Entertainment
FCC’s National Broadcast Ownership Cap Repeal Explained
The Federal Communications Commission on Thursday repealed a 22-year-old law limiting how many local TV stations a company can own, a move that’s likely to shake up the industry and open the door to more M&A activity.
The cap was first implemented by Congress in 2004 as part of the Consolidated Appropriations Act to prevent monopolization and ensure viewpoint diversity. It limits entities from owning or controlling broadcast television stations that reach more than 39% of U.S. TV households. Going forward, the FCC plans to conduct a case-by-case review, in which it will approve or deny future deals based on whether they meet the agency’s public interest standard, not a specific percentage cap.
Companies like Nexstar and Sinclair have lobbied for the cap to be raised or eliminated, arguing that their competition is no longer just other stations, but streaming services and tech giants like Amazon and YouTube who do not have to adhere to the same restriction. They maintain that industry consolidation is needed in order to thrive and survive in the current media landscape.
Critics, however, argue that only Congress has the legal authority to raise or eliminate the cap and that consolidation could lead to newsroom closures, fewer independent voices and higher prices for consumers.
Complicating matters are state attorneys general who have taken a larger role in antitrust enforcement and present a meaningful hurdle. The merger between Nexstar and Tegna, which the FCC had already approved with a waiver that bypassed this cap, is still on hold thanks to a preliminary injunction successfully won by 13 states suing on antitrust grounds.
“For consolidation, this opens the floodgates on paper. In practice, antitrust is now the binding constraint,” regulatory attorney Braden Perry told TheWrap. “Station groups can get past the FCC, but they still have to get past state AGs, private plaintiffs and possibly the DOJ.”
Here’s a breakdown of everything you need to know about the change in this 22-year-old rule.
Why did the FCC want to repeal the cap?
Carr has argued that the cap is an outdated rule and that its removal would provide “essential relief for local broadcasters by restoring a healthy counterbalance to the growing leverage of national programmers.”
He also said that increased scale as a result of the move would enable them to “attract the capital and advertising revenue needed to sustain and produce trusted and community-focused news and programming.”
“I don’t want local broadcast TV to go the way of local newspapers. And yet the risk is real,” he warned. “We should learn from our mistakes with the local newspaper industry, and we should not let the same thing happen to the local broadcast TV industry. Trusted sources of local reporting, broadcast over the public airwaves, are worth protecting and worth fighting for.”
Commissioner Olivia Trusty added that while the move is not a “silver bullet to reverse audience or marketplace trends entirely,” it would improve local broadcasters’ financial stability and bargaining power and provide additional resources to invest in local journalism, emergency coverage, investigative reporting and community programming.
“The Commission simply cannot expect broadcasters to advance localism, competition and diverse viewpoints if the underlying business model is unsustainable,” Trusty said.
What about this case-by-case review?
Analysts note that the change to allow the FCC to review M&A cases against its public interest standard opens up a can of worms.
New Street Research analyst and former FCC chief of staff Blair Levin warned TheWrap that Carr will be able to approve or reject a deal for any reason he wants and that approvals will likely require a “pro-Trump tilt” in news coverage.
“The Trump Administration has been very successful in shaking down companies by imposing a Trump transaction tax that replaces free markets with the market for Trump’s affection,” Levin said. “Carr is setting up a process – with a vague standard instead of a rule – that allows a similar shakedown for broadcasters.”
When asked about evaluating future transactions, Carr said the FCC’s case-by-case review would look at the facts and implement conditions if needed to protect localism.
“The future of local broadcast TV has to be localism. If they are just a pass-through, a mouthpiece for the national feed, people can get that through YouTube TV or other channels. So I think if they’re going to continue to exist, they have every market incentive to continue to focus on localism,” Carr said. “We have the right to preempt where you’re supposed to, if you think there’s a better fit, preempt national programming. We’d like to see that trend continue. So we will be focused to make sure that broadcasters continue to focus on localism and not just being dumb pipes for the national feed.”
What do the local TV owners say about the move?
The National Association of Broadcasters called the FCC’s move a “generational step toward strengthening local stations and ensuring they can compete in today’s media marketplace.” Meanwhile, Nexstar said it’s a “welcome, necessary and long-overdue recognition of today’s competitive landscape, which is dominated by legacy Big Media and Big Tech.”
