According to YouTube’s 2025 Recap feature, a striking observation emerged: the content I consumed most frequently on its platform, categorized as a “podcast,” was Seth Meyers’ recurring segment, “A Closer Look,” from his late-night television program. Just last year, I would have vehemently argued that this segment, a mere clip from a traditional TV show, could not possibly be defined as a podcast. Yet, as we navigate 2025, a significant shift has occurred. With virtually every major podcast now incorporating a robust video component, the very definition of the word “podcast” has become increasingly blurred, if not entirely meaningless. The once-distinct boundaries between a decades-old TV talk show format and contemporary audio-visual productions like *Good Hang with Amy Poehler*, *Armchair Expert with Dax Shepard*, and *Club Shay Shay with Shannon Sharpe*—all consistently ranking at the top of Spotify’s podcast charts—have evaporated. In essence, they now occupy the exact same creative and distributional playing field.
The Evolution of ‘Podcast’ and Its Diminishing Meaning
The erosion of the term’s meaning is evident not just in personal consumption habits but across broader digital landscapes. A casual scroll through my YouTube feed under the “Podcast” tab reveals a diverse array of content: late-night talk show interviews, intricate host-driven video essays, engaging food reviews, and succinct cable news segments. This collection stands in stark contrast to the original, more specialized applications of the term, which typically referred to narrative audio journalism, in-depth interviews, or structured roundtable discussions. The original vision of podcasting—a democratized, audio-first medium often distributed via RSS feeds for consumption on portable devices like iPods—has been fundamentally reshaped by the ubiquity of video and the dominance of centralized platforms.
This semantic drift suggests that by 2026, continuing to labor over a precise definition of “podcast” will be an exercise in futility. Instead, the time has come to cease using the word altogether. “Podcast” is rapidly transforming into an outdated, perhaps even “cringe,” internet relic, mirroring the way phrases like “web series” gradually faded from common online parlance as digital video content matured and merged with mainstream entertainment. The term’s connection to “iPods” itself highlights its temporal limitations, anchoring it to a technological era that is now firmly in the past.
The Imperative for a New Nomenclature
Given this clear obsolescence, the pertinent question becomes: what terminology should we adopt for these evolving formats? It is unlikely that we will invent an entirely new word to encapsulate this expansive media landscape. Instead, the more pragmatic and probable path involves repurposing an existing, more broadly understood term.
Anecdotal evidence from within the industry strongly supports this shift. During a recent panel discussion, two prominent figures unequivocally stated their preference. Georgie Holt, CEO of FlightStory, the company behind the highly successful *Diary of a CEO* with Steven Bartlett, clarified that her team refers to their programming as “shows.” Max Cutler, founder of Pave Studios, echoed this sentiment in a direct conversation with me on stage, indicating the same internal shift in terminology.
This change in nomenclature from “podcasts” to “shows” is not isolated. I have personally observed this internal pivot within Vox Media, and similar shifts are being reported by colleagues across various other media companies. This widespread adoption by industry leaders and content creators is highly significant.
The ‘Show’ Solution: Marketability and Adoption
The preference for “show” is not merely semantic; it carries substantial strategic and commercial advantages. For advertisers, “show” presents a far more marketable and appealing term, particularly when associated with celebrity talent. Pitching “podcasts” to potential sponsors can often feel restrictive, suggesting a niche, audio-only audience. Conversely, pitching a “show” immediately broadens the perceived scope and value proposition. It implies a comprehensive media experience where advertisers can capture both “ears *and* eyes,” leveraging the visual engagement that has become central to modern content consumption. Furthermore, the term “show” naturally implies a more definitive platform and a higher production value, offering advertisers a clearer, more attractive environment for their campaigns. Ultimately, creators of these video-centric programs aspire to the financial scale and mainstream recognition associated with traditional media, aiming for that “Seth Meyers money.”
This industry-led reclassification is expected to trickle down to consumers. Just as internal marketing terms like “influencers” and “creators” were eventually adopted into everyday language, fans will likely begin referring to their favorite “podcasts” as “shows.” We are already witnessing this cultural shift among hosts themselves. *The Adam Friedland Show*, for instance, features a recurring comedic bit where guests who mistakenly call it a “podcast” are instantly corrected by the titular host, who insists it is a “talk show.” Moreover, the traditional, somewhat antiquated sign-off, “Find us wherever you get podcasts,” is increasingly being replaced by the more contemporary, YouTube-centric call to action: “like and subscribe.” This signals a clear alignment with video-first platforms and their engagement metrics.
