insights from professionals across broadcast, OTT, and beyond, and for the first time includes analysis and contributions from industry analysts Jan Ozer and Dan Rayburn, alongside input from Bitmovin's partners and customers.

The Bitmovin Video Developer Report 2026/27 Edition is now available for download.

Bitmovin will be exhibiting at IBC from September 11-14 (hall 5, stand 5.F72). For more information, and to book a meeting, visit: https://bitmovin.com/ibc/.

New data from Parks Associations finds the Ruku player and operating system remains the most popular streaming media system in the U.S. with 43% of Americans reporting that a Roku device is their most-used streaming media player.

The Parks Associates’ Tech Ecosystem Dashboard, which includes data and analysis from surveys of 8,000+ US internet households, also found that 17% say their primary smart TV runs on Roku OS.

The Parks researchers noted that Fox Corporation’s planned acquisition of Roku for $22 billion highlights the strategic value of owning the platform that connects consumers to content, advertising, and streaming services.

“Roku’s strength is its reach across the connected TV experience,” said Michael Goodman, research director, Parks Associates. “Its position across smart TVs and streaming media players gives the platform influence that extends beyond any single hardware brand.”

More specifically, the Fox-Roku acquisition would bring strategic value to both companies. Fox brings premium live content, including sports and news, as well as Tubi, while Roku brings its operating system, The Roku Channel, Frndly TV, Howdy, advertising capabilities, and first-party data. Fox reports that Roku reaches more than 100 million streaming households globally.

The combination also strengthens Fox’s position in the growing free ad-supported streaming television (FAST) market. Tubi and The Roku Channel give the combined company two major ad-supported streaming properties, while Roku’s platform provides additional opportunities to connect content discovery, audience data, and advertising across the TV experience.

In the Parks top ten list of U.S. FAST streaming services, Tubi ranked as #1, followed by The Roku Channel, Pluto TV, Samsung TV+, Xumo Play and LG Channels.

“Competition in video is now about who owns the relationship with the viewer,” Goodman said. “Content remains critical, especially live sports and news, but the platform determines how consumers discover that content and how providers engage and monetize audiences. The Fox and Roku combination brings greater control over how consumers access and discover content while expanding opportunities for viewer data, advertising, and distribution.”

With the NFL season starting on Weds. Sept. 9, a new study from Guideline is projecting another year of hefty ad sales growth, with 8% growth in ad revenue for the 2026-2027 season compared to last year.

Guideline is projecting that total ad revenue will hit $6.3 billion, with the inaugural Thanksgiving Eve game expected to generate $48 million in revenue.

That comes after 7% YoY growth in ad revenue in the 2025-2026 season, which hit a record $5.9 billion. Regular season ad revenue was up 6% YoY last year while playoff ad revenue was up 13% YoY.

"Overall ad demand looks healthy headed into the 26/27 season,” explained Sean Wright, chief insights and analytics officer at Guideline. “Upfront commits are pacing up double digits ahead of where they were last year, partly driven by increases in pricing, partly in a surge of new ad budgets. We'll see how much ultimately gets booked but right now, the regular season is shaping up to be another potentially record setting year."

Guideline also reported that in 2025-2026, streaming-exclusive games accounted for 13% of full-season revenue, nearly double the 8% share from two seasons ago. Overall, streaming-exclusive network ad growth was up 6% YoY in last year’s 2025-2026 season.

LONDON—While a new study from Ampere Analysis documents the ongoing decline in new orders for TV series, the research also shows that orders for new linear TV series has been more resilient than streaming VOD and that the new orders for scripted programming on linear TV actually grew in recent years.

The new report from Ampere Analysis found that between 2022 and 2025, US-produced linear orders fell 26%, a smaller decline than streaming counterparts, which fell 41%.

Very notably, the research also found that linear scripted series orders actually rose 11% in a slightly different time frame between 2023 and 2025, with a particular focus on renewing reliable franchise comedies such as “The Simpsons” and “American Dad.”

"In the post-Peak TV era, the traditional seasonal development cycle from linear broadcasters in the U.S. is evolving,” explained George Evans, senior researcher at Ampere Analysis. “With streaming players now accounting for a greater share of content spend globally, free-to-air linear commissioners in the US have adopted a more flexible approach to ordering, putting fewer titles through the development and pilot process and instead working more responsively year-round. By responding more dynamically to audience appetite and leaning on scripted franchises with established fanbases, broadcast TV can continue to prove its worth in the seemingly streamer-dominated US market."