“For too long, local broadcasters were handcuffed from reaching the scale they needed to compete on a more level playing field by outdated federal rules that didn’t apply to the largest and most powerful companies like Google’s YouTube, Meta’s Instagram, or Netflix,” Nexstar added. “Modernizing these rules will help ensure broadcasters can continue investing in local journalism and providing the free, trusted news and information that communities across America rely on every day.”

Nexstar and Sinclair executives have also said the move could boost M&A activity in the space.
The cap was notably a barrier to the pending $6.2 billion Nexstar-Tegna merger, which was granted a waiver from the FCC but is frozen amid an antitrust lawsuit from a group of state attorneys general and DirecTV. Meanwhile, Sinclair has launched a strategic review that includes exploring M&A opportunities.
“Sinclair is well prepared to participate in value creating consolidation,” CEO Chris Ripley said on Wednesday ahead of the vote. “We will remain disciplined in how and when we do so.”
What do opponents of the move say?
On the flip side, Anna Gomez, the lone Democratic commissioner serving in the FCC, argued that repealing the cap violates the law, exceeds the regulator’s authority and “undermines core public interest principles of localism, viewpoint diversity and competition.”
“A handful of station group giants does not represent the wishes of local broadcasters. They are large national companies that own local stations and increasingly dictate what airs on them without much local input. Trading a squeeze from Big Tech for a squeeze from Big Media does nothing to protect the communities this cap was designed to serve,” she said. “I recognize that broadcasters are facing serious economic pressures, but addressing one pressure point in isolation without looking at the full picture of rules, obligations and relief already on the table risks setting the wrong incentives.”
Sen. Elizabeth Warren (D-Mass.) said that Carr is “trying to illegally rewrite the rules to make it easier for billionaires to line their own pockets while jacking up costs and controlling what Americans watch.”
“After rubber-stamping the Nexstar-Tegna megamerger, this looks like the Trump administration’s latest attempt to roll out the red carpet for more antitrust disasters,” she added.
The American Television Alliance, a lobbying group representing pay TV providers, consumer groups and independent programmers, called the move a “serious setback for American consumers and local communities.”
“By eliminating this safeguard, the FCC has ignored Congressional intent and opened the door to unchecked ‘Big Broadcast’ consolidation that will drive up costs for viewers and reduce local news programming,” the organization added.
What does it mean for local TV station consolidation?
Companies at or near the 39% ownership limit include Nexstar, Fox, CBS parent Paramount and E.W. Scripps. Other station owners that could benefit from the cap’s repeal include Sinclair and Gray Media.
“In the short term, it is mildly good for investors in Sinclair and broadcasters wanting to sell to Sinclair,” Levin said. “But everyone knows Carr would approve those deals anyway through the same process he used for Nexstar, so there isn’t any significant change. And as Nexstar shows, states can still raise antitrust issues.”
Longer term, Levin argued that Democrats would be able to use the new rule to stop further consolidation if they win back the White House in 2028 and install a Democratic majority at the FCC.
“It makes the broadcasters’ license value dependent on the political whims of whoever is in the White House,” he added. “Markets don’t like that.”
What does it mean for the Nexstar-Tegna antitrust litigation?
As it relates to Nexstar’s ongoing lawsuit with a group of state attorneys general and DirecTV, Nexstar CEO Perry Sook said “on balance there could be marginal benefit because it makes the unknown known from a regulatory perspective,” but acknowledged that he didn’t know if it would have a “ton of effect” as the company goes through the legal process.
Levin said the ownership cap repeal would have “no impact” on the Nexstar antitrust lawsuit whatsoever.
“It might have helped Nexstar if Carr had adopted the order before the litigation so that it could have cited some of the findings,” he said. “But at the end of the day, Carr’s view of the ‘public interest’ does not trump antitrust law.”
How big will Nexstar-Tegna be?
To give you a sense of the scale of these companies without the ownership cap, Nexstar and Tegna combined would have owned 265 television stations in 44 states and the District of Columbia, representing 80% of households.
In order to clear the merger and receive the FCC’s waiver, the combined company agreed to divest six stations within two years of closing.
Will the repeal face a court challenge?
Almost certainly. Following the vote, Carr acknowledged that “everyone is free to litigate” the FCC’s decisions, but he argued that a D.C. Circuit court ruling that found setting the cap at a specific percentage determined “only the starting point from which the Commission was to assess the need for further change.”
“Folks have litigated FCC media regulation decisions historically. I wouldn’t be surprised if there’s appeals here, and we’ll allow the courts to work through it. But we’ve done our part,” he said. “If it goes to the courts, it goes to the courts, and we’ll litigate it, and we’ll see where it goes.”
