Scammers are using stolen identities to land jobs. Your resume could be next
By
Shawn Tyler for PeopleFinders
6 min read • Published May 28, 2026
By
Shawn Tyler for PeopleFinders
6 min read • Published May 28, 2026
Ple Kulnipa // Shutterstock
Scammers are using stolen identities to land jobs. Your resume could be next
Since the post-pandemic shift to remote work, there’s been a noticeable spike in job scams, with 1 in 3 job seekers reporting stumbling across one. While these scams still successfully trap many inexperienced hopefuls, there’s better awareness about how to avoid them and report their perpetrators.
Unfortunately, though, today’s work culture, which is often run from behind screens, has given rise to another issue: employment-related identity theft. While it’s still a relatively new phenomenon, there were a whopping 37,556 cases reported in 2024 alone, according to the Financial Trade Commission — and those figures are growing.
Now is the time to learn what to look for and learn what to do if you think someone is using your identity to apply for jobs. PeopleFinders takes a closer look at how to spot employment identity fraud and what you can do to protect yourself.
A New Threat Emerges: Employment-Related Identity Fraud
Identity theft has always been a threat, but it was usually framed as a way for scammers to apply for social security benefits, credit cards, bank loans, or other methods of directly getting money using the stolen identity.
Today, a new subset of these scammers is playing the long game: Instead of moving right to trying to steal money directly, they’re applying for jobs using someone else’s name, Social Security number (SSN), and even contact information and likeness.
Why Do Scammers Steal Identities to Apply for Jobs?
Employment-related identity theft is usually committed by people who want to appear better-suited for a job than they actually are. It also helps scammers pass background checks and qualify for jobs they don’t meet all the eligibility requirements for. They may also use someone else’s identity to override location restrictions on some jobs.
4 Warning Signs that Someone is Using Your Identity to Apply for Jobs
The first sign your identity has been used in an employment-related scam is unusual correspondence. Here are some things to look out for.
1. An IRS Notice You Don’t Expect
The IRS sometimes sends notices if it suspects that your identity has been used by someone else to obtain employment. Here are some notices to look for:
CP01E Notice: Someone used your SSN to get a job, and the IRS placed an identity theft indicator on your tax account, monitoring any fraudulent activity.
CP2000 Series Notice: The income or payment information presented by a third-party (usually an employer) doesn’t match the information provided on your tax return. The difference can increase, decrease, or not affect the return at all. It may or may not include a response form.
CP2057 Notice: You may need to file an amended tax return because the return you filed doesn’t match information the IRS has received.
2. IRS Form W-2 or Form 1099 from an Unknown Employer
A Form W-2 or Form 1099 is required for any employer who pays an employee more than $600 a year and must be sent to each employee for tax filing. If you receive a Form W-2 or Form 1099 from an employer you don’t recognize, someone has been using your identity to solicit work.
3. Background Check Letters for Jobs You Didn’t Apply For
If you receive a letter at your residence asking for more information about you for a job you didn’t apply for, it’s a red flag that your identity is being used to land a job.
4. Adjusted or Denied Social Security Benefits
Finally, if the Social Security Administration sends you a notice that your benefits have been adjusted or denied based on earnings you don’t recognize, then it’s likely your identity was stolen.
I Think Someone Stole My Identity — Now What?
Depending on how you find out about the identity theft, you can take one or more of the following steps to report and stop the scam:
Get an Identity Protection PIN (IP PIN)
The IP PIN authenticates you as the valid filer of tax returns using your SSN. If you don’t have one yet, visit this page to get an IP PIN to verify your identity at the IRS.
Place a One-Year Fraud Alert at a Credit Bureau
You can do this step for free by contacting the bureaus through the links or toll-free numbers below. The bureau you call must alert the other two, so you don’t need to contact all three.
Filing the complaint with the Federal Trade Commission can be done through this online form or by calling 1-877-438-4338.
Self-Lock Your SSN with the Department of Homeland Security (DHS)
The E-Verify service provided by the DHS has an option to Self-Lock your SSN, so whenever an employer tries to look up your SSN without you unlocking it first, it’ll be reported as a mismatch on the system.
File Form 14039 (Identity Theft Affidavit) with the IRS
Sometimes your taxes are implicated in the scam, and it isn’t discovered early enough. You should file Form 14039 with the IRS only if the IRS tells you to, if you can’t use the Identity and Tax Return Verification Service, or if you’re reporting an incident the IRS wasn’t aware of. You can also file for a dependent or a deceased person whose identity has been stolen.
Contact the Employer to Report the Fraud
If you receive direct communication from the company that employs the scammer using your identity, you can call their fraud department to report the incident.
(Optional) File a Report with Your Police Department
If the person stealing your identity is engaging in other illegal activity under your name, this might be an important step. The paperwork you’ll need with you while filing the report includes:
A copy of the FTC Identity Theft Report you filed.
A driver’s license or any other government-issued ID with a photo.
Proof of your address (mortgage statement, rental agreement, or utilities bill).
Any other proof you have of the theft (bills, IRS notices, etc.).
How to Protect Your Identity From Scammers
Identity theft can happen to anyone, but it’s not completely unavoidable. Here are a few ways you can protect yourself from scammers:
Install anti-phishing software and avoid clicking any suspicious links you receive via email or social media.
Shred any documents that include your SSN or any other vital information before you discard them; that way, dumpster divers can’t collect or sell your information.
Change your passwords frequently and store them in a safe place.
Be careful about what information you share about yourself online. The things you post about yourself on social media create vulnerabilities scammers can exploit to steal your vital information.
If you receive a suspicious email or message with a job offer you didn’t apply for, use a reverse email search tool to find out more about the sender. This step can help you report scammers to your local authorities and will prevent the same scam from happening to other people.
Pro Tip: During the initial phone interview, if they call you, use a reverse phone lookup to verify the number is associated with the company or confirm the caller’s identity.
As the economy shifts and fluctuates, you can expect new kinds of scams to arise, even if they don’t make much sense at first. It’s important to be aware that they exist, know how to protect yourself, and seek out the resources necessary to fix this problem if it arises.
Pharmacy Podcast Network Recognized Among RXinsider's Pharmacy500 Best Businesses Inside Pharmacy for Third Consecutive Year
By
Media News
3 min read • Published May 28, 2026
By
Media News
3 min read • Published May 28, 2026
Three-year Pharmacy500 recognition highlights Pharmacy Podcast Network’s unique role in turning pharmacy media, public relations, podcasting, and targeted content distribution into business-development opportunities across the pharmacy profession.
PITTSBURGH, PA / ACCESS Newswire / May 28, 2026 / RxPR, LLC, doing business as the Pharmacy Podcast Network, is proud to announce that Pharmacy Podcast Network has been recognized as one of RXinsider’s Pharmacy500 Best Businesses Inside Pharmacy for the third year in a row, earning recognition in 2024, 2025, and 2026 as a Pharmacy Business Leader.
The Pharmacy500 recognizes companies and associations supporting pharmacy operations and the businesses that help dispensing pharmacies, pharmacy leaders, and the broader pharmacy supply chain move forward. For Pharmacy Podcast Network and RxPR, this recognition represents more than an award; it validates a unique media, public relations, and business development model built specifically for the pharmacy profession.
RxPR, LLC and the Pharmacy Podcast Network help pharmacy-focused companies turn awareness into business development. Through press releases, executive podcast interviews, social media content creation, thought leadership, and targeted distribution, RxPR and PPN connect pharmacy brands with an engaged audience of more than 85,000 pharmacy professionals per month. The agency’s work supports companies seeking stronger visibility with targeted buyers and potential partners across community pharmacy, long-term care pharmacy, LTC pharmacy at home, specialty pharmacy, compounding, health-system pharmacy, pharmacy technology, delivery, and other high-growth sectors.
Recent RxPR and Pharmacy Podcast Network campaigns have included national pharmacy conference coverage across the McKesson, Cencora, and Cardinal Health events; public relations support for independent pharmacy advocacy; partnership announcements involving IPC, iCare+, and Uber; visibility for ATRIUMX; the launch of Pharmacy CrossRoads; and continued expansion of the Pharmacy 50 Awards platform.
The Pharmacy 50 Awards, created by Pharmacy Podcast Network, helped establish a powerful peer-recognition model for honoring the most influential people in pharmacy. That program’s multi-year voting and recognition framework helped inspire broader conversations around influence, visibility, and leadership across the profession-ideas that align closely with the spirit of the Pharmacy500.
"To be recognized three years in a row by RXinsider’s Pharmacy500 is a powerful milestone for our team, our partners, and the pharmacy profession," said Todd Eury, Founder and CEO of RxPR, LLC and Pharmacy Podcast Network. "We built RxPR to be the most unique public relations and business development agency in pharmacy. Press releases are important, but when they are connected to podcast interviews, social media distribution, thought leadership, and targeted audience development, they become a business-development engine. Our mission is to help pharmacy companies build validity, earn attention, and connect with the buyers and partners who can move their organizations forward."