More specifically the report found that between 2022 and 2025, U.S.-produced linear orders fell 26%, from 1,773 to 1,304, compared with a 41% decline in streaming orders, from 1,144 to 678. Linear Scripted series orders subsequently increased 11%, from 236 in 2023 to 262 in 2025.

Overall, free-to-air (FTA) channels have fared better than Pay TV.

Pay TV subscriber numbers have declined by 56% since 2016, as consumers switch to streaming. This drove a 33% decline in series orders between 2022 and 2025, down from 1295 to 877. In contrast, free-to-air broadcasters such as NBC, ABC, and CBS saw series orders drop 13% over the same period, from 408 to 352. Thematic Pay TV channels, particularly those focused on specific niches, such as Food Network and HGTV, have struggled to maintain ordering levels.

The report also highlighted changes in traditional TV development cycles. US Commercial free-to-air broadcasters are shifting away from the traditional seasonal development cycle of Q4 script orders and Q1 pilot orders, towards year-round development and 'straight-to-series' orders, committing to an entire season without first testing a pilot, the study found.

In addition, U.S. broadcast networks have shifted towards more disciplined primetime commissioning strategies. Since 2024, 52% of new scripted series orders have been franchise-based, reflecting a more disciplined approach to primetime commissioning.

The strength of broadcast programming can also found on streaming platforms. Around 50% of both linear and non-linear TV viewers enjoy genres such as comedy, action & adventure, crime & thriller, and drama. This alignment supports complementary commissioning strategies across broadcast and streaming. Primetime series from ABC, CBS and NBC generate strong engagement on Hulu, Paramount+ and Peacock, respectively, extending their value beyond linear TV.

“Despite the continued growth of streaming, broadcast television remains an important part of the US media landscape,” explained Eric Kurtsel, research manager, SME Media at Ampere Analysis. “Post-Peak TV, broadcast networks are taking a disciplined approach to primetime commissioning, focusing on proven genres and franchises that can connect with audiences across platforms. Viewers continue to engage with broadcast series on streaming platforms, suggesting their value extends beyond linear television and reinforcing broadcast TV’s foundational role in today’s content ecosystem."

LONDON—New data from Ampere Analysis shows Asia has become the world’s biggest region for first-run streaming scripted series orders for the first time, leaping two places from third to secure the top spot in the first half of 2026. More than one-third (36%) of first-run scripted TV orders from the leading global streamers now originate in APAC, the highest six-month share on record.

The new Ampere study also found that the APAC region surged ahead of North America and Western Europe in H1 2026 for the volume of new scripted TV commissions from the six leading global streamers - Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+. The region secured 70 first-run scripted commissions during the period, versus 46 for North America, 44 for Western Europe, and 34 for all other regions combined.

Cyrine Amor, senior research manager at Ampere Analysis, explained that “APAC has become increasingly important to global streamers for two reasons: it offers attractive opportunities for subscriber growth, while Asian content is increasingly finding audiences far beyond its home markets. India, South Korea and Japan remain at the heart of commissioning activity, but growth in markets such as Taiwan and the Philippines shows how widely streamers are now looking for locally produced content with regional and global potential.”

Of all streamers’ first-run scripted TV orders, 36% now originate from the APAC region, the highest six-month-period share to date. The rise is primarily driven by Amazon’s and Netflix’s commissioning activity in the region. In the same period, their combined first-run orders in Western Europe and North America remained almost flat compared to H1 2025.

India led the region with 25 orders, the highest increase among APAC markets, fueled by Prime Video’s commissioning push across multiple Indian languages. South Korea remained the region’s second-largest market by volume, where Netflix continues to lead commissioning activity among global streamers.

In terms of genre, one-third of these commissions were Crime & Thriller. Drama hit a new record of one quarter of commissions. Meanwhile, the Sci-Fi & Fantasy genre, which led by volume share in H1 2025, fell sharply.

Newer entrants to the streamers' regional subscriber acquisition race also stood out in this commissioning shift, the Ampere study stressed.

Taiwan and the Philippines experienced unusually high volumes of streamer orders, with nine and seven new scripted series commissioned respectively during the first half of 2026. In Taiwan, Netflix quadrupled its new scripted series orders compared to last year, including the medical drama “How to Survive Med School” and the influencer-led crime investigation “Million-follower Detective.” In the Philippines, Amazon led the charge with five new series announcements over the past six months, including the romance drama “The Loyalty Game.”