Sook agreed that the FCC is on “very firm legal footing,” but expects a judicial review of the decision. Perry isn’t ruling out the possibility of a successful legal challenge.
“Challengers have a real case. The strongest argument is that an agency cannot repeal by rule what Congress wrote into law. After Loper Bright, courts will not defer to the FCC’s reading of its own authority,” Perry said. “I put a challenge at better than even on the statutory question. Watch for an early stay motion. If a court stays the repeal, pending deals are back under the old math.”
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movies
Indie Films Opening: ‘Tony’, ‘Teenage Sex And Death At Camp Miasma’, ‘Late Fame’
A dynamic selection of indies starts rolling out today with Dominic Sessa as a young Anthony Bourdain in Matt Johnson’s Tony, indie director Jane Schoenbrun’s latest, Teenage Sex And Death At Camp Miasma with Hannah Einbinder and Gillian Anderson, documentaries on cheesemongers, Girl Scout cookie season, and small town movie theaters, and the annual CatVideoFest among others.
A24 debuts origin story Tony by filmmaker Matt Johnson (Blackberry, Nirvana the Band) in limited release in six theaters across NY (Regal Union Square, AMC Lincoln Square, Alamo Drafthouse Brooklyn) and LA (AMC Century City, AMC Grove, AMC Burbank). Expands to about 25 locations next week. Opening weekend audience are looking like a mix of under 35, A24 loyalists, followers of Matt Johnson and fans of Bourdain.
Dominic Sessa (The Holdovers) stars as a teenage Anthony Bourdain and the film captures a moment in time in Provincetown, Mass. where he spent a transformative summer before college working at a seafood restaurant year before becoming a beloved chef, author and television host. It held an early local premiere there with screenings for restaurant workers in partnership with OpenTable.
With Antonio Banderas, Emilia Jones and Leo Woodall, Tony is Rotten Tomatoes Certified Fresh at 94%, see Deadline review here, with strong restaurant and food industry endorsement. It’s backed by the Bourdain estate. The best-selling author of Kitchen Confidential and host of popular TV series including Anthony Bourdain: Parts Unknown and Anthony Bourdain: No Reservations, committed suicide in 2018 at 61.
For years before, he traveled the globe sampling and describing local fare. His laid-back style evolved into broader cultural storytelling after he was trapped with his crew filming a 2006 episode in Lebanon as war with Israel erupted.
Morgan Neville’s Road Runner: A Film About Anthony Bourdain, which Focus Features released in July of 2021, was the top grossing documentary out of Covid and helped jump start the box office.
Mubi is out with Jane Schoenbrun’s (We’re All Going To The World’s Fair, I Saw the TV Glow) Teenage Sex And Death At Camp Miasma at five theaters in New York (Angelika Film Center, AMC Lincoln Square) and LA (AMC Burbank, AMC Century City, AMC Grove).
The Cannes-premiering horror expands to 50+ screens next week and nationally August 21. It’s 99% RT Certified Fresh.
After years of slapdash sequels and waning fandom, the Camp Miasma slasher franchise is handed over to an enthusiastic young director (Hannah Einbinder) for resurrection. But when she visits the original’s star (Gillian Anderson), a now-reclusive actress shrouded in mystery, the two women fall into a blood-soaked world of desire, fear, and delirium.
Late Fame from Magnolia Pictures opens at Film Lincoln Center and Film Forum in New York. Kent Jones’ second feature (after Diane) stars Willem Dafoe as an erstwhile New York poet who gets an ego boost when he is welcomed into the world of an emerging literary salon, but must reckon with the authenticity of his newfound circle of twentysomething admirers. Written by Samy Burch (May December) based on Arthur Schnitzler’s 1890s novella. Greta Lee and Edmund Donovan also star. Premiered at Venice. See Deadline review.
Roadside Attractions opens Sundance-premiering documentary Cookie Queens by Alysa Nahmias, executive produced by Prince Harry and Meghan Markle, in moderate release on 446 screens., CMarkle is a former Girl Scout and her mom was a troop leader. The Duke and Duchess of Sussex’s Archwell Productions partnered with Beautiful Stories and AJNA Films on the doc about one of America’s most cherished rituals, Girl Scout Cookie season.
