Media Monitor

Latest media trends and predictions for the year ahead

Video first

This year we will continue to see a shift towards video-led news, driven both by what audiences want and how publishers are responding. PA Media’s move to a “video first” model – where the newsroom prioritises live footage, vertical clips and social-ready formats – reflects the growing demand from broadcasters and digital platforms for content that can be used instantly and across multiple channels.

And audience behaviour is heading in a similar direction, with Ofcom’s latest figures showing Britons spend an average of 51 minutes a day on YouTube. For many – especially younger audiences – YouTube isn’t just entertainment, it’s a major source of news, explainers and political content. We spoke to Joe Pickover, Head of Video Services at PA Media to explore the central role of video in storytelling and the importance of investing in strong visual assets…

PA Media has talked about going “video-first”. What does that mean in practice, and what does it tell us about how news is being consumed going into 2026?

We’re placing a greater emphasis on our video output due to the demand of our customer base. We have a number of products within our video services output, which includes traditional video rushes from news events, live feeds from around the UK and internationally, our new vertical video service for social media and apps, and our extensive video archive.

What types of video content are media outlets looking for now, and how has that changed over the past few years?

The way in which news content is consumed changes rapidly and we’ve seen many pivots to video in recent times. The latest innovations at PA include a new vertical video service and a live streaming service which is used by broadcasters and media publications worldwide. These new services ensure PA is supplying content for TV broadcast and live streams on YouTube and websites, but also supplying video content that is ready to publish in a vertical ‘reel format’ across social media and apps.

What makes good video content? What advice would you give to organisations looking to tell their story visually?

Relevancy and authenticity are key to capturing video content. In a world of online news where misinformation can spread quickly, the UK and Ireland’s media landscape rely on PA more than ever to provide trusted, accurate and timely content.

The rise of current affairs podcasts

As we enter 2026, almost every major UK outlet now produces at least one current affairs podcast. Formats range from short daily explainers, such as the Spectator’s Coffee House Shots, to longer-form interviews with senior political figures like the BBC’s Political Thinking.

Publishers are investing heavily in podcasts because they deliver reach, audience growth and revenue. Ofcom data shows news and current affairs podcasts now reach 45–50% of regular podcast listeners each week, while podcasts such as The Times’ The Story attract a notably younger audience, with nearly half aged 18–34. At the same time, podcasts offer new commercial opportunities through advertising, sponsorship and subscription-led models.

This presents a great opportunity for spokespeople. Podcasts give audiences more time with your message and allow for deeper, more nuanced conversations than traditional media – helping build credibility and engage listeners in a more meaningful way. We spoke to Manuela Saragosa, Executive Producer, Financial Times Audio, to explore how to engage with current affairs podcasts…

The FT, like many other news organisations, has invested heavily in podcasts. What are listeners looking for from news podcasts that they can’t get online or in print?

The FT produces ten regular podcasts and they are all available for free on any podcast platform. You don’t need to be an FT subscriber to listen and a lot of our listeners aren’t. The idea is to showcase the best of the FT’s commentary and reporting to a broad audience, familiarising them with the FT’s world class journalism while picking up new subscribers and readers of the FT’s print edition on the way.

What do you look for when developing podcast content (e.g. guests, topics, style of conversation)?

The content has to align with the FT’s print edition and reflect its world-class journalism. For our interview shows, for example The Economics Show with Soumaya Keynes, we would be looking for economists who have done new research or have new insights to add, while for Rachman Review, the FT’s chief foreign affairs commentator is looking to speak to people with unique insights and/or have a role in shaping policy.

For organisations thinking about launching or investing in podcasts, what separates those that cut through from those that don’t?

Having a clear purpose is important: what do you want your podcasts to achieve for your organisation? Who do you think your audience is/will be? It pays to consider these questions in addition to who your competition is. There are a lot of podcasts out there, it’s a crowded market and there’s a podcast for every niche interest so it helps to think about what your USP is. What can your organisation add that others can’t? High production values are key if you want to be taken seriously. This means having the right host(s), the right audio (and video) equipment and developing a signature sound and style.

Changing newspaper landscape

The owner of The Daily Mail, Daily Mail & General Trust (DMGT) has agreed to buy the Telegraph Media Group for £500 million. While the takeover remains subject to regulatory approval, it could significantly reshape the UK media landscape by placing two of the country’s most influential right-leaning newspaper groups under the same ownership.

The deal has raised concerns about media plurality and the diversity of public debate. Critics argue this would amplify a single political perspective that does not reflect the UK’s increasingly multi-party system, and that concentration of ownership may not be in the public interest.