Recent successes such as Netflix’s Thai original “My Dearest Assassin” and Korean original “The Great Flood” demonstrate the potential for locally produced APAC content to travel beyond its home market. Streamers are also using licensing to capitalise on this demand, with Prime Video further expanding an existing multi-year worldwide distribution deal with CJ ENM in 2026, Ampere reported.

The commissioning surge reflects different stages of streaming growth across APAC. In more established markets, including India, South Korea and Japan, new productions are being used to both attract and retain subscribers while also targeting increasingly receptive regional and global audiences. In emerging streaming markets such as Taiwan and the Philippines, first-run commissioning is being used to support subscriber acquisition.

PLANO, Texas—Having a live TV bundle option is still important to half of all consumers surveyed in a recent Parks Associates report.

In the research firm’s latest consumer research The New Live TV Model: Skinny Bundles, Sports, News, 27% of US internet households prefer a live-TV bundle combined with their favorite streaming on-demand services, while 24% prefer a skinny bundle combined with their favorite streaming services. In total, 51% prefer a package that combines live TV with their favorite streaming services.

"Consumers are not necessarily choosing between live TV and streaming. Many want access to both in one package," said Michael Goodman, Director, Entertainment Research, Parks Associates. "Providers have the opportunity to offer greater flexibility to their consumers while making it easier to access the content they value."

Parks Associates also noted that 68% of streaming pay-TV subscribers (vMVPD subscribers), including consumers using services such as YouTube TV, Hulu + Live TV, Fubo, and DirecTV Stream, like the idea of a skinny bundle—a pay-TV or streaming channel package that includes a limited number of core channels, typically focused on specific content types (e.g., entertainment, sports, or news). It is priced below traditional all-inclusive TV packages.

The findings show consumers continue to value live television, but their expectations for how it is packaged are changing, according to Parks. Smaller channel packages combined with streaming services can provide a middle ground between traditional pay TV and streaming-only options.

"Skinny bundles offer providers an opportunity to address consumers who want to maintain access to live television but are increasingly sensitive to the cost and size of traditional channel packages," Goodman said. "The strongest opportunity is retention. These packages can give existing subscribers another option before they decide to cancel service entirely."

New fixed wireless speed tests for Q2 2026 from Ookla show that T-Mobile continues to dominate the category, with a median download speed of 222.7 Mbps, (outpacing AT&T Internet Air by 38.8% and Verizon 5G Home by 76%).

T-Mobile’s Q2 2026 median upload speed (18.1 Mbps) also beat AT&T by 79.2% and Verizon by 48.5%.

The data also highlighted some encouraging trends and some emerging problems. All three providers experienced a performance drop in download and upload speeds between Q1 2026 to Q2 2026. This, however, is likely a seasonal impact, Ooklas reported as dense leaves on trees can weaken FWA signals.

In more positive news, AT&T’s median download speed surged nearly 60%—from 104.61 Mbps in Q3 2025 to 167.34 Mbps in Q1 2026. This is likely the result of deploying the additional 50 MHz of spectrum purchased from EchoStar, Ookla reported.

The report also highlighted an important shift in urban deployments that could have larger implications for the broadband industry.

Traditional cable and telco operators have long dominated urban markets and fixed wireless access providers have long been seen as an attractive technological solutions for rural areas, where the cost of wiring isolated homes can be high.

The new Ookla Q2 data shows, however, that fixed wireless providers can deliver faster speeds in urban areas, potentially making them more competitive with faster wired options from cable and telcos.

Rural FWA users across all three providers nationwide have lower median download speeds and higher multi-server latency. Urban users benefit from a multi-server latency that is 7 to 13 milliseconds lower than their rural counterparts, the Ookla data shows.

Even so, the Ookla data showed that only two states (Hawaii and New York) and the District of Columbia produced fixed wireless access samples where 40% or more of the samples met the FCC’s minimum standard for broadband speed (100 Mbps download/20 Mbps upload).

A new survey of American’s media habits find that 90% access YouTube on a typical weekday versus 79% for streaming services and 73% for Live TV.

Even so, they typically spend more time with streaming services (one hour and 49 minutes) versus YouTube (one hour and 46 minutes) and Live TV (one hour and 31 minutes), according to Attest.

Very notably, Attest’s 2026 Attention Economy Report, based on surveys of 1,000 UK and 1,000 US adults alongside five years of tracking data, found that creator content is now more popular than streaming or TV.