Companies interested in strengthening their pharmacy market presence are invited to connect with RxPR and Pharmacy Podcast Network to explore targeted campaigns that combine content, credibility, and pharmacy-specific distribution.
Contact Information
Todd Eury – CEO RxPR, LLC. eury@rxpr.net 412-585-4001
INEO Announces Upsizing of Previously Announced Private Placement Financing
By
Media News
4 min read • Published May 28, 2026
By
Media News
4 min read • Published May 28, 2026
NOT FOR DISTRIBUTION TO UNITED STATES NEWSWIRE SERVICES OR FOR DISSEMINATION IN THE UNITED STATES
SURREY, BC / ACCESS Newswire / May 28, 2026 / INEO Tech Corp. (TSX-V:INEO)(OTCQB:INEOF) (the "Company" or "INEO") announces that, further to its news release dated May 4, 2026, the Company intends to increase the maximum size of its previously announced non-brokered private placement financing from gross proceeds of up to $1,100,000 to gross proceeds of up to $1,500,000.
The financing is expected to be completed at a price of $0.01 per common share on a pre-consolidation basis, or $0.10 per common share on a post-consolidation basis, assuming completion of the Company’s proposed 1-for-10 share consolidation. The minimum closing condition of $500,000 remains unchanged.
The Company expects to use the additional proceeds from the upsized financing for working capital, inventory purchases, production requirements, customer deployment costs and general corporate purposes.
As previously announced, the Company has entered into an agreement to extend the maturity date of the Company’s existing $1,000,000 principal indebtedness from May 17, 2026 to December 17, 2027, subject to the Company completing a minimum $500,000 financing and the conversion of accrued interest owing on the note.
Also as previously announced, the note holder has agreed to convert accrued and unpaid interest under the existing promissory note in the amount of approximately $341,288, calculated as of May 17, 2026, into common shares of the Company at the same pricing basis as the financing. The Company also intends to convert approximately $116,600 of additional indebtedness into common shares at the same pricing basis as the financing.
Completion of the financing, the debt conversions, the share consolidation and the amendment to the promissory note remain subject to customary conditions, including approval of the TSX Venture Exchange. All securities issued in connection with the financing and debt conversion transactions will be subject to applicable resale restrictions, including a statutory hold period of four months and one day from the date of issuance. The Company may pay finder’s fees and/or finder’s warrants in connection with the financing in accordance with TSX Venture Exchange policies.
The securities of the Company have not been registered and will not be registered under the U.S. Securities Act of 1933, as amended, and may not be offered or sold in the United States absent registration or an applicable exemption from the registration requirements. This press release shall not constitute an offer to sell or the solicitation of an offer to buy nor shall there be any sale of the securities in any State in which such offer, solicitation or sale would be unlawful.
INEO Tech Corp.
Per: "Kyle Hall"
Kyle Hall, Chief Executive Officer and Director
About INEO Tech Corp. (TSX-V: INEO; OTCQB: INEOF)
INEO Tech Corp. builds technology at the intersection of in-store retail media and loss prevention. INEO’s patented integration of Electronic Article Surveillance (EAS) pedestals with digital displays helps retailers reduce theft while generating incremental retail media revenue from the same footprint. INEO is headquartered in Surrey, British Columbia, Canada, and is publicly traded on the TSX Venture Exchange (INEO) and the OTCQB (INEOF).
This news release contains forward-looking information, which involves known and unknown risks, uncertainties and other factors that may cause actual events to differ materially from current expectations. Important factors – including the availability of funds, acceptance of the Company’s products, competition, and general market conditions – that could cause actual results to differ materially from the Company’s expectations are disclosed in the Company’s documents filed on SEDAR, including the Annual Financial Statements and MD&A for the year ended June 30, 2025 and its subsequently filed interim financial statements and MD&A. Readers are cautioned not to place undue reliance on these forward-looking statements, which speak only as of the date of this press release. The Company disclaims any intention or obligation, except to the extent required by law, to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise.
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.
INEO Tech Corp. Reports Record Quarterly Revenue For Fiscal Q3 FY2026
By
Media News
3 min read • Published May 28, 2026
By
Media News
3 min read • Published May 28, 2026
SURREY, BC / ACCESS Newswire / May 28, 2026 / INEO Tech Corp. (TSX-V:INEO)(OTCQB:INEOF) (the "Company" or "INEO"), a retail technology company modernizing store entrance infrastructure through connected loss prevention, digital media and operational intelligence solutions, today announced its financial results for the three months ended March 31, 2026 (the "Quarter"). The Company’s unaudited interim condensed consolidated financial statements and management’s discussion and analysis have been filed and are available under the Company’s profile on SEDAR+.
Record Quarterly Revenue For the Quarter, INEO reported revenue of $586,589, which represents the highest quarterly revenue in the Company’s history. The Company’s previous year’s quarter was $456,001 (fiscal Q3 2025), making the current Quarter an increase of $130,588, or 28.6%.
Backlog and Current Quarter Shipments As previously announced in the Company’s April 28, 2026 news release, as of that date the Company had confirmed orders for more than 425 systems pending production or delivery. The Company continues to execute against this order backlog and is shipping systems during the current quarter. Revenue recognition is expected to occur as systems are shipped in accordance with customer requirements.
The Company will host an investor webinar, "INEO Investor Update: Q3 Results and Strategic Outlook," on Thursday, May 28, 2026 at 10:00 a.m. Pacific Time.
During the webinar, INEO management will review the Company’s Q3 financial results, provide an update on recent operational progress and discuss the Company’s strategic priorities as it continues to scale its connected loss prevention, digital media and retail technology platform.
Webinar Details
Title: INEO Investor Update: Q3 Results and Strategic Outlook Date: Thursday, May 28, 2026 Time: 10:00 a.m. Pacific Time Registration:https://bit.ly/INEO-Q3-Webinar
Investors and interested stakeholders are encouraged to register in advance using the link above.
INEO Tech Corp.
Per: "Kyle Hall"
Kyle Hall, Chief Executive Officer and Director
About INEO Tech Corp. (TSX-V:INEO)(OTCQB:INEOF)
INEO Tech Corp. builds technology at the intersection of in-store retail media and loss prevention. INEO’s patented integration of Electronic Article Surveillance (EAS) pedestals with digital displays helps retailers reduce theft while generating incremental retail media revenue from the same footprint. INEO is headquartered in Surrey, British Columbia, Canada, and is publicly traded on the TSX Venture Exchange (INEO) and the OTCQB (INEOF).
This news release contains forward-looking information, which involves known and unknown risks, uncertainties and other factors that may cause actual events to differ materially from current expectations. Important factors – including the availability of funds, acceptance of the Company’s products, competition, and general market conditions – that could cause actual results to differ materially from the Company’s expectations are disclosed in the Company’s public filings available on SEDAR+, including the MD&A for the year ended June 30, 2025 and the interim filings for the period ended March 31, 2026. Readers are cautioned not to place undue reliance on these forward-looking statements, which speak only as of the date of this press release. The Company disclaims any intention or obligation, except to the extent required by law, to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise.
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.
Reservoir Media Announces Fourth Quarter and Fiscal Year 2026 Results
By
Media News
16 min read • Published May 28, 2026
By
Media News
16 min read • Published May 28, 2026
Strong Execution and Substantial Capital Deployment Drove Record Financial Performance and High-Quality Portfolio Expansion
Fiscal 2027 Financial Outlook of Mid-Single-Digit Top- and Bottom-Line Growth
NEW YORK, NY / ACCESS Newswire / May 28, 2026 / Reservoir Media, Inc. (NASDAQ:RSVR) ("Reservoir" or the "Company"), an award-winning independent music company, today announced financial results for the fourth quarter and full year for fiscal 2026 ended March 31, 2026.
