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Spanish-language media giant TelevisaUnivision reported a 2 percent U.S. revenue fall to $1.3 billion in the fourth quarter of 2025 as an 11 percent U.S. advertising revenue drop to $423.2 million came alongside a 2 percent subscription and licensing revenue fall to $341 million.

Total U.S. revenue fell 7 percent to $777.2 million in the three months to Dec. 31, 2025, or a 3 percent drop when factoring in political advertising. Mexico revenues rose 7 percent to $546 million, as advertising revenue grew 15 percent to $433 million in that market.

TelevisaUnivision narrowed its fourth-quarter net loss to $234.7 million, compared to a year-earlier net loss of $809.7 million when the media giant recorded a $900 million non-cash impairment loss due in part to a write-down of TV broadcast licenses.

The latest financial quarter saw TelevisaUnivision record a $300 million non-cash impairment loss related to the writedown of trade names. The fourth-quarter financials also underlined how ViX streaming growth continues to offset legacy TV asset declines.

“ViX delivered record revenue, achieved profitability in every quarter, and expanded operating margins throughout the year, evolving into a scalable growth engine that is now a strategically central component to our business model. In 2026, we are building on this momentum to deepen audience engagement, unlock greater value for our partners, and reinforce our leadership as the voice of Hispanics,” Daniel Alegre, CEO of TelevisaUnivision said in a statement ahead of a late morning analyst call to discuss his latest financial results.

The company owns the Univision broadcast network, while also building up its ViX streaming platform to chase younger consumers. 

As Bari Weiss seeks to reimagine CBS News, staffers are preparing for the network’s flagship program 60 Minutes, arguably the most influential news program in all of TV, to be “revolutionized” along with it.

When Weiss first joined CBS News last year, 60 Minutes was hardly seen as a focal point. The network’s evening newscast the CBS Evening News and morning show CBS Mornings have been stuck in third place behind NBC and ABC for years, and early indications were that those were top priorities.

CBS’ Sunday newsmagazines, the lighter CBS News Sunday Morning, anchored by Jane Pauley, and the legendarily hard-hitting 60 Minutes led their respective time periods (60, in fact, has been the most-watched TV news program for years).

But the last few months have seen a flurry of events that portend a very different 60 Minutes in the not-too-distant future. Meanwhile, network-wide layoff plans in the next several months will reshape CBS News as Weiss puts her imprint on new areas of focus and adds to the mix her own contributor hires.

Earlier this month Anderson Cooper announced his plan to exit as a correspondent for the newsmagazine after nearly 20 years, and after weeks of negotiations to remain on the show, citing a desire to spend more time with his kids (while keeping his perch at CNN).

“We’re grateful to him for dedicating so much of his life to this broadcast, and understand the importance of spending more time with family. 60 Minutes will be here if he ever wants to return,” CBS said at the time.

On Sunday’s show, a segment anchored by Cooper about white South African refugees aired, after what had reportedly been an extended and unusual editing and vetting process.

And Sharyn Alfonsi, the correspondent whose report “Inside CECOT” sparked something akin to an internal revolt at the program after Weiss ordered it be pulled ahead of its release pending further reporting, is set to see her contract expire in the next few months. CBS staff are bracing for her potential exit, and wondering what other correspondents could be next (one insider noted that Lesley Stahl is 84 and Bill Whitaker is 74, while Scott Pelley has expressed frustration with Weiss in staff meetings).

“In my view, pulling it now — after every rigorous internal check has been met is not an editorial decision, it is a political one,” Alfonsi wrote at the time in a memo to her fellow correspondents, including Cooper.

60 Minutes has always been something of an outlier among TV news programs. At a moment when shows are leaning into their talent (see Weiss’ effort to overhaul the Evening News around Tony Dokoupil), it has a large roster of correspondents rather than a singular face of the show. Instead, the format and high production values are the real star.

And while most news shows are fighting for audience share, it benefits from CBS’ NFL lead-in for much of the year to secure its significant ratings (the show’s Feb. 15 episode drew 6 million viewers, marking the top non-Olympics series in broadcast in primetime). But the departure of a correspondent, or even multiple correspondents, is unlikely to change its ratings equation.

And in a move that may seem immaterial to outside observers, 60 Minutes will in the coming weeks move from its historic base on West 57th across the street to the CBS Broadcast Center in Midtown Manhattan, joining the rest of the CBS News programming. CBS Sports and Inside Edition will be moving too (they are going to Paramount’s Broadway office) but moving 60 Minutes into the larger CBS News space is nonetheless a shift for the show.

While office consolidations in media are a common occurrence (even at CBS), 57th St. served as a metaphorical and literal buffer on the influence that CBS had on the newsmagazine, which has long operated with a high degree of independence.

Of course, that independence has already been slowly deteriorating over the last year.