Americans spend an average of 3 hours and 54 minutes a day with YouTube, TikTok and social video, outstripping the time, three hours and 20 minutes, that people spend with live TV and streaming services like Netflix. “YouTube hasn’t just become an alternative to TV, it’s already ahead of it,” Attest reported. “Tellingly, 23% of Americans primarily watch YouTube on their televisions.”

These numbers are higher for younger age groups. “Gen Z watches by far the most YouTube, 2h 25m a day on average, well ahead of Millennials (1h 55m), Gen X (1h 18m) and Boomers (53m),” the researchers noted. “Men also watch significantly more than women overall (2h 09m vs 1h 23m).”

This does not spell the end of longform content, however, the researchers explained.

“The assumption behind most `short attention span' commentary is that video has been chopped into ever-smaller pieces because that’s all people want,” the study noted. “The data tells a more specific story: as creator platforms introduce longer content, it’s gaining eyeballs. Two-thirds of people regularly watch YouTube videos longer than 15 minutes, while 53% watch long-form on Facebook or Instagram and 39% on TikTok. All four of these platforms launched their short-form video products with strict length caps. They have since expanded them repeatedly, visibly chasing consumer demand for longer content, not just short clips.”

As the attention of consumers shifts from TV to social media platforms, the study also found that people are paying less attention to the TV programming they are watching. “Only 12% of people give TV their full attention, with no other activity happening alongside it. The other 88% are doing something else, and for 68% of the total, that specifically involves second screening: scrolling social media, shopping, searching, messaging, or gaming.”

The study also highlighted data regarding consumer’s willingness to tolerate high ad loads. High ad loads contributed to the shift of viewing from pay TV channels to streaming services and social media platforms, which in recent years have also begun showing more ads.

“Ad frequency tolerance is one of the only genuinely flat patterns in this entire report,” the researchers noted. “People say ads become excessive once they’re shown every 14 minutes on streamed TV and every 12 minutes on social video, a threshold that barely moves regardless of generation. What isn’t flat is what people do about it: 82% of Gen Z always or usually skip ads on social video, compared with 46% of Boomers; on streamed TV it’s 68% versus 36%. Everyone hits roughly the same wall, younger audiences just act on it faster and more completely…When people can’t skip an ad, only 44% say they continue watching as intended, 34% redirect their attention elsewhere, 17% mute it, and 3% stop watching altogether.’

The full report is available here.

A new survey from the VAB shows that consumers across all age levels are more likely to purchase products that appear in local TV news programming and that those ads also boost their opinion of the brand being advertised.

The study comes at a time when advertisers have expressed reluctance about appearing in news content given the levels of political polarization of the country and a growing push-back by publishers working to demonstrate the effectiveness of advertising in news.

The VAB worked with Dynata on the survey, which attempts to better understand the relationship between news environments and advertiser impact on adults 18 and older, those aged 18 to 34 and those between the ages of 35 to 54.

It found that ads in local TV news positively impact brand perception across audiences, with 37% of adults 18 and older saying that they had a better opinion of brands that advertise in local news (2.2 times those who disagreed the idea) and an even bigger impact among younger viewers.

Nearly half (47%) of those 18 to 34 agreed that they had a better opinion of brands that advertise in local news, 2.8 times those who disagreed.

The study also said that 31% of those younger 18 to 34 viewers were more likely to purchase a product they saw on local news, about 23% more than the 25% who said the ads in local TV news made them less likely to buy a product.

Overall 24% of all adults over 18 said they were more likely to purchase a product advertised in a breaking news story on local TV news, versus 18% who said they were less likely. Among those between the ages of 35 to 54, 25% were more likely to purchase the product versus 15% who were less likely, a 65% differential.

Brands advertising in national TV news also saw an uplift in the number of people being more likely to buy a product.

Among the hard to reach younger 18 to 34 demo, 28% said they were more likely to purchase a product advertised in national TV news, versus 22% who were less likely. Overall 22% of those 18 and older were more likely to purchase versus 16%, and 24% of those between the ages of 35 and 54 were more likely to purchase, versus only 14% being less likely.

ESPN delivered the most-watched WNBA game ever on cable as the Atlanta Dream-Indiana Fever matchup averaged 2.6 million viewers on Sunday, August 16.

The telecast ranks as the most-watched WNBA regular-season or postseason game ever on cable. The audience was up 178% compared to last year’s ESPN regular season average. The game peaked at 4 million viewers from 7:15-7:29 p.m. ET.