Fiscal Year 2026 Highlights:
Revenue of $175.7 million, increased 6% organically, or 11% including acquisitions year-over-year
Music Publishing Revenue increased 9% year-over-year
Recorded Music Revenue increased by 16% year-over-year
Operating Income of $38.2 million, increased by 9% year-over-year
OIBDA ("Operating Income Before Depreciation & Amortization") of $69.0 million, increased by 12% year-over-year
Net Income $7.8 million, or $0.13 per diluted share, compared to Net Income of $7.7 million last year, or $0.12 per diluted share
Adjusted EBITDA of $73.6 million, up 12% year-over-year
Acquired the publishing catalog of music and cultural icon Miles Davis, as well as rights to his recorded music and shared rights to name and likeness
Reinforced relationships with existing clients:
Announced a new deal with film composer Hans Zimmer and his company, Remote Control Publishing, extending the relationship that began in 2015
Extended publishing deals with music legend Joni Mitchell and Grammy award-winning songwriter and producer Khris Riddick-Tynes
Expanded Reservoir’s international footprint with the launch of Mumbai-based subsidiary, PopIndia, to sign and develop talent in India, including the company’s first deals signing singer, songwriter, rapper, and YouTube star Yohani and acquiring the publishing and master rights to the entire Musicraft Entertainment catalog
Expanded the Recorded Music division with a multi-faceted deal with independent record label Fool’s Gold Records, including acquiring catalog master rights of several of the label’s artists and an exclusive partnership to market and distribute all other recordings on Fool’s Gold via the Reservoir label platform
Fourth Quarter 2026 & Recent Highlights:
Revenue of $47.5 million, increased 12% organically, or 15% including acquisitions year-over-year
Music Publishing Revenue increased 11% year-over-year
Recorded Music Revenue increased 27% year-over-year
Operating Income of $11.8 million, increased by 13% year-over-year
OIBDA of $19.9 million, increased by 16% year-over-year
Net Income of $4.1 million, or $0.07 per diluted share, compared to Net Income of $2.7 million in the year-ago period, or $0.04 per diluted share
Adjusted EBITDA of $21.2 million, up 16% year-over-year
Announced new publishing deals with country/pop songwriter Allison Veltz Cruz, multi-genre songwriter-producer Britten Newbill, U.K. singer-songwriter Benjamin Francis Leftwich, and Nashville singer-songwriter Sam Tinnesz
Reservoir subsidiary PopArabia acquired MENA label and digital distribution company Viral Wave
Management Commentary:
"Fiscal 2026 was another standout year for Reservoir, marked by strong growth and continued strategic investment. We expanded our catalog across publishing and recorded music, scaled our presence in high-growth international markets, and reinforced our reputation as the partner of choice for leading creators. This momentum is reflected in our partnerships with iconic talent and catalogs, including Miles Davis, Hans Zimmer, Joni Mitchell, and many more," said Golnar Khosrowshahi, Founder and Chief Executive Officer of Reservoir Media.
Khosrowshahi continued, "Looking ahead, the outlook for the music industry remains highly compelling. With a robust deal pipeline and a financial profile that supports both organic growth and disciplined capital deployment, we are well positioned to extend our track record of growth. As we enter Fiscal 2027, we remain focused on delivering for our creators and generating long-term value for shareholders."
Fourth Quarter & Fiscal Year 2026 Financial Results
Summary Financials
Q4’26
Q4’25
Change
FY26
FY25
Change
Total Revenue
$
47.5
$
41.4
15
%
$
175.7
$
158.7
11
%
Music Publishing Revenue
$
30.9
$
27.9
11
%
$
116.8
$
107.4
9
%
Recorded Music Revenue
$
15.2
$
12.0
27
%
$
51.5
$
44.3
16
%
Operating Income
$
11.8
$
10.4
13
%
$
38.2
$
35.1
9
%
OIBDA
$
19.9
$
17.2
16
%
$
69.0
$
61.4
12
%
Net Income
$
4.1
$
2.7
49
%
$
7.8
$
7.7
1
%
Adjusted EBITDA
$
21.2
$
18.2
16
%
$
73.6
$
65.7
12
%
(Table Notes: $ in millions; Quarters ended March 31st; Unaudited)
Total Revenue in the fourth quarter of fiscal 2026 increased 15% to $47.5 million, compared to $41.4 million in the fourth quarter of fiscal 2025. The increase was spread across both Music Publishing and Recorded Music, which saw growth of 11% and 27%, respectively. Total Revenue for fiscal 2026 increased 11% to $175.7 million, compared to $158.7 million in fiscal 2025. The year-over-year improvement was driven by the 9% growth of the Music Publishing segment and the 16% growth of the Recorded Music segment, inclusive of the acquisitions of various catalogs.
Operating Income in the fourth quarter of fiscal 2026 was $11.8 million, an increase of 13% compared to Operating Income of $10.4 million in the fourth quarter of fiscal 2025. OIBDA in the fourth quarter of fiscal 2026 increased 16% to $19.9 million, compared to $17.2 million in the prior year quarter. Adjusted EBITDA in the fourth quarter of fiscal 2026 was $21.2 million, compared to $18.2 million last year. The increases in Operating Income, OIBDA, and Adjusted EBITDA in the fourth quarter were primarily driven by strong revenue results in both segments. The gain in all three metrics was partially offset by higher administration expenses, while the increase in operating income was also partially offset by higher amortization and depreciation expense due to the acquisition of catalogs.
Operating Income in fiscal 2026 was $38.2 million, an increase of 9% compared to Operating Income of $35.1 million in fiscal 2025. OIBDA in fiscal 2026 increased 12% to $69.0 million, compared to $61.4 million in the prior year. Adjusted EBITDA in fiscal 2026 increased 12% to $73.6 million, compared to $65.7 million last year. The increase in Operating Income, OIBDA, and Adjusted EBITDA for the year was driven by revenue growth and lower cost of revenue as a percentage of revenues. See below for calculations and reconciliations of OIBDA and Adjusted EBITDA to Operating Income and Net Income, respectively.
Net Income in the fourth quarter of fiscal 2026 was $4.1 million, or $0.07 per share, compared to $2.7 million, or $0.04 per share, in the year-ago quarter. The increase in Net Income for the fourth quarter was driven by higher operating income and the gain on fair value of interest rate swaps, offset by higher interest expense and loss on foreign exchange. Net Income in fiscal year 2026 was $7.8 million, or $0.13 per diluted share, compared to $7.7 million, or $0.12 per share in fiscal year 2025. The year-over-year increase in Net Income was largely due to an increase in operating income, as well as a decrease in the loss on fair value of interest rate swaps, partially offset by increases in interest expense and income tax expense.
Fourth Quarter & Fiscal Year 2026 Segment Review
Music Publishing
Q4’26
Q4’25
Change
FY26
FY25
Change
Revenue by Type
Digital
$
16.9
$
13.6
24
%
$
64.7
$
60.5
7
%
Performance
$
5.5
$
6.5
(16
)%
$
24.0
$
21.1
14
%
Synchronization
$
5.8
$
5.5
6
%
$
19.1
$
18.2
5
%
Mechanical
$
1.3
$
1.2
16
%
$
4.2
$
3.9
9
%
Other
$
1.4
$
1.2
20
%
$
4.8
$
3.7
30
%
Total Revenue
$
30.9
$
27.9
11
%
$
116.8
$
107.4
9
%
OIBDA
$
11.0
$
10.5
5
%
$
40.9
$
37.3
9
%
(Table Notes: $ in millions; Quarters ended March 31st; Unaudited)
Music Publishing Revenue in the fourth quarter of fiscal 2026 was $30.9 million, an increase of 11% compared to $27.9 million in last fiscal year’s fourth quarter. The increase was largely driven by higher Digital revenue and Synchronization revenue, which was partially offset by lower Performance revenue. Music Publishing Revenue in fiscal 2026 was $116.8 million, representing an increase of 9% compared to $107.4 million in fiscal 2025. Growth for the year was driven by Digital revenue as well as double-digit gains in Performance and Other revenue, while all other revenue types grew but to a lesser extent.
In the fourth quarter of fiscal 2026, Music Publishing OIBDA increased 5% to $11.0 million, compared to $10.5 million in the fourth quarter of fiscal 2025. During fiscal 2026, Music Publishing OIBDA increased 9% to $40.9 million, compared to $37.3 million in fiscal 2025. Music Publishing OIBDA margin in the fourth quarter decreased from 37% to 36%. Music Publishing OIBDA margin in fiscal 2026 was unchanged at 35%. The decrease in the fourth quarter 2026 OIBDA margins reflected higher administrative costs including professional fees incurred in connection with our acquisition of Viral Wave.
Recorded Music
Q4’26
Q4’25
Change
FY26
FY25
Change
Revenue by Type
Digital
$
10.3
$
8.8
17
%
$
36.4
$
30.7
18
%
Physical
$
1.8
$
1.3
35
%
$
6.1
$
6.2
(1
)%
Neighboring Rights
$
1.4
$
1.1
18
%
$
4.7
$
4.2
11
%
Synchronization
$
1.7
$
0.7
161
%
$
4.3
$
3.1
39
%
Total Revenue
$
15.2
$
12.0
27
%
$
51.5
$
44.3
16
%
OIBDA
$
8.7
$
6.5
34
%
$
26.9
$
22.7
18
%
(Table Notes: $ in millions; Quarters ended March 31st; Unaudited)
Recorded Music Revenue in the fourth quarter of fiscal 2026 was $15.2 million, an increase of 27% compared to $12.0 million in last fiscal year’s fourth quarter. Recorded Music Revenue in fiscal 2026 was $51.5 million, an increase of 16% compared to $44.3 million in fiscal 2025. Growth in both periods was driven by a double-digit improvement within Digital revenues and strong growth in Synchronization revenues, which were partially offset by lower Physical revenue in fiscal 2026.