President Trump’s lawsuit against CBS over how 60 Minutes edited its interview with Vice President Kamala Harris angered staff at the news division, given how frivolous they viewed the accusations to be, and the decision by CBS (then owned by Shari Redstone) to settle.

Amid that suit, the show’s longtime executive producer Bill Owens resigned, telling staff it was over issues of editorial independence, and that network executives were getting involved in stories that in a way that they had not done previously.

“Over the past months, it has … become clear that I would not be allowed to run the show as I have always run it,” Owens wrote at the time. “To make independent decisions based on what was right for 60 Minutes, right for the audience. So, having defended this show — and what we stand for — from every angle, over time with everything I could, I am stepping aside so the show can move forward.”

A few months later, staffers at the show breathed a sigh of relief when Tanya Simon was named Owens’ successor. A 25-year veteran of the show (and daughter of the legendary correspondent Bob Simon), her pick reassured staff that despite the tumult of the settlement and the exit of Owens, the show would have some stability as it charted a path forward.

And then Skydance acquired Paramount, and David Ellison brought in Weiss, promising to reinvent the news division at a moment when polarization was high, and trust in media was low.

Simon, sources say, has been cognizant of the changed internal politics, but wants to maintain 60 Minutes‘ place and influence at CBS and in the TV business.

Speaking at USC Annenberg’s Walter Cronkite Awards in December (notably before the Inside CECOT fiasco), Pelley was sanguine about the situation, even as he acknowledged that it was a “fraught time” for the show. “Our company is the new Paramount, and we were all very concerned at 60 Minutes about what that meant,” he said.

Weiss, for her part, has not ben shy about her desire to overhaul CBS.

Last month, Bari Weiss gathered the rank and file of CBS News in the network’s Broadcast Center on west 57th St. in New York, outlining her vision for the network, and 60 Minutes was on the agenda.

“This building holds a deep history of radical innovation. CBS aired the first presidential debate back in 1960. It put out the first television newsmagazine, 60 Minutes, in 1968,” Weiss told staff. “We are proud of that history. We talk a lot about it. The real question now is how we can revolutionize it in our own time.”

“We should devote vastly more of our attention — starting right now — to what’s coming,” she added. “That means investing in our extraordinary brands like 60 Minutes, 48 Hours, and Sunday Morning by building them out — creating podcasts, newsletters, live journalism events, and more.”

Of course no one at 60 Minutes expects the changes to be limited to a podcast, or a live event extension of the show. If Weiss does find herself in a position to add multiple correspondents to the program, who she selects and the stories they pursue will surely send a message about her overarching vision for CBS, from its most popular show to every corner of the news division.

Sports took center stage, or should that be: center field, at MIP London on Tuesday in a panel discussion entitled “Sport & Creators: Strategic Priorities Shaping Streaming Platforms.”

David Salmon, managing director, international at Fox Corp.’s Tubi, Olivier Jollet executive vp and international general manager at Paramount‘s Pluto TV, Paramount Skydance, and Walker Jacobs, global chief revenue officer and president of DAZN U.S. discussed content and monetization trends with moderator Jennifer Batty, media advisor, global streaming at JJB.

Jollet shared about Pluto TV that “we use sports more as a [user] acquisition driver.” He added that the streamer is particularly focused on “locally relevant sports rights,” pointing out the likes of darts and snooker in the U.K. The executive also cited women’s sports as an opportunity, highlighting that audiences are “underserved” in this regard on traditional TV.

Jollet on Tuesday also mentioned that Pluto TV recently partnered with Tinder on a dating show in Brazil, calling it “a huge partnership” and “a new way of doing advertising.”

Meanwhile, Salmon highlighted “shoulder content” that Tubi builds around popular sports events, such as it did in partnership with Naomi Osaka for the U.S. Open tennis tournament last year. That allows audiences to “go deeper and deeper” in support of live programming.

He also said that for him, it is currently about “how to redefine the boundaries around this strictness around professionally produced content, creators-produced content and [user-generated content]. There is essentially a blending that is happening across the industry, and consumers candidly don’t really care. The thing that is finite is their level of engagement, the time, the attention.”

Jacobs on Tuesday highlighted how his team has “reverse-engineered” an original content strategy in partnership with DAZN’s acquired Team Whistle business. He compared the process to surfing, where you have to wait for a wave you can catch.

As examples of DAZN’s original content, the executive cited The Kittle Things, the weekly original series featuring San Francisco 49ers tight end George Kittle and his wife Claire. The show is designed to offer a “human” look beyond the gridiron. Jacobs also highlighted that the series led to a spin-off, in Wife’d Up, Mic’d Up, a social-first YouTube series featuring Claire Kittle and Kristin Juszczyk, the fashion designer wife of 49ers fullback Kyle Juszczyk.