Leading into the game, WNBA Countdown presented by Google Pixel averaged 452,000 viewers on ESPN, up 33% compared to last year’s ESPN regular season average.

The second game of ESPN’s Sunday doubleheader also delivered a record audience, as the Phoenix Mercury celebrated Diana Taurasi’s jersey retirement. Portland Fire-Phoenix Mercury averaged 1.4 million viewers, the most-watched non-Indiana regular-season WNBA game ever on ESPN and up 46% from last year’s ESPN regular-season average.

Through 25 games, the WNBA on ESPN networks is averaging 1.4 million viewers, up 16% compared to the comparable point last season.

NEW YORK—Gracenote’s Q3 2026 Data Hub analysis shows rapid growth for sports-related ad-supported streaming television (FAST) channels and programming over the last year.

Overall the number of FAST channels classified as sports rose 13.8% year over year to 264. Over the same period, unique sports program titles increased 31.2%, while individual games and events distributed across FAST climbed 37.5%.

Each measure captures a different dimension of the FAST sports market, the researchers noted.

Channel count tracks FAST channels classified as sports, while program title count reflects the breadth of distinct offerings. Because a single sports program title can encompass many games or competitions, tracking them individually provides a fuller picture of the volume of sports distributed across FAST.

The analysis also found that in July, sports programming appeared on 20 FAST channels outside the sports category. The pattern resembles traditional television, where sports serves as both destination programming on dedicated channels and as part of lineups centered on other genres.

In general, sports programming also grew faster than the overall FAST category. Globally, FAST channel count increased 17.5% year over year to 2,172, compared with 18.6% gains in total video distribution and 19.4% in TV program titles.

The resulting larger sports inventory gives FAST programmers greater flexibility to create varied schedules and reduce reliance on frequently repeated content, the researchers explained. More broadly, the findings suggest that competitive differentiation across FAST will increasingly be shaped by the range and volume of programming within the ecosystem—not channel count alone.

The Gracenote Data Hub is a set of data visualizations tracking the volume and composition of programming available across leading global subscription video-on-demand services (SVOD) and FAST channels. Derived from Gracenote Global Video Data and updated quarterly, the Data Hub covers Amazon Prime Video, Apple TV, Disney+, HBO Max, Netflix and Paramount+, as well as more than 2,170 FAST channels.

Q3 Data Hub reporting pairs program title counts with data on individual episodes, games and events, offering a more granular view of programming distribution and revealing changes beneath topline catalog and channel counts.

Devoncroft’s 2026 Big Broadcast Survey (BBS) of global media tech buyers has once again ranked `IP Networking & Content Delivery’ as the top media tech trend.

Reflecting the ongoing transition to IP technologies, the result marked the sixth consecutive year (and for the seventh time in eight years) that `IP Networking & Content Delivery’ was the top trend.

Devoncroft researchers noted, however, that the margin between the top trend and the second ranked trend of ‘AI / ML / GenAI’ technologies narrowed versus 2025 BBS Global Trend Index.

‘AI / ML / GenAI’ has received a ranking of second since the 2023 BBS Global Trend Index, according to Josh Stinehour in a blog post announcing the results.

“One of the key outputs from the BBS is the annual BBS Global Trend Index,” he noted. “This is a ranking of the media industry trends that are considered by technology end-user respondents the most commercially important to their businesses in the next 2-3 years. In the 2026 survey efforts, we presented BBS respondents with a list of 23 industry trends and asked them to select the one trend that is `most important’ to their business, one trend that is `second most important’ to their business, and the other trends (plural) they consider `also very important.’

The BBS is the largest annual global study of media technology industry trends, technology purchasing plans, and benchmarking of technology vendor brands.

REMI came in number three, followed by multiplatform content delivery and automated operations, rounding out the top five.

The study reported the following ranking:

More data and information from the study is available here.

Check out TV Tech's extensive IP and Networking coverage here.

As the NBA gears up for the start of the 2026-2027 season on October 20, a new study from Guideline shows that NBA ad revenue hit a record $2.1 billion in the 2025-2026 season.

This growth was helped out by a 39% year-over-year spike in ad revenue during the NBA Finals, with ad spend rising from $183 million to $256 million for five games.

Overall, the regular season generated $870 million in revenue, while the playoffs brought in $1 billion.