In the fourth quarter of fiscal 2026, Recorded Music OIBDA increased 34% to $8.7 million, versus $6.5 million in the year-ago period. During fiscal 2026, Recorded Music OIBDA increased 18% to $26.9 million, compared to $22.7 million in fiscal 2025. Recorded Music OIBDA margin in the fourth quarter increased from 54% to 57%, and in fiscal 2026 increased from 51% to 52%. The increase in the fourth quarter and fiscal 2026 OIBDA margins reflected an increase in revenue as well as lower cost of revenue as a percentage of revenues and improved operating leverage as revenues increased.
Balance Sheet and Liquidity
During fiscal 2026, cash provided by operating activities was $50.1 million, an increase of $4.9 million compared to the same period last fiscal year. The increase in cash provided by operating activities was primarily attributable to an increase in earnings and cash provided by working capital.
As of March 31, 2026, Reservoir had cash and cash equivalents of $25.9 million and $91.2 million available for borrowing under its revolving credit facility, for total available liquidity of $117.1 million. Total debt was $455.7 million (net of $3.1 million of deferred financing costs) and Net Debt was $429.8 million (defined as total debt, less cash and equivalents and deferred financing costs). This compares to cash and cash equivalents of $21.4 million and $58.2 million available for borrowing under its revolving credit facility, for total available liquidity of $79.6 million as of March 31, 2025. Total debt was $388.1 million (net of $3.7 million of deferred financing costs) and Net Debt was $366.7 million as of March 31, 2025.
Fiscal Year 2027 Outlook
Reservoir initiated the following financial outlook range for fiscal year 2027, and expects the financial results for the year ending March 31, 2027, to be as follows:
Outlook
Guidance
Growth
(at mid-point)
Revenue
$186M – $191M
7%
Adjusted EBITDA
$75M – $79M
5%
Jim Heindlmeyer, Chief Financial Officer of Reservoir, commented, "Our full-year 2026 results underscore the strength and resilience of our portfolio, with growth driven by a disciplined approach to both investments and cost. Looking ahead to fiscal 2027, we are well positioned for continued growth due to the strength of our catalog and our proven ability to unlock additional value. This is reflected in our guidance for 7% Revenue growth and 5% Adjusted EBITDA growth at the midpoints."
Conference Call Information
Reservoir is hosting a conference call for analysts and investors to discuss its financial results for the fourth quarter and fiscal year ended March 31, 2026, and its business outlook at 10:00 a.m. EDT today, May 28, 2026. The conference call can be accessed via webcast in the investor relations section of the Company’s website at https://investors.reservoir-media.com/news-and-events/events-and-presentations.
Interested parties may also participate in the call using the following registration link: Here. Once registered, participants will receive a webcast link to enter the event. Alternatively, participants may dial into the call using the following phone number: +1 201-389-0921 (Toll-free: +1 877-407-0989). Shortly after the conclusion of the conference call, a replay of the audio webcast will be available in the investor relations section of Reservoir’s website for 30 days after the event.
ABOUT RESERVOIR
Reservoir is an independent music company based in New York City and with offices in Los Angeles, Nashville, Toronto, London, Abu Dhabi, and Mumbai. Reservoir is the first female-founded and led publicly traded independent music company in the U.S. Founded as a family-owned music publisher in 2007, Reservoir represents copyrights and master recordings including titles dating as far back as 1900 and hundreds of #1 releases worldwide. Reservoir frequently holds a Top 10 U.S. Market Share according to Billboard’s Publishers Quarterly, was twice named Publisher of the Year by Music Business Worldwide’s The A&R Awards and won Independent Publisher of the Year at the 2020 and 2022 Music Week Awards.
Reservoir also represents a multitude of recorded music through Chrysalis Records, Tommy Boy Music, and Philly Groove Records and manages artists through its ventures with Blue Raincoat Music and Big Life Management.
Forward-Looking Statements
This press release contains forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995 and are made in reliance on the safe harbor protections provided thereunder. Forward-looking statements are typically identified by words such as "anticipate," "believe," "continue," "could," "estimate," "expect," "forecast," "intend," "may," "might," "outlook," "plan," "possible," "potential," "predict," "project," "should," "target," "would" and other similar words and expressions. Forward-looking statements in this press release relate to, among other things: Reservoir’s anticipated financial condition, results of operations and performance, expected growth, plans and objectives for future operations, business prospects and market conditions. Forward-looking statements are based on the current expectations and beliefs of management and information currently available to management. These statements are inherently subject to a number of risks, uncertainties and assumptions, many of which are outside of our control and could cause future events or results to be materially different from those stated or implied in this press release, including the risk factors that are described in Reservoir’s Annual Report on Form 10-K for the year ended March 31, 2026 and our other filings with the SEC available on the SEC’s website at www.sec.gov or Reservoir’s website at www.reservoir-media.com. Any forward-looking statement made in this press release speaks only as of the date on which it is made and Reservoir undertakes no obligation to update or revise any forward-looking statement, whether as a result of new information, future developments or otherwise.
Reservoir Media, Inc. and Subsidiaries Condensed Consolidated Statements of Income Three and Twelve Months Ended March 31, 2026 versus March 31, 2025 (Unaudited) (Expressed in U.S. dollars)
Three Months Ended March 31,
Fiscal Year Ended March 31,
2026
2025
% Change
2026
2025
% Change
Revenues
$
47,497,268
$
41,417,784
15
%
$
175,664,491
$
158,705,736
11
%
Costs and expenses:
Cost of revenue
16,068,359
14,249,476
13
%
61,991,231
57,430,005
8
%
Amortization and depreciation
8,123,137
6,770,836
20
%
30,783,011
26,299,233
17
%
Administration expenses
11,535,654
9,977,954
16
%
44,659,434
39,915,464
12
%
Total costs and expenses
35,727,150
30,998,266
15
%
137,433,676
123,644,702
11
%
Operating income
11,770,118
10,419,518
13
%
38,230,815
35,061,034
9
%
Interest expense
(6,830,013
)
(6,086,654
)
(26,451,641
)
(21,883,321
)
Loss (gain) on foreign exchange
(389,347
)
750,493
230,549
578,251
Gain (loss) on fair value of swaps
1,232,583
(1,681,378
)
(350,960
)
(4,213,819
)
Other (expense) income, net
(146,625
)
(80,798
)
(504,221
)
329,976
Income before income taxes
5,636,716
3,321,181
11,154,542
9,872,121
Income tax expense
1,573,362
600,135
3,328,027
2,140,724
Net income
4,063,354
2,721,046
7,826,515
7,731,397
Net loss (income) attributable to noncontrolling interests
341,143
(53,584
)
476,149
18,516
Net income attributable to Reservoir Media, Inc.
$
4,404,497
$
2,667,462
$
8,302,664
$
7,749,913
Earnings per common share:
Basic
$
0.07
$
0.04
$
0.13
$
0.12
Diluted
$
0.07
$
0.04
$
0.13
$
0.12
Weighted average common shares outstanding:
Basic
65,608,517
65,248,387
65,536,506
65,161,373
Diluted
66,554,575
66,077,568
66,307,433
65,949,366
Reservoir Media, Inc. and Subsidiaries Condensed Consolidated Balance Sheets March 31, 2026 versus March 31, 2025 (Unaudited) (Expressed in U.S. dollars)
March 31, 2026
March 31, 2025
Assets
Current assets
Cash and cash equivalents
$
25,927,462
$
21,386,140
Accounts receivable
40,832,075
37,848,611
Current portion of royalty advances
16,368,968
15,182,463
Other current assets
9,409,757
4,867,081
Total current assets
92,538,262
79,284,295
Intangible assets, net
788,740,821
719,673,219
Equity method and other investments
2,830,766
1,100,000
Royalty advances, net of current portion and reserves
54,128,586
55,508,155
Property and equipment, net
661,986
406,784
Operating lease right of use assets, net
7,889,862
5,949,418
Fair value of swap assets
1,356,878
1,828,303
Other assets
1,529,920
1,376,836
Total assets
$
949,677,081
$
865,127,010
Liabilities
Current liabilities
Accounts payable and accrued liabilities
$
4,116,221
$
5,394,755
Royalties payable
52,323,565
47,210,727
Accrued payroll
2,672,350
2,588,758
Deferred revenue
2,472,734
1,885,462
Other current liabilities
3,408,651
7,954,208
Income taxes payable
547,932
803,342
Total current liabilities
65,541,453
65,837,252
Secured line of credit
455,705,468
388,134,754
Deferred tax liability
41,786,064
38,228,099
Operating lease liabilities, net of current portion
This press release includes certain financial information, such as OIBDA, OIBDA margin, EBITDA, Adjusted EBITDA, and Net Debt, which has not been prepared in accordance with United States generally accepted accounting principles ("GAAP"). Reservoir’s management uses these non-GAAP financial measures to evaluate Reservoir’s operations, measure its performance and make strategic decisions. Reservoir believes that the use of these non-GAAP financial measures provides useful information to investors and others in understanding Reservoir’s results of operations and trends in the same manner as Reservoir’s management and in evaluating Reservoir’s financial measures as compared to the financial measures of other similar companies, many of which present similar non-GAAP financial measures. However, these non-GAAP financial measures are subject to inherent limitations as they reflect the exercise of judgments by Reservoir’s management about which items are excluded or included in determining these non-GAAP financial measures and, therefore, should not be considered as a substitute for net income, operating income or any other operating performance measures calculated in accordance with GAAP. Using such non-GAAP financial measures in isolation to analyze Reservoir’s business would have material limitations because the calculations are based on the subjective determination of Reservoir’s management regarding the nature and classification of events and circumstances. In addition, although other companies in Reservoir’s industry may report measures titled OIBDA, OIBDA margin, Adjusted EBITDA, and Net Debt, or similar measures, such non-GAAP financial measures may be calculated differently from how Reservoir calculates such non-GAAP financial measures, which reduces their overall usefulness as comparative measures. Because of these limitations, such non-GAAP financial measures should be considered alongside other financial performance measures and other financial results presented in accordance with GAAP. You can find the reconciliation of these non‐GAAP financial measures to the nearest comparable GAAP measures in the tables below.