Ultimately, this convergence means that these new “shows”—whether they originated as traditional podcasts or not—are now coexisting and competing directly with established non-podcast programs like *Hot Ones*, *Chicken Shop Date*, the Criterion Closet series, and clips from *The Tonight Show*. There is no longer a logical reason to confine them under a term inextricably linked to the antiquated technology of iPods.
The Shifting Landscape of Content Distribution
This evolution in nomenclature and content format is intrinsically linked to a significant transformation in content distribution. The once-decentralized and open nature of podcasting, largely based on RSS feeds, is gradually being replaced by a more centralized model dominated by major platforms like YouTube and, increasingly, Netflix. YouTube’s influence is undeniable, with the platform reporting that over one billion people watch “podcasts” on its site every month. This staggering figure underscores YouTube’s position as a primary, if not the primary, destination for this type of content.
Further solidifying this trend, Bloomberg reported that Netflix is preparing to integrate “podcasts” into its streaming platform. This move extends beyond merely hosting existing content; Netflix plans to develop its own original “shows” and collaborate with established media powerhouses such as Spotify, iHeartMedia, and Sirius. This indicates a clear strategic investment from a global streaming giant, legitimizing the video-first “show” format within the premium entertainment ecosystem.
Platform Centralization: YouTube and Netflix
In many ways, YouTube itself is transforming, beginning to resemble the traditional streaming service model pioneered by Netflix. The “talk show-style podcasts” thriving on YouTube are now widely regarded as the next generation of late-night television. This perception is reinforced by developments in traditional broadcasting, such as CBS reportedly signaling an end to its investment in the late-night genre, potentially cancelling *The Late Show with Stephen Colbert* in 2026. One could easily envision a more cost-effective, YouTube-style “show” filling such a slot in a broadcast network’s lineup. Furthermore, celebrity press tours, once a staple of traditional network TV, are increasingly prioritizing YouTube for their promotional efforts, recognizing the platform’s direct audience engagement and global reach.
This profound shift means that in the very near future, the familiar recommendation, “You have to listen to my favorite new podcast,” will likely be replaced by, “You have to watch this new show I caught on TV/YouTube/Netflix.” The medium of consumption will dictate the descriptive language, further cementing the demise of “podcast” as a relevant term.
The Enduring Niche of Audio-Only Programming
Despite the overwhelming trend towards video and platform centralization, the audio-only format is not destined for complete extinction. It retains a vital and irreplaceable niche in the media landscape. People continue to spend significant time driving, commuting, or engaging in activities where visual attention is either impossible or impractical. During these periods, consuming purely audio content remains the most efficient and preferred option. Indeed, Edison Research indicates that the majority of podcast listening still occurs within the home, suggesting a preference for audio as a background companion or for focused listening without visual distraction.
The Future of Independent Audio
However, the nature of audio-only content is likely to evolve. It is probable that the majority of truly audio-only “podcasts” will increasingly originate from independently run shows, where the barrier to entry is lower and the focus remains squarely on auditory storytelling and discussion. Larger media companies, while still publishing audio versions of their primary video shows for distribution on traditional podcatcher apps, will relegate these audio feeds to a secondary status. The video component will become their priority, serving as the main draw and revenue generator, with audio acting as an accessible alternative for specific consumption contexts.
Consequently, the era of the term “podcast”—a term long overdue for retirement given its anachronistic association with the iPod—is drawing to a close. In the years to come, the question “What is a podcast?” will likely fade from discourse, replaced by a more historical and reflective inquiry: “What *was* a podcast?” It will become a relic of a bygone digital age, a testament to how rapidly media formats and their defining terminology can evolve.
Conclusion
The digital media landscape of 2025 and beyond clearly signals the obsolescence of the term “podcast.” Driven by the pervasive integration of video, the blurring lines with traditional television formats, and the centralization of content distribution on platforms like YouTube and Netflix, the word has lost its distinctive meaning. Industry leaders and content creators are already embracing the more versatile and marketable term “show,” reflecting a shift that consumers are also beginning to adopt. While audio-only content will persist, particularly for independent creators and specific use cases like commuting, it will increasingly be framed as a secondary output of video-first productions. Thus, as we move further into the decade, the question of “what *is* a podcast?” will inevitably transform into a historical reflection on “what *was* a podcast?” – a term retired by the very evolution it once defined.