Guideline also reported that streaming was up 8,481% YoY, rising to a 41% share in spending, the highest of any league ever recorded.

In addition, streaming-simulcast estimated revenue was also up 3,303% YoY, rising from $10 million in 24/25 compared to $347 million in 25/26.

However the linear ad spend declined 19% YoY, as spending from Warner Bros. Discovery shifted to Peacock and Amazon.

In contrast, playoff spending grew across every round, led by the play-in round, which was up 54% YoY.

NEW YORK—Nielsen’s June 2026 reports of The Gauge and Media Distributor Gauge reveal that the highly anticipated FIFA World Cup 2026 drove remarkable audience engagement with over 84 billion minutes viewed across Fox and NBCUniversal properties.

That viewing also pushed both distributors to June's only viewing increases in the Media Distributor Gauge.

Meanwhile, the combination of World Cup matches and NBA Finals games helped drive a 118% increase in broadcast sports viewing, and led the broadcast category to 19.8% of TV and its first increase during a June interval (+0.6 share pts.) since the inception of The Gauge in 2021.

According to the June Media Distributor Gauge, Fox exhibited the largest gain in share of TV (+0.9 pts.) compared to May, and the largest overall viewing increase among all distributors this month (+18%). The World Cup surge boosted viewing on Fox affiliates by 73%, and Fox Sports 1 was up 232%. FOX concluded the month with 7.4% of total TV watch-time and moved up to No. 5 in the Media Distributor Gauge rankings.

NBCU-Versant represented 9.1% of total TV viewing in June (+0.7 share pts.). That success, the researchers reported, was a result of two drivers: NBCU’s Telemundo served as the exclusive home to all Spanish-language World Cup coverage, which drove a 143% monthly viewing increase to its broadcast affiliates in June. Peacock also benefited from Telemundo’s World Cup coverage, as days with games exhibited a 60% audience increase on the platform over those that did not, and viewing from Hispanic audiences increased nearly 200% compared to the prior month.

Peacock’s 34% total monthly viewing increase was also due to owning June’s most-streamed title, “Love Island USA.” The six-night-per-week appointment viewing for the reality dating series generated 6.8 billion minutes across the month. Overall, Peacock gained half a share point to represent 2.3% of total TV viewing in June, its second-best share of TV to date behind February 2026.

Overall streaming usage was up about 3% compared to May, but due to it being just below the 3.1% increase for total TV usage, the category dropped back 0.1 share point to 48.5% of TV watch-time.

In addition to Peacock, several other streamers also saw monthly viewing increases, including YouTube, Netflix, The Roku Channel and Paramount Streaming (Paramount+ and Pluto TV combined), but similar to the overall streaming category, their shares were flat or down slightly. However, YouTube remained in the lead among media distributors with 13.8% of time spent.

Disney held on to the No. 2 spot among media companies with 9.6% of TV. ABC’s coverage of the five-game NBA Finals showdown between the San Antonio Spurs and eventual champion New York Knicks helped drive a 15% viewing bump for ABC affiliates in June. Each game of the series was the most-viewed broadcast telecast on days played, and Games 3, 4 and 5 were the most watched telecasts over the June interval with more than 20 million viewers a piece.

Cable represented 19.5% of television in June (-0.9 pts.) as viewing was down 2% compared to May. This was largely due to the absence of the NBA and NHL playoffs, which led to a 10% monthly decline in cable sports viewership.

Due to the fact that advertising sales for Versant are still retained by NBCUniversal, and to preserve data trends and insights in these reports, NBCU and Versant are reported together in the Media Distributor Gauge with each company’s respective share included in the Media Distributor Gauge chart.

The June 2026 interval spanned four weeks, from 06/01/2026 through 06/28/2026. Nielsen reporting follows the broadcast calendar, with weekly intervals beginning on Monday.

NEW YORK—Gracenote has announced a deal with Fox’s Tubi Media Group that will see Gracenote supply advanced content discovery and advertising capabilities on Tubi Media Group properties, including Tubi and Fox One.

Gracenote's solutions provide unique identifiers, human-verified program metadata, rich imagery and standardized taxonomy that will provide improved content search and discovery capabilities for natural language queries.

As a part of the partnership, Tubi Media Group will also test Gracenote IDs in programmatic bid streams to improve contextually relevant advertising.

"Gracenote has been a valued partner, and this renewal underscores our commitment to innovation for both consumers and for advertisers across our streaming portfolio," said Paul Cheesbrough, CEO of Tubi Media Group. "As Tubi and FOX One continue to scale, we are excited about the future we're building."