OIBDA
Reservoir evaluates operating performance based on several factors, including its primary financial measure of operating income before non-cash depreciation of tangible assets and non-cash amortization of intangible assets ("OIBDA"). Reservoir considers OIBDA to be an important indicator of the operational strengths and performance of its businesses and believes this non-GAAP financial measure provides useful information to investors because it removes the significant impact of amortization from Reservoir’s results of operations. However, a limitation of the use of OIBDA as a performance measure is that it does not reflect the periodic costs of certain capitalized tangible and intangible assets used in generating revenues in Reservoir’s businesses and other non-operating income (loss). Accordingly, OIBDA should be considered in addition to, not as a substitute for, operating income, net income attributable to us and other measures of financial performance reported in accordance with GAAP. In addition, our definition of OIBDA may differ from similarly titled measures used by other companies. OIBDA Margin is defined as OIBDA as a percentage of revenue.
EBITDA and Adjusted EBITDA
EBITDA is defined as earnings (net income or loss) before net interest expense, income tax (benefit) expense, non-cash depreciation of tangible assets and non-cash amortization of intangible assets and is used by management to measure operating performance of the business. Adjusted EBITDA, in addition to adjusting net income to exclude income tax expense, interest expense and depreciation and amortization, further adjusts net income by excluding items or expenses such as, among others, (1) any non-cash charges (including any impairment charges and loss on early extinguishment of debt and to write-down an equity investment to its estimated fair value), (2) any net gain or loss on foreign exchange, (3) any net gain or loss resulting from interest rate swaps, (4) equity-based compensation expense and (5) certain unusual or non-recurring items.
Adjusted EBITDA is a key measure used by Reservoir’s management to understand and evaluate operating performance, generate future operating plans, and make strategic decisions regarding the allocation of capital. However, certain limitations on the use of Adjusted EBITDA include, among others, (1) it does not reflect the periodic costs of certain capitalized tangible and intangible assets used in generating revenue for Reservoir’s business, (2) it does not reflect the significant interest expense or cash requirements necessary to service interest or principal payments on Reservoir’s indebtedness and (3) it does not reflect every cash expenditure, future requirements for capital expenditures or contractual commitments. In particular, Adjusted EBITDA measure adds back certain non-cash, unusual or non-recurring charges that are deducted in calculating net income; however, these are expenses that may recur, vary greatly and are difficult to predict. In addition, Adjusted EBITDA is not the same as net income or cash flow provided by operating activities as those terms are defined by GAAP and does not necessarily indicate whether cash flows will be sufficient to fund cash needs.
Net Debt
Reservoir defines Net Debt as total debt, less cash and equivalents and deferred financing costs.
Reservoir Media, Inc. and Subsidiaries Reconciliation of Operating Income to OIBDA Three and Twelve Months Ended March 31, 2026 versus March 31, 2025 (Unaudited) (Dollars in thousands)
For the Three Months Ended March 31,
For the Fiscal Year Ended March 31,
2026
2025
2026
2025
Revenues
$
47,497
$
41,418
$
175,664
$
158,706
Cost of revenue
16,068
14,249
61,991
57,430
Administration expenses
11,536
9,978
44,659
39,915
OIBDA
19,893
17,190
69,014
61,360
Amortization and depreciation
8,123
6,771
30,783
26,299
Operating income
$
11,770
$
10,419
$
38,231
$
35,061
Reservoir Media, Inc. and Subsidiaries Music Publishing Segment OIBDA Three and Twelve Months Ended March 31, 2026 versus March 31, 2025 (Unaudited) (Dollars in thousands)
For the Three Months Ended March 31,
For the Fiscal Year Ended March 31,
2026
2025
2026
2025
Revenues
$
30,873
$
27,923
$
116,803
$
107,412
Cost of revenue
12,369
11,012
48,470
45,161
Administration expenses
7,538
6,458
27,445
24,907
OIBDA
$
10,966
$
10,452
$
40,888
$
37,345
Reservoir Media, Inc. and Subsidiaries Recorded Music Segment OIBDA Three and Twelve Months Ended March 31, 2026 versus March 31, 2025 (Unaudited) (Dollars in thousands)
For the Three Months Ended March 31,
For the Fiscal Year Ended March 31,
2026
2025
2026
2025
Revenues
$
15,215
$
11,963
$
51,514
$
44,250
Cost of revenue
3,699
3,237
13,521
12,269
Administration expenses
2,829
2,230
11,129
9,232
OIBDA
$
8,687
$
6,496
$
26,864
$
22,749
Reservoir Media, Inc. and Subsidiaries Reconciliation of Net Income to Adjusted EBITDA Three and Twelve Months Ended March 31, 2026 versus March 31, 2025 (Unaudited) (Dollars in thousands)
For the Three Months Ended March 31,
For the Fiscal Year Ended March 31,
2026
2025
2026
2025
Net Income
$
4,064
$
2,721
$
7,827
$
7,731
Income Tax Expense
1,573
600
3,328
2,141
Interest Expense
6,830
6,086
26,452
21,883
Amortization and Depreciation
8,123
6,771
30,783
26,299
EBITDA
20,590
16,178
68,390
58,054
Loss (Gain) on Foreign Exchange(a)
389
(750
)
(231
)
(578
)
(Gain) Loss on Fair Value of Swaps(b)
(1,233
)
1,682
351
4,214
Non-cash Share-based Compensation(c)
933
1,051
4,272
4,385
Transaction Costs(d)
328
–
328
–
Other Expense (Income), Net(e)
146
81
504
(330
)
Adjusted EBITDA
$
21,153
$
18,242
$
73,614
$
65,745
Reflects the loss (gain) on foreign exchange fluctuations.
Reflects the non-cash (gain) or loss on the mark-to-market of interest rate swaps.
Reflects non-cash share-based compensation expense related to the Reservoir Media, Inc. 2021 Omnibus Incentive Plan.
Reflects professional fees incurred in connection with the acquisition of Viral Wave, which closed in April 2026, and by the independent special committee ("Special Committee") of the Company’s Board of Directors. The Special Committee was formed to evaluate the previously disclosed non-binding and unsolicited acquisition proposals received by the Company.
Reflects Reservoir’s share of losses recorded by equity method investments during the three and twelve months ended March 31, 2026. Reflects a gain recorded on the disposal of an equity investment (the "Investment Gain") and the Company’s share of proceeds related to underreported royalty usage for an acquired Recorded Music catalog that pertained to periods prior to the Company’s acquisition of the catalog ("Recovery Income") during the three and twelve months ended March 31, 2025.
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
4 min read • Published May 28, 2026
Niche Verticals Are Where the Action Is
Forget the generalist content factory. The most compelling roles on Mediabistro’s job board right now come from companies operating in tightly defined verticals: men’s telehealth, hospitality media, and independent digital publishing. Each of these organizations needs someone who can speak to a specific audience with authority and nuance, not just churn out posts for the algorithm – as this isn’t what’s rewarded anymore.
What connects today’s featured listings is a shared demand for people who understand how content drives business in specialized markets. They require real editorial instincts, existing media relationships, or the ability to close revenue deals around content properties. The companies are typically quite lean. The mandates are broad. And the upside for the right candidate is significant ownership over a growing brand’s public identity.