Obscured Releasing documentary The Big Cheese by Sara Joe Wolansky debuts in limited release at IFC Center, adding Laemmle Glendale and Laemmle Monica in LA next week. Adam “Mr. Moo” Moskowitz led a scrappy team of eccentric American cheesemongers to dethrone the French at their Mondial du Fromage, the Olympics of Cheese, in Tours. The group battled cultural bias, personal struggles, and melting cheese in pursuit of respect, redemption and a historic victory.
Q&As with Moskowitz, filmmaker, David Zabar (of Zabar’s) and Josh Windsor of Murray’s Cheese at IFC this weekend.
Premiered at DOC NYC where it was the Audience Award runner-up, going on to take the Grand Jury Award for Best Documentary at the Cleveland International Film Festival, Best Documentary Feature at the Beloit film festival, and Best Director at the Phoenix film fest.
Greenwich Entertainment debuts TIFF-premiering coming-of-age drama Olmo by Mexican filmmaker Fernando Eimbcke at 51 theaters. Aivan Uttapa stars as Olmo, a teenager tied to home by the responsibility of caring for his bedridden father. When his beautiful neighbor invites him to a party, Olmo embarks on a night of mischief, laughter, and unexpected discoveries that ultimately transform the way he sees his life and the place he has been so eager to leave behind. Eimbcke co-wrote the film with Vanessa Garnica. Also stars Melanie Frometa, Rosa Armendáriz, Gustavo Sánchez Parra, and Andrea Suárez Paz.
The Last Picture Shows by Rustin Thompson launches at Village East Cinemas in New York. Expands to LA’s Laemmle Royal Aug. 21 as part of a national roadshow. World Premiered at the Santa Barbara film festival. Gary Rubin’s GRC is handling distribution
Thompson journeys into the American West on a search for traces of what was once a center of small-town life — the movie theater, travellng through 10 states and visiting 123 cinemas. The documentary follows the people preserving the moviegoing experience in their communities against the odds. On the trip, he finds long abandoned and forgotten cinemas; movie houses that have fallen into disrepair; theaters recently closed, theaters struggling to hold on, and theaters that —thanks to thoughtful caretakers — are not only surviving but thriving. The stops are punctuated by excerpts from Peter Bogdanovich’s 1971 The Last Picture Show and as reflections on past and present hardships facing the film exhibition industry.
CatVideoFest is back via Oscilloscope Labs on 330+ screens nationwide, to start, with multiple sold out showtimes. The increasingly popular annual staple for cat lovers, created and curated by Will Braden, gathers the best cat videos from across digital media. He also takes submissions. Part of the grosses go to raising money and awareness for local cat charities and animal shelters. It caught the interest of Kelly Clarkson and Andy Cohen this year with Braden appearing on The Kelly Clarkson Show.
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Entertainment
Director Jane Schoenbrun on ‘Teenage Sex and Death at Camp Miasma’
[Editor’s Note: This piece contains spoilers for “Teenage Sex and Death at Camp Miasma”]
The expertise involved in making a film is varied and wild. For instance, “Teenage Sex and Death at Camp Miasma” writer and director Jane Schoenbrun has a blood guy. Also, a snow guy. Also, they are the same guy.
For this, they drew on the expertise of special effects supervisor Kyle Moore, the “snow guru of British Columbia,” to help them shoot summer-for-winter in the director’s third feature, an erotic slasher film that is a lot more about love than it is about fear or the horror of staring into the darkness. Schoenbrun uses the language of horror films to explore more affirming ideas of working through gender dysphoria and coming home to pleasure in one’s own body; and a key way to track this throughout the movie is through the quality of the blood and guts on display.
Schoenbrun tracks the quality of the gore throughout “Camp Miasma,” not in a simple arc but based on how they want the audience to feel in a given scene and the level of safety they want the audience to have to enjoy what they’re watching on screen. This is something they also did with the monsters of “I Saw the TV Glow.”
“I would talk about the monster scale, meaning how shitty versus how awesome each monster should look,” Schoenbrun told IndieWire on an upcoming episode of the Filmmaker Toolkit Podcast. “Most contemporary entertainment movies would maybe answer that question with, ‘Every monster needs to look awesome.’ That’s the Ice Cream Monster in ‘TV Glow,’ right? That’s our 10 on the scale. It looks hyper-contemporary. But when we see him again at the end of the movie, it’s like a one.”