"Tubi Media Group's market-leading streaming portfolio, combined with Gracenote's gold-standard content intelligence, make a powerful pairing," said Jared Grusd, CEO of Gracenote. "As the market embraces data and technology to maximize value for viewers and partners alike, Gracenote's curated and human-verified data provides an essential foundation—a definitive source of truth for entertainment experiences that keep consumers engaged."

Tubi recently announced it has reached 110 million monthly active users, with engagement growing 17% YoY and a record quarter of revenue, up 35% year over year.

In addition to record streaming levels during FIFA World Cup 2026, which saw more than 20 million viewers visit Tubi's World Cup Fox Hub, Tubi also announced that it reached an all-time high of 2.3% share of total U.S. TV viewing, according to Nielsen, and that more than 60% of its audience comprised of Gen Z and Millennials, who spend more time on Tubi than watching traditional broadcast or cable television.

Tubi's simulcast of the opening World Cup matches also delivered the most streamed English language opening match in World Cup history.

LONDON—As consumers continue to feel pressure from the rising cost of living, one researcher predicts that the increasing popularity of ad-supported streaming subscription services will reshape the streaming business.

According to Ampere Analysis, ad tiers are now the dominant monetization model in North America, and the research firm expects them to account for more than half (54%) of total subscription streaming service revenues in the region by year-end. As the world;s most mature streaming market increasingly relies on advertising to drive growth, Ampere says the region offers a clear indication of where the global streaming market is heading.

Ampere expects revenues from advertising alone will exceed $18 billion in North America this year, accounting for more than one-fifth of total subscription OTT revenues for the first time.

To illustrate how this could influence the world market, North America currently dominates the global ad-supported subscription OTT market, accounting for nearly 60% of global revenue. Platforms in this region benefit from stronger subscription ARPUs, higher CPMs, a more mature connected-TV advertising environment and a greater consumer acceptance of ads. As subscriber growth slows elsewhere, the region is suggesting the direction of travel for the global streaming market, Ampere said. Consumer goods and retail companies are leading the shift to streaming advertising, with Procter & Gamble, Amazon and Walmart accounting for 22% of U.S. subscription OTT advertising impressions so far in 2026.

Amazon’s Prime Video, which began charging subscribers a monthly fee to skip ads starting in 2023, leads the North American ad-supported subscription OTT market, with revenues expected to exceed $14 billion in 2026. In contrast, Netflix and Disney+ have encouraged users to choose their ad tiers, offering a lower price point and fewer ads.

"Advertising has become a fundamental part of streamers' business models, changing both how success is measured and the content they commission,” Ampere Analysis Research Manager Rory Gooderick said. “As subscriber growth slows in mature markets, the focus has shifted towards driving engagement and habitual viewing. The challenge now is to increase monetization without compromising the premium viewing experience that these streamers have spent years cultivating.”

LONDON—A new survey highlights just how important media consumption has become—with consumers in the U.K. and U.S. now spending almost 11 hours a day consuming media—and just how diverse and fragmented those habits are.

An Ampere Analysis study finds the average consumer in those markets spends more time consuming media than sleeping or working, and that consumers are increasingly selecting from a rich menu of media depending on their mood, age and needs.

“Today’s consumers have more varied media diets than ever before, selecting from an expanding menu of media depending on what they want in the moment,” Ampere Research Manager Sam Nursall said. “Whether they're looking to relax, discover something new or simply fill spare time, each medium serves a different purpose. That's today's attention economy. For advertisers and broadcasters, understanding those different moments is just as important as understanding the audience itself.”

Key findings include:

• The average U.S. or U.K. adult spends 11 cumulative hours engaged with media products every day. This includes overlapping activities, such as using a phone while watching TV or streaming.
• Streaming services (1:57), social media (1:46) and YouTube (1:35) attract the highest levels of daily media engagement.
• Consumers build their media diets around different moods and needs. Streaming services are most often used for relaxation and immersion, YouTube for discovery and lifting users’ mood, while social media is used to relieve boredom or provide distraction.
• Media diets also differ by age. Gen Alpha (age 11–15) spends the most time on YouTube (1:45) and gaming (1:56), while Gen Z (16–29) spends the most time on social media (1:54) and music services (1:20). Generation X and Baby Boomers spend relatively more time with streaming services, TV channels and live sports.
• Consumers in the U.S and U.K. access an average of 11.5 media platforms every week, including pay TV, streaming services, social media, music streaming, gaming and broadcaster VOD. Streaming services like Netflix or Disney+ account for 4.1 of these services per week. Gen Alpha accesses an average of 13.6 platforms, the highest of any age group.
• Mobile devices have expanded where media is consumed. More than half (55%) of music streaming users regularly listen outside the home, alongside 34% of podcast listeners, 20% of social media users and 11% of gamers.
• Mobile devices have also driven higher daily media engagement by making simultaneous media use easier. In the U.S. and U.K., for example, more than one-quarter (28%) of Netflix users regularly watch the service on a smartphone.
• One-third (33%) of YouTube users said they use the platform when they “want something on in the background.”

