Late-Night Talk Shows: More Than a Laughing Matter for U.S. Audiences

Late-night talk shows have been a staple in American viewership for decades, offering topical humor, celebrity guests, musical acts, and a host that viewers welcome into their homes to end their day. Inherently time-stamped content, in an era when viewing is almost exclusively time-shifted, these daily programs have faced viewership declines and challenges on their longtime linear broadcast homes. Now, more recently, they have also come under fire from the FCC for their political humor, with free speech at the center of the debate. 

Jeni Hatfield Benhain

With the state of late-night talk shows in new, uncertain territory, we here at Whip Media wanted to gauge consumer viewing preferences for the format. Using our engaged panel of TV Time users in the United States, these content enthusiasts were surveyed Sept. 26-28, 2025, about the late-night talk show format and timely perceptions on issues impacting this content. With more than 6,000 respondents (n=6, 107), we have gathered a few insights about the importance of political humor, the role of broadcast networks, potential changes to how these shows are offered, and general preferences in viewership. 

First, a majority of respondents consider it very important (55%) or somewhat important (14%) that broadcast networks provide programming that contains political humor. Among the segment of respondents who watch late-night talk shows at least occasionally, this offering is significantly more fundamental: 71% said it is very important for political humor content to exist on broadcast networks, with a full 81% agreeing to its importance. It is worth noting that the three age buckets examined across total respondents (18-34, 35-54, 55-plus) were incredibly aligned at 55% for Strongly Agree. 

Late-night talk shows have long been known for serving up humor on political news and figures. But are U.S. consumers tired of political jokes in their late-night talk show fare? Not exactly! Two-thirds (62%) of respondents said they like when these shows feature political jokes, with a third (33%) liking it a lot. When removing those who do not typically watch late-night talk shows, the desire for political humor in these programs rises to 80%.

Respondents also generally feel that late-night talk shows do belong on free broadcast networks, with 60% agreeing strongly or somewhat versus 5% disagreeing strongly or somewhat. That number jumps to 73% when segmenting respondents who watch these programs at least sometimes. It is again worth noting that when examining these results by age bracket (18-34, 35-54, 55 plus) there was almost no variation in the “strongly agree” responses, with each age cohort within two percentage points of each other (44%-46% strongly agree).

Respondents were asked about a scenario in which a late-night talk show is canceled or suspended. There is a strong likelihood (69%) that consumer perception of a network or platform will be impacted. When considering just the segment of respondents who watch late-night talk shows, this likelihood is even stronger at 86%.

With the future of the late-night talk show format in flux, coupled with wider changes in the viewing behaviors of consumers, we asked respondents where else they might watch or follow a host they enjoy if that host were no longer on broadcast. Fans are most likely to follow that talent to YouTube (55%), followed by a streaming service (47%). A third of respondents (35%) expressed openness toward a social media platform, and a quarter (24%) would consider a podcast with the host. 

Among respondents 18-34 years old, TikTok/Social was the second ranked option with 49%, after YouTube (62%).  Among male respondents, podcasts (26%) edged out TikTok/Social (23%) for the third rank after YouTube and streaming services.

Finally, we asked respondents some overarching preferences about the format of late-night talk shows and what motivates them to watch. In general, U.S. audiences today strongly prefer watching shorter clips of this content (41%) with only 12% preferring a full episode. A quarter (25%) have no preference and will watch both. 

As for why they are watching, the guests/interviews are the top driver — with 62% citing it as a main reason. The topical monologue ranked second (51%), whereas the host ranked third (42%).  

These findings shed light on the dynamic nature of late-night television and the evolving expectations of its audience. For a genre that was built to deliver nightly laughs, U.S. audiences are realizing there is a greater importance that underscores this type of programming.

Jeni Hatfield Benhain is senior director of client solutions at Whip Media.

Omicron Surge Impacts Movie Business With Smaller Theater Audiences 

Has the recent jump in COVID-19 cases due to the Omicron variant kept U.S. movie fans from heading to the theater?

New survey data from Whip Media suggests it has. 

Whip Media — after surveying more than 1,200 American users of its TV Time app, a free TV and movie tracking app with more than 20 million global users — found the Omicron surge has had a direct impact on the habits of movie fans. 

Jeni Hatfield Benhain

The key takeaway: 57% of respondents said they have skipped going to see a movie in theaters due to the recent increase in COVID-19 cases.

This holds true for both regular moviegoers as well as those who rarely make it to the movies; of the 611 frequent moviegoers surveyed — defined as those who went to the cinema at least once per month before the pandemic started — 58% said they’ve passed on going to see a movie in the theater that they were interested in. 

There’s also been a major shift in how fans approach films they are undecided about seeing. Whip Media’s survey found 69% of respondents are more likely to purchase and watch a movie in their home they’re “on the fence” about, rather than go to watch it at a theater. 

This is a stark increase from just last summer, when a comparable Whip Media survey found about 50% of respondents said they were more likely to purchase and watch a movie at home that they weren’t sure about. Studios appear to be watching this shift closely, too, with big-budget films like Morbius, starring Jared Leto and Michael Keaton, having its release date pushed back from late January to April 1. Disney has also changed its strategy for its upcoming Pixar release Turning Red, ditching its theatrical release in favor of an exclusive showing on Disney+ beginning March 11. 

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Whip Media’s survey results come as other polls have found concerns over COVID-19 have increased in recent weeks. One Gallup poll, conducted between Jan. 3 and Jan. 14, found 56% of Americans have avoided large crowds in the past week due to their fear of catching the coronavirus; that’s a higher percentage than at any point since vaccines have become widely available last spring, according to Gallup.

Still, there are signs of optimism from moviegoers. Nearly 60% of respondents said they are “likely” or “very likely” to go see a movie in the theater within the next six months. 

That figure could increase in the next few weeks, too, if the Omicron surge peaks and then starts to decline. Data this week from New York City, Cleveland and Washington, D.C. (among other major American cities) shows the seven-day average of cases has declined — suggesting the Omicron wave may have already crested. 

And one thing, of course, that’ll help drive fans back to the theater is a blockbuster movie they feel they have to see on the silver screen. We’ve already seen this with Spider-Man: No Way Home, which has climbed to $1.69 billion at the global box office since being released in December 2021. 

The best bet to shake off Omicron fears and have a strong box office performance is The Batman. The latest Dark Knight flick — starring Robert Pattinson and set to come out on March 4 — looks poised to drive fans to the theater. Of more than 1,000 respondents who said they are interested in seeing The Batman, 61% said they prefer to see it in a movie theater — the highest percentage of any major film coming out in the next few months. 

Jeni Hatfield Benhain is director of data solutions at Whip Media, whose enterprise software and data platform enables media companies to efficiently distribute, control and monetize their TV and movie content to drive revenue and direct-to-consumer growth. With her extensive knowledge of consumer audience analytics, she is charged with developing data-driven growth strategies for the world’s largest entertainment organizations including major SVOD services, networks and studios. 

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