Today’s Hot Jobs
Social Media Content Lead at Analyte Health
Why This One Is Worth a Close Look: Analyte Health operates Stallion, a men’s telehealth brand covering testosterone therapy, hair loss, weight management, and sexual health. The Social Media Content Lead will shape how this brand communicates across platforms on topics that are inherently tricky to discuss publicly. That requires a content sensibility that blends medical credibility with approachable, stigma-free messaging. If you’ve ever wanted to build a social voice from near-scratch in a booming health category, this is the opportunity.
The Pitch: Osprey Studios is a lean digital media startup, and this PR role is refreshingly specific about what it demands. You won’t be drafting press releases that disappear into the void. You’ll be pitching news-driven stories and long-form digital content to journalists you already know, on tight timelines, while also supporting podcast visibility. The listing explicitly values relationships across “mainstream, digital, and heterodox media,” which signals a company that understands today’s fragmented attention landscape and wants someone plugged into all of it.
The Requirements That Matter:
5+ years of PR experience with a demonstrated track record in journalism, digital media, or news-adjacent verticals
Deep, active relationships with journalists, editors, and media producers in NYC and national markets
Ability to respond to fast-moving news cycles with rapid pitching and placement
Comfort working cross-functionally in a startup environment with minimal structure
What Makes This Role Stand Out: Branded Hospitality sits at the intersection of hospitality investment, advisory services, and media. Their content arm produces podcasts, newsletters, events, and digital storytelling for the foodservice industry. The Partnerships Manager owns revenue across that entire media platform, from prospecting corporate sponsors to managing renewals. This is a sales role wrapped in a media company, which means you’ll need to understand both the content and the commerce. You’ll report directly to the Managing Partner and CMO from their New York City headquarters.
If you’re curious about how business development leadership works in media environments, Mediabistro’s overview of what a Business Development Director does provides useful context.
Core Qualifications:
Proven track record in media sales, sponsorship, or partnership development
Experience managing client relationships from contract signing through renewal and expansion
Familiarity with the foodservice or hospitality industry is a clear advantage
Comfort working directly with senior leadership in a fast-growing organization
The strongest signal in today’s job listings is that true vertical expertise is becoming a valued differentiator. Companies in men’s health, hospitality, and independent digital media aren’t looking for generalists who can write bland copy about anything. They want people who understand their specific audience, or who can learn it fast enough to build credibility.
If you’ve spent your career bouncing between industries, now is the time to pick a lane and lean into it. Tailor your portfolio and your pitch around the vertical that genuinely interests you. The companies building audience-first brands in niche categories are hiring, and they’re hiring for depth.
Also on the Web
Beyond Mediabistro, these roles are also some interesting opportunities:
B2B Creative Director at Power Digital Marketing
A fully remote creative director role focused on B2B campaigns at a well-regarded performance marketing agency. Posted just yesterday, making it one of the freshest CD listings available right now.
Freethink’s Big Think brand is a recognized name in ideas-driven media. This New York-based senior director role pays $125K to $135K and sits at the intersection of editorial vision and creative execution.
Creative Director, Lifecycle and Organic Growth at Jerry
A remote creative director role at Jerry, an AI-powered car ownership platform, focused on lifecycle marketing and organic growth channels. An interesting opportunity for CDs who think in funnels as much as visuals.
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
5 min read • Originally published May 28, 2026 / Updated May 28, 2026
Four out of five journalists now use AI in their work, according to Press Gazette. That’s up from two-thirds a year ago.
The same survey found that 86% of those journalists don’t want to receive AI-generated pitches or press releases. Obvious contradiction. Sound logic.
When you control the tool, AI is productivity. When someone else points it at you, AI is someone offloading their work onto yours. That asymmetry tells you something about how media professionals actually view these systems: great for transcription, research, and drafting. Insulting when it arrives in your inbox from a publicist who decided writing a coherent pitch was optional.
This tension runs through every corner of media right now. Technology is reorganizing who holds power, and everyone has strong opinions about which side of that reorganization they want to be on.
AI in the Newsroom: The Double Standard That Makes Perfect Sense
Journalists are adopting AI at a pace that would have seemed impossible two years ago. Otter and Fireflies for transcription. ChatGPT and Claude for background research, first-draft outlines, headline variations. Descript for editing audio and video.
But that enthusiasm stops cold when AI shows up on the other side of the relationship. A good pitch is valuable because someone with knowledge made editorial judgments about what matters and why. An AI-generated pitch is someone asking you to do their thinking for them. Journalists can tell the difference instantly.
Key Takeaway: Professionals who use AI to amplify their judgment will outperform professionals who use AI to replace it. Reporter, content strategist, producer, whatever. If your value comes from knowing what matters, protect that.
Same goes for story ideas, interview transcripts sent without context, and “personalized” outreach that’s obviously templated. The objection isn’t to the technology. The objection is to the relationship it implies: you’re a distribution endpoint, not a professional counterpart.
Playlist Curators and the New Gatekeeping
In music, the question of who controls access to audiences has already been answered. Playlist editors at Spotify, Apple Music, Amazon Music, and YouTube Music hold more power than radio programmers or A&R executives ever did.
The role didn’t exist 15 years ago. Today, playlist curators are the most influential tastemakers in the industry.
Getting added to Spotify’s RapCaviar or Apple Music’s Today’s Hits can generate millions of streams overnight. Getting left off means your song doesn’t exist for most listeners, regardless of quality.
Most music fans couldn’t name a single playlist curator, even though those curators collectively decide what hundreds of millions of people hear. The power shifted from dozens of regional gatekeepers to a handful of platform employees making decisions at global scale. And those employees work for companies that also control the distribution infrastructure, the payment systems, and the listening data.
For anyone in content strategy, audience development, or distribution, this is how platform power works in practice. When a company controls both discovery and delivery, it controls the market. Spotify and music. Netflix and television. Amazon and e-commerce. Google and search. Your job might be making podcasts, writing newsletters, or producing video, but your career depends on knowing how those formats get distributed and discovered.
Where the Next Media Markets Are Being Built
While Western media markets consolidate around existing platforms, East Africa is building new infrastructure from scratch. The East Africa Broadcast Convention in Nairobi featured cloud technology and AI integration as core themes, according to Broadcast Media Africa.
The signal here is investment. African media markets are growing faster than saturated Western ones, and that growth is attracting infrastructure spending from companies that see opportunity where legacy systems don’t create friction.
Cloud-based production tools let broadcasters scale without expensive physical buildouts. AI-powered translation and localization make it viable to serve diverse linguistic markets that traditional broadcast economics couldn’t touch.
For media professionals watching their own markets tighten, this is a forward indicator. Production companies, streaming platforms, and news organizations expanding into African markets need people who understand both the technology and the regional context. Narrow category, but growing.
Prestige Season Starts Early
Andrew Scott and Brendan Fraser face off in “Pressure,” a WWII drama about the meteorologist whose weather forecast shaped the timing of D-Day. Dual reviews from Variety and Deadline signal that the distributor is positioning the film for awards consideration.
The casting strategy is smart: pair a critical darling (Scott, coming off “All of Us Strangers”) with a comeback narrative (Fraser, post-“The Whale” Oscar win). It de-risks the project while giving Academy voters two different emotional entry points.
Reviews are respectful without being rapturous, which suggests “Pressure” will compete in craft categories (cinematography, production design, maybe score) rather than major races. The real story is how distributors think about talent positioning and narrative framing months before voting begins.
What This Means
Power and proximity. That’s the common thread and signal.
Journalists want AI tools they control, not AI systems that treat them as endpoints. Playlist curators consolidated power by controlling both discovery and distribution. African broadcast markets are integrating new technology from the ground up instead of retrofitting legacy systems. Hollywood casting reflects calculated thinking about prestige, risk, and voter psychology.
Understanding who controls access to audiences, how technology shifts that control, and where new markets are emerging gives you better career navigation than following any single trend.
This media news roundup is automatically curated to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain factual errors and should be read for general and informational purposes only. Please refer to the original source of each news item for specific inquiries.
The AMAs Bet on Clips, Star Wars Holds the Line, Jazz Loses Sonny Rollins
A Memorial Day weekend that tested three very different theories of attention.
By
Mediabistro Team
5 min read • Published May 27, 2026
By
Mediabistro Team
5 min read • Published May 27, 2026
The Memorial Day weekend stretched across three very different entertainment ecosystems, but the same question ran through all of them: do the old attention engines still work?
The American Music Awards programmed for social distribution rather than linear viewership, banking on performances engineered to travel as clips. Star Wars carried a Memorial Day box office that fell short of last year’s record. And jazz lost Sonny Rollins at 95, closing the bebop era and surfacing harder questions about how cultural legacies get preserved when the editorial infrastructure around them has thinned.
The AMAs found an answer. The box office is still searching. And Rollins’s death asks whether we’ve built the right systems to carry forward what we claim to value.