The Ampere Analysis “Attention Economy” survey was fielded in the U.S. and U.K. among respondents aged 11 to 64.

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.

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.

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.

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).

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

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.

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.

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.

A newly released study argues that U.S. broadcasters face a content crisis, in part because up to 75% of journalists’ time is squandered on technical busywork.

Broadcast journalists are currently spending three-quarters of their time on technical workflows often referred to as busywork, according to a Caretta Research study sponsored by streaming technology firm Quickplay. That leaves just a fraction of their time available for doing what they’re best at, Quickplay said—delivering timely, accurate, trusted and relevant content to their local audiences.

This constraint is particularly troubling because it puts North American broadcasters at risk of losing viewers to third-party platforms, the researchers noted.

“When local broadcast journalists lose 75% of their days to technical workflows, they're not just facing a productivity problem, they're staring at an existential one,” Quickplay Co-Founder and Chief Business Officer Paul Pastor said. “While the demand for trusted and relevant local content remains high, new rules are in play for local broadcasters to survive.”

This “technical busywork…could be automated, accelerated and improved,” Ed Barton, research director at Caretta Research, added. “The shift to unified, software-orchestrated operations is no longer optional, it is the urgent step required to empower and accelerate key staff, enabling broadcasters to compete more effectively in the streaming age. The technologies enabling such a transition used to be expensive and required a lot of customization. However, vendors have worked hard to ensure adopting such capabilities is accessible to even the smallest broadcaster.”

The report, titled “The Broadcaster Revolution Will Not Be Televised,” examines how broadcasters can use their strengths—deep local knowledge, trusted brand equity and their content archives—to stay relevant and compete effectively as visual entertainment shifts decisively to streaming.

One major challenge is the fragmented state of broadcasters’ content archives, the report noted. Local stations hold vast amounts of content, but it is spread across many different media asset management systems and file types.

Without the right infrastructure, finding, retrieving and repurposing this content takes too long, the study reported.

Furthermore, many newsrooms and production teams lack a complete view of all their assets, according to the study, making the process of finding the right clip or footage too time-consuming for a busy news operation. As the report highlights, staff currently "just have to know where it is," often relying on the memory of experienced employees to locate specific video files.

Workflows designed for traditional linear broadcasting are too slow for the high volume and publishing cadence needed to satisfy the audiences and algorithms on social and third-party platforms, the study said.

Social media platforms reward consistent, relevant and rapid publishing that elicits engagement and reaction. Boadcasters who want to increase their video presence on these platforms, using the appropriate formats and distinct editorial voices expected by a given audience, need new workflows.

To address these issues, the study found broadcasters are increasingly adopting unified software or orchestration layers that offer visibility and control of their content, production and distribution workflows. Instead of risky “rip-and-replace” approaches to upgrading technology, such an approach reduces deployment, operational and economic risk while conferring significant performance and efficiency gains that quickly stack up, even in smaller operations.

By making core workflows visible and controllable from a single UI, or "one pane of glass,” editors and journalists can easily find, clip, package and distribute content without constantly switching between tools or moving files. This change transforms content archives from cost centers into potential drivers for audience engagement, enabling highly skilled staff to focus on doing what they do best. It also enables broadcasters to assert themselves and compete effectively on the platforms where their audiences spend the most time.

“Gone are the days where broadcast is always the first format and then recut for other platforms,” Pastor added. “Our digital-first world demands the flexibility to start with vertical before broadcast when appropriate. An orchestrated, content-to-value platform then turns one story into formats built for each of these platforms simultaneously, so broadcasters can compete at the same velocity and reach as anyone else without giving up their real superpower: local relevance."

For more information and to access the full research, click here.

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/.

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/

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.

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.