Supporters, however, believe the acquisition could provide much needed financial stability for The Telegraph at a time of acute commercial pressure for journalism. DMGT has said it intends to invest in The Telegraph and has pledged to maintain editorial independence.

Social spotlight: The rise of Substack

Last year Prime Minister Keir Starmer launched his own newsletter on Substack. While reaction was mixed, the move reflects a much bigger trend in how people are communicating.

Ok, but why does this matter?

Substack is reshaping how influence is built online. Originally known for long-form writing on culture, politics and niche interests, the platform is increasingly being used by mainstream journalists, established news outlets and respected opinion formers.

With around 50 million active subscribers and 5 million paid subscriptions, it is now one of the fastest-growing publishing platforms in the world. By blending social reach with direct distribution, it is creating highly engaged communities around individual writers and themes.

What does this mean for businesses?

Substack can be used in two ways. First, the platform can be a source of insight and a valuable listening tool – a place where emerging ideas, criticisms and industry debates surface before they hit mainstream media. Second, for organisations or business leaders with a clear point of view, Substack can be a useful channel to reach an engaged and informed audience.

Our advice

Substack won’t replace traditional comms, but it’s increasingly part of the landscape. Whether staying close to influential voices or building your own, it’s a platform worth exploring this year.

Top tips for…building journalist relationships

With journalists increasingly being bombarded by AI pitches and several outlets caught publishing AI-generated stories last year, journalists are understandably nervous about whether the people in the stories, or the PRs pitching them, are real. As a result, many journalists say they are more likely to only interact with comms professionals they know. Our advice on building trusted relationships with journalists:

• Verify your identity – include your phone number, links to social accounts, or any previous interviews or commentary from your spokesperson in your email, so journalists know they’re dealing with real people.
• Meet journalists in person – journalists are usually keen to expand their network, so offer to grab a coffee near their office, or at a conference you’re both attending.
• Look at previous work – do your research to get a sense of the topics they cover and what they might be interested, and tailor your approach accordingly.
• Offer ‘real life’ content – offering visits or access to case studies can help elevate a pitch and lend authenticity.
• Get insights on how they work – ask when the best time to pitch is, how the team is structured and what they’re looking for from PRs.

Need advice on pitching a story? Get in touch!

Movers and Shakers

• The Sunday Times’ Deputy Political Editor Harry Yorke is leaving journalism to become a naval assistant to First Sea Lord Gwyn Jenkins in March.
• Helena Kelly has joined The Times as their new Money News and Investigations Editor.
• Laurence Sleator has taken on the role of Transport Correspondent at The Times, following a stint on the paper’s breaking news desk.
• The Times’ former Whitehall Editor Chris Smyth has joined the Financial Times as their Public Policy Editor.
• Archie Mitchell and Caitlin Doherty have left the Independent’s political team to join the BBC as senior journalists in the Business and Money and Current Affairs team respectively.
• Sky News’ Political Correspondent Tamara Cohen has left the lobby to work as a special adviser for Work and Pensions Secretary Pat McFadden.
• Alina Khan, previously Senior Reporter at FT Adviser, is now Money Coach Reporter at The i.

What’s on our radar this month

What we’re watching

The Hack, ITV

By Emma Rae, Account Manager

The Hack revisits the News of the World phone-hacking scandal – a story that may not feel like ‘new’ news but still has plenty to say about how the media operates today. Spanning the period from 1990s to 2011, the ITV drama traces the events that exposed illegal journalistic practices and their far-reaching consequences, told through the eyes of journalists, police and those caught up in the fallout.

What makes the series feel particularly timely is how familiar many of the dynamics are. It’s hard not to spot parallels with today’s media environment and ultimately the show’s a reminder that debates about power, accountability and the relationship between politics and the press are still very much live.

What we’re listening to

The Rest is Entertainment interview with Kate Philips, Chief Content Officer at the BBC

By Libby Wallis, Associate Director

Perfectly – or poorly – timed depending on your viewpoint, The Rest is Entertainment podcast interviewed Kate Philips, Chief Content Officer at the BBC, just days after Tim Davie’s resignation. The conversation covered much more, with Philips arguing that the BBC must stop thinking of itself primarily as a TV broadcaster and instead acts as a platform-agnostic content creator. She emphasised reaching audiences where they already are, especially younger viewers, through YouTube, short-form video and new formats alongside traditional TV and iPlayer.

What does this tell us about the future of the BBC? The BBC sees the future of broadcasting as hybrid: public-service values and big, shared moments that drive conversation remain important, but survival depends on flexibility, faster experimentation, and content that works across generations.

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