The AMAs Are Building a Highlight Reel, and It’s Working
The American Music Awards have spent years searching for a reason to exist. Network-hopping and format changes failed to reverse ratings erosion.
So the show has landed on something deliberate: treat the broadcast as a content pipeline. Produce visually extravagant performances engineered to travel on social media, where the clip economy rewards spectacle over coherence. Monday night delivered two clean examples.
Katseye, a five-member K-pop-adjacent group, won Best New Artist and performed “Pinky Up” in a brightly colored tearoom set that split the difference between rave aesthetics and hyperactive pop surrealism. The performance and win signal a demographic bet: the AMAs are leaning into global pop fanbases that organize around streaming playlists and TikTok virality, not radio airplay.
Katseye’s Best New Artist win is curation more than recognition. The AMAs are telling audiences what counts as American music in 2026, and the answer increasingly looks like globally distributed pop acts with strong digital footprints.
Sombr’s performance of “Homewrecker” took a different route to the same thesis. The New York-based artist closed his set with a rain-drenched climax, water cascading across the stage in a production moment Variety described as a splashy tribute to the city’s Memorial Day weather. The rain was the shareable visual hook, the detail designed to separate the performance from every other live music clip competing for attention across feeds.
Key Takeaway: The AMAs have accepted that the three-hour broadcast matters less than the 90-second clips that escape it. Awards shows that still think of themselves as television events keep losing audiences. Shows that think of themselves as content factories for social distribution at least have a functional theory of attention.
For media professionals tracking live event production, the AMAs model matters. The shift from broadcast-first to clip-first programming changes talent booking, set design, camera work, and segment pacing. The skills required to produce a television event and the skills required to produce shareable social content overlap but aren’t identical. Creative directors navigating format transitions increasingly need fluency in both.
Star Wars Opens Strong, but the Holiday Weekend Tells a Bigger Story
Star Wars carried the weekend without lifting it. Disney’s franchise did its job (pulled strong numbers from an established fanbase) but didn’t create the rising tide that expands the theatrical market beyond franchise loyalists. For studios and exhibitors, that’s the persistent tension: franchise IP remains the safest bet for theatrical release, but safe bets don’t grow the pie.
The global picture adds a layer. Mandalorian & Grogu hit $163 million worldwide, a healthy international showing. But China’s “Dear You” touched $151 million the same weekend, operating on its own axis with minimal crossover to Western markets.
The top 10 global box office increasingly reflects fragmentation: regional hits dominating home territories without traveling, Hollywood franchises traveling without dominating. The monoculture theatrical event, the film that moves the needle everywhere at once, feels more like an anomaly than a baseline.
That fragmentation matters practically. International distribution strategies can no longer assume Hollywood IP automatically translates. Regional content production capabilities matter more when local hits routinely outperform imports. The theatrical market isn’t shrinking uniformly. It’s consolidating around fewer, bigger bets.
Jazz’s Last Giant
Sonny Rollins died Monday at his home in Woodstock, New York. He was 95.
Variety’s obituary called him the “Saxophone Colossus,” and that wasn’t honorific exaggeration. Rollins was one of the few jazz musicians whose reputation transcended genre boundaries, a tenor saxophonist schooled by bebop’s legends who became their peer through six decades of recording and performance.
His catalog includes “St. Thomas” and “Airegin,” compositions that remain standards, material that defines a genre’s vocabulary. Sixty-plus albums of sustained creative output that few artists in any genre match.
His death closes the bebop era in a way that feels genuinely final. The musicians who shaped that movement are gone. The recordings remain. The question is whether the infrastructure exists to contextualize that work for audiences who didn’t come of age when it was contemporary.
Jazz criticism has thinned dramatically over two decades. The publications that once employed dedicated jazz writers have cut those roles. The editorial infrastructure that historically introduced Rollins’s work to new listeners, that explained his place in the continuum, that argued for his relevance beyond historical interest, no longer operates at scale. Streaming platforms surface jazz catalog based on algorithmic recommendation rather than curatorial judgment. The question of how cultural legacies get preserved when the editorial layer erodes deserves a real answer.
Succession Question: Who carries forward the institutional knowledge, the contextual understanding that makes legacy artists accessible to new audiences? When the editorial infrastructure contracts, that work doesn’t disappear. It shifts to fewer people, often with smaller budgets and narrower reach.
For media professionals in arts coverage or cultural preservation, the loss of figures like Rollins is a reminder that contextualization and curation remain essential even as the business models supporting them fracture.
What This Means
The AMAs found an answer by rebuilding around social distribution. The theatrical box office leans on franchise IP without solving underlying audience fragmentation. Rollins’s death surfaces whether we’ve built the right systems to preserve cultural legacy when the editorial infrastructure has contracted.
For media professionals, these are the daily questions: what formats make sense for which audiences, how distribution strategies need to evolve, where to invest editorial resources when legacy institutions no longer carry the full load.
If you’re looking for roles at the intersection of content strategy, live event production, or cultural journalism, browse open roles on Mediabistro. And if you’re hiring for positions that require fluency in evolving distribution models, post a job on Mediabistro to reach candidates who understand the terrain.
This media news roundup is automatically curated to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain factual errors and should be read for general and informational purposes only. Please refer to the original source of each news item for specific inquiries.
International Media and Health Content Roles Hiring Now
From Prague newsrooms to telehealth startups, today's freshest listings reward specialists who can work across borders and disciplines.
By
Mediabistro Team
5 min read • Published May 27, 2026
By
Mediabistro Team
5 min read • Published May 27, 2026
Specialist Knowledge Is the New Currency
Two of today’s latest listings share something unusual: they require deep subject-matter expertise in areas most generalist communicators can’t fake. One demands fluency in Near East geopolitics and multilingual newsroom management. The other needs someone who can talk about testosterone therapy and hair restoration without flinching.
They sound pretty different, but they have a common thread. Both employers are betting that domain knowledge matters more than a polished portfolio of interchangeable clips.
That’s a meaningful signal. For years, the media hiring market rewarded versatility above all else. You could pivot from fashion to fintech to pharma as long as your writing samples were clean. The pendulum is swinging back. Employers with complex subject matter are tired of onboarding generalists who need six months to learn the landscape. They want people who already live in it.
Today’s strongest postings also show healthy activity in PR and growth marketing, with lean teams looking for experienced operators who can execute without layers of approval. If you’ve been building niche expertise or thrive as a one-person department, this is your kind of market.
Today’s Hot Jobs
Regional Director, Near East at RFE/RL, Inc.
Why This Role Matters: Radio Free Europe/Radio Liberty is hiring an executive to oversee its Afghan (Azadi) and Iranian (Farda) services from Prague. This is a rare editorial leadership position with genuine geopolitical weight, covering two of the most challenging media environments on earth. You’ll sit on the Editorial Board and shape coverage strategy using market research and data insights while managing everything from investigative reporting initiatives to security protocols for correspondents in the field.
Oversight of editorial performance, budgeting, staffing, security, compliance, and infrastructure across two language services
Experience leading multimedia and breaking news operations in complex environments
Ability to develop investigative and enterprise reporting focused on Iran and Afghanistan
Must work closely with the Editor-in-Chief and senior editorial leadership as a member of the Editorial Board
What Makes This Interesting: Analyte Health runs Stallion, a direct-to-consumer men’s telehealth brand covering testosterone therapy, sexual health, hair restoration, and weight management. The Social Media Content Lead will own content strategy for a brand operating in categories where platform restrictions, stigma, and regulatory sensitivity make standard playbook tactics useless. If you’ve figured out how to build audience engagement in health and wellness categories that social platforms actively suppress, this role was written for you. For those looking to sharpen their platform strategy before applying, Mediabistro’s guide to social media marketing for creative job seekers is a solid refresher.
Lead social content strategy across a men’s telehealth brand portfolio
Manager-level role requiring experience navigating regulated or sensitive health categories
Create content that drives engagement for stigma-free healthcare positioning
Collaborate with medical professionals and wellness experts on messaging
The Draw Here: Osprey Studios is a lean startup looking for a PR professional with real relationships in NYC and national media markets. This isn’t a “write press releases and hope for the best” role. They want someone who can pitch on tight timelines, support podcast growth, and work across both mainstream and heterodox media outlets. The emphasis on existing journalist relationships tells you they’re hiring for a rolodex as much as a skill set. If you’re curious about what senior-level media relations work looks like day to day, Mediabistro’s breakdown of what a media relations director actually does offers useful context.