“Teenage Sex and Death at Camp Miasma” begins with enough gore to run the monster scale all the way up to 11. After watching a camera get set up from the camera’s POV and hearing the breathing of Little Death (Jack Haven) — melding both the movie’s monster and its viewpoint into this living, breathing thing — we get a very traditional slasher attack on an unsuspecting couple out for a walk in the woods. When Little Death stabs into their victim, there’s a geyser of blood, way more than could fit inside a human body.
“That was a very early founding principle of the movie long before I had plot and character and things like that. This movie needs to start in the first minute with a giant oil well-style geyser of blood, and part of it is signalling excess and campiness. It puts you in cartoon-land a little bit,” Schoenbrun said. “It’s also a mission statement in relation to what’s come before in my filmography. A huge part of the joy of this film for me was breaking free of my own expectations of what my movies need to be [and embracing] this idea of play.”

The playfulness necessitated blood that runs all over the scale, from very contemporary and slick, CGI-style gore — Schoenbrun set out to shoot the slashing spree that occurs exactly halfway through “Camp Miasma” like a Michael Bay horror music video — to the fakest, schlockiest, most ‘80s-tastic fake blood that would fail at its purpose if it looked too red.
“[The killing spree sequence] is really enjoying an artifice that connotes like state-of-the-art or something,” Schoenbrun said. The sequence, which required meticulous prep from all departments for every step of it, is designed to not just bowl the audience over, but filmmaker and horror fan Chris (Hannah Einbinder), who sees the first “Camp Miasma” film in a completely different light as former Final Girl Billie (Gillian Anderson) screens it for her. We watch Chris absorb what’s happened with completely new eyes.
“And then immediately we go into this scene that’s intentionally mis-shot to be colored wrong and not sufficiently lit, and it’s supposed to be a scene straight out of not even ‘Friday the 13th.’ The eighth rip-off of ‘Friday the 13th’ that went straight to video in 1987 or whatever. I actually had to keep asking for shittier and shittier blood,” Schoenbrun said. “I was like, ‘I want the blood that comes out of the guy who gets killed in that scene’s mouth to look like pink yogurt.”
It’s a good gag. But Schoenbrun does it, and the film plays with levels of artifice, because it actually helps the audience attune to the emotions that the characters are working through. “ I’m interested in constantly calling attention to the artifice. Because if every moment is artifice, it kind of puts you in this space of being shocked when something real emerges,” Schoenbrun said.
For where that something real lies, you should also pay attention to the blood, and where it ends up.
“Teenage Sex and Death at Camp Miasma” is now playing in theaters.
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Entertainment
All the Songs in Spider-Man: Brand New Day
If there’s a new Spider-Man movie out, you can bet it’s got a great soundtrack. A hallmark of the franchise going back to the Tobey Maguire films is a solid collection of songs that reflect the youth of Peter Parker, whether it’s Chad Kroeger or Dashboard Confessional or Coldplay. “Spider-Man: Brand New Day” is no different, but in keeping with the more mature tone of the film, the soundtrack enters what can only be described as its college years.
Bands like TV on the Radio, Tame Impala and Cannons make a strong impact in “Brand New Day,” which picks up four years after the events of “Spider-Man: No Way Home” and finds Tom Holland’s Peter Parker immersing himself in the job of Spider-Man now that anyone who knew his identity has forgotten him.
Things are thrown for a loop when a new threat puts Peter in direct conflict with MJ (Zendaya) and Ned (Jacob Batalon), and he’s forced to break out of his self-imposed shell to save the ones he loves once more.
TV on the Radio’s “Wolf Like Me” backs a wonderful montage that recreates famous comics covers, while Tame Impala’s “Loser” charts Peter’s night out crashing a party at Ned and MJ’s apartment. And in a stroke of genius, director Destin Daniel Cretton ends the film with a montage of New York City set to Steve Lacy’s “oh yeah?”
See the full list of songs in “Spider-Man: Brand New Day” below and get to making that Spotify playlist ASAP.
- “Wolf Like Me” by TV On the Radio
- “Dame Tu Amistad” by Dominique Patrick Noel and Hector Luis Pagan, Eduardo Padua and Eddie Montalvo
- “I’m Every Woman” by Chaka Khan
- “Monopoly” by Monetochka
- “Loser” by Tame Impala
- “Fire For You” by Cannons
- “EoO” by Bad Bunny
- “St. Elmo’s Fire” by Brian Eno
- “Party in the U.S.A.” by Jessica Comish, Lukasz Gottwald & Claude Kelly
- “Oh yeah?” by Steve Lacy
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