5+ years of PR experience with a track record in journalism, digital media, or news-adjacent verticals
Deep, active relationships with journalists, editors, and producers
Ability to execute on fast-moving news cycles with quick-turnaround pitching and placement
Cross-functional collaboration within a small startup team
Marketing Manager and Growth Lead (D2C) at Amos Media Company
Why This Caught Our Eye: Amos Media publishes Coin World and Amos Advantage, brands with 150 years of history. They need a remote “full-stack” marketing manager who can maintain a $20 CPA benchmark for magazine subscriptions while managing Meta and Google Ads campaigns on a $8,500+ monthly budget. This is a Department of One position with high autonomy, legacy software challenges, and direct access to ownership. If you’re a performance marketer who thrives without a team around you, this is a rare fit.
Hands-on daily management of Meta and Google Ads with strict CPA targets
Ability to write copy, wireframe creative, and optimize campaigns without agency support
Strategic maturity to advise ownership on long-term growth and risk mitigation
Remote-eligible, high-autonomy role requiring comfort with proprietary legacy software
Today’s listings reward depth over breadth. The strongest candidates for these roles won’t be the ones with the longest resumes. They’ll be the ones who can demonstrate genuine fluency in a specific domain, whether that’s Near East journalism, regulated health content, media relationships in real newsrooms, or performance marketing with hard CPA accountability. If you’ve spent years going deep in one area and worried that made you too narrow, stop worrying. The market is catching up to you.
Also on the Web
Beyond Mediabistro, these roles are also making waves across the creative leadership landscape.
Senior Director, Big Think Creative at Freethink
Freethink is hiring a Senior Director to lead creative for Big Think, one of the most recognized ideas-driven media brands online. The $125K to $135K salary range is transparent and competitive for a New York-based editorial creative leadership role.
VP, Creative Director (B2B Conferences) via Aquent
A VP-level Creative Director role for B2B conferences in Norwood, MA, with a salary range of $150K to $225K. The compensation signals that experiential and event-driven creative leadership commands serious premiums right now.
SharkNinja is building out creative leadership for its Shark Beauty line, a consumer brand investing heavily in visual identity as it expands into the beauty hardware category. A strong signal that DTC product brands continue pulling senior creative talent away from traditional agencies.
Dolphin Celebrates The 2026 Cannes Film Festival with Legacy Talent, High-Profile Premieres, Emerging Filmmakers, And Prestigious Brands
By
Media News
5 min read • Published May 27, 2026
By
Media News
5 min read • Published May 27, 2026
Subsidiary 42West Spearheads Major Activations on the Croisette with Guillermo del Toro, Bruce Dern, Clarissa directors Arie and Chuko Esiri and producer Theresa Park, and The American Pavilion Presented by IndieWire
LOS ANGELES, CA / ACCESS Newswire / May 27, 2026 / Dolphin (NASDAQ:DLPN), a leading entertainment marketing and premium content production company, today celebrated an exceptionally successful presence at the 2026 Cannes Film Festival. Throughout the prestigious two-week event, Dolphin’s flagship public relations powerhouse, 42West, handled high-impact publicity campaigns, world-class talent, market launches, and elite panel programming on behalf of long standing clients and industry partners.
"The Cannes Film Festival remains the pinnacle of global cinema, and we are incredibly proud of the work 42West handled on the Croisette this year," said Bill O’Dowd, CEO of Dolphin Entertainment. "From helping to launch acclaimed new independent cinema and a documentary celebrating legendary cinematic filmmakers and actors, and leading impactful industry panels and talks at The American Pavilion Presented by IndieWire, our teams at 42West demonstrated once again why they are the absolute best in the business at driving cultural conversation and maximizing value for creators and studios alike."
Key highlights from Dolphin Entertainment’s successful activations at the 2026 Cannes Film Festival include:
Mega Successful 20th Anniversary Re-Release of PAN’S LABYRINTH in 4K
Representing client Cineverse, 42West executed the celebration of the 20th Anniversary Re-Release screening of Oscar®-winning director Guillermo del Toro’s dark fantasy masterpiece, Pan’s Labyrinth. The highly anticipated Cannes Classic event was completely sold out, with del Toro introducing the film to fans, which was meticulously restored and presented for the first time in breathtaking 4K. Also, 42West coordinated a press junket for del Toro, culminating in an exclusive, private celebratory reception. Cineverse Chief Executive Officer Chris McGurk also participated in a high-profile press circuit on behalf of the landmark release, highlighting the film’s enduring legacy and technological restoration.
Critically Acclaimed World Premiere of DERNSIE: THE AMAZING LIFE OF BRUCE DERN
Audiences loved the world premiere of the documentary: Dernsie: The Amazing Life of Bruce Dern in the Cannes Classics section. Two-time Oscar nominee Bruce Dern completed press interviews and photos together with his daughter, the Oscar-winning actress Laura Dern, while director Mike Mendez and his subject attended the official Cannes Photo Call and completed two days of international press arranged by the 42West team. It all culminated in a triumphant red carpet arrival, a six-minute standing ovation, and widespread critical acclaim.
Powerful Cannes Market Launch for 3-part documentary TV Series HOLA MAMÁ
42West executed the high-profile launch of the gripping three-part documentary series Hola Mamá in the Marché du Film (Cannes’ Film Market).. The Chile/U.S.-produced series uncovers the devastating, state-sanctioned illegal adoptions of Chilean babies during the oppressive Pinochet regime and is the directorial debut of Adrian Reamey and producer Jonathan T. Baker. The powerful series generated immediate buzz and strong international buyer interest at the market, underscoring 42West’s continued commitment to amplifying vital, mission-driven global stories.
Critical Triumph for CLARISSA Directors Arie and Chuko Esiri, and Producer Theresa Park
42West proudly celebrated the world premiere of its clients’ film, Clarissa, from directors Arie and Chuko Esiri (who also penned the script) and producer Theresa Park. The Neon film emerged as one of the definitive critically darlings of Cannes from the prestigious Director’s Fortnight sidebar, starring Sophie Okonedo, David Oyelowo, Ayo Edebiri, and India Amarteifio, earning widespread praise for the Esiri brothers’ creative vision. Clarissa was singled out by New York Times critic Manohla Dargis and featured by Variety as one of the event’s best films, establishing strong momentum for a major awards-season run.
Industry Leadership at The American Pavilion Presented by IndieWire
42West produced the official panel programming at The American Pavilion on behalf of Penske Media Corporation (PMC) trade brand IndieWire. With over 20 panels and talks, it brought together influential filmmakers, executives, and thought leaders. These heavily attended panels drove critical discourse around the future of filmmaking. Special guests included Diego Luna, Tim Heidecker, Hannah Einbinder, Gillian Anderson, Jane Schoenbrun, Ira Sachs, and Arie and Chuko Esiri, among many others. 42West also handled all public relations for the Pavilion, providing hospitality in Cannes for journalists from around the globe.
"Our multi-faceted presence at Cannes this year reflects the breadth, depth, and unparalleled expertise of 42West," added Amanda Lundberg, CEO of 42West. "Whether managing international press for icons like Guillermo del Toro and Bruce Dern, elevating critical darlings like the acclaimed Esiri brothers for their latest film Clarissa, or producing elite industry panels for The American Pavilion Presented by IndieWire, our objective is always to deliver flawless execution on the world’s grandest promotional stage."
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ABOUT 42WEST
42West, a subsidiary of Dolphin Entertainment, is one of the entertainment industry’s leading full-service public-relations firms. With offices in New York and Los Angeles, 42West features four divisions: Talent, Strategic Communications, Entertainment Marketing, and Fandoms & Franchises, the award-winning firm’s gaming, consumer products and publishing practice. The agency has developed and executed impactful marketing and publicity strategies for hundreds of film and television series, as well as a diverse roster of actors, filmmakers, recording artists, content creators, personalities, and authors. In addition, 42West provides strategic counsel to a wide variety of high-profile individuals and corporate clients-ranging from movie and pop stars to major studios and streamers, charitable organizations, and media conglomerates looking to raise, reposition, or rehabilitate their public profiles.
ABOUT DOLPHIN
Dolphin (NASDAQ:DLPN) is where cultural creation meets marketing execution. Founded in 1996 by Bill O’Dowd, Dolphin operates as both a venture studio-developing and investing in breakthrough content, products, and experiences-and a marketing consortium, featuring leading agencies across every communications discipline.
At its core, the venture studio creates, produces, finances, markets, and promotes new businesses and cultural ideas – ranging from acclaimed film, television, and digital content to consumer goods, live events and partnerships that define entertainment and lifestyle. Surrounding this entrepreneurial engine, Dolphin’s marketing prowess brings together best-in-class firms including 42West, The Door, Shore Fire Media, Elle Communications, Special Projects and The Digital Dept. Together, this collective delivers unmatched cross-marketing expertise and relationships across every vertical of pop culture – from film, television, music, influencers, sports, hospitality, and fashion to consumer brands and purpose-driven initiatives. Dolphin marketing has been the recipient of many accolades, including #1 Agency of the Year on the Observer PR Power List in 2025, The PR Net 100, and the PR News Elite 120.
