The Globes are finally recognizing podcasting with a major new category — but questions swirl about fairness, access, and the risk of mainstream dilution?

In a notable development reflective of podcasting’s ascendance as a mainstream cultural form, the Golden Globes have unveiled a new award: Best Podcast of the Year. Slated to debut at the 2026 ceremony, this category represents the Hollywood Foreign Press Association’s most consequential structural expansion since the introduction of its box office and cinematic achievement award in 2023. Although widely interpreted as a long-overdue institutional acknowledgment of podcasting's narrative significance, the announcement has evoked both enthusiasm and apprehension among creators, industry executives, and media theorists alike.

"This is what the industry needs — recognition that podcasting is storytelling," asserted Bert Kreischer, comedian and co-host of 2 Bears, 1 Cave. Yet Kreischer’s statement, though optimistic, underscores a fundamental tension: how does one meaningfully evaluate a medium as inherently heterogeneous as podcasting?

According to preliminary criteria released by the HFPA, six finalists will be selected from a “top 25” list of the most popular shows, yet the precise metrics for that selection—be it downloads, listener engagement, retention rates, or platform-specific rankings—remain opaque. This ambiguity has catalyzed skepticism among practitioners, many of whom question whether popularity alone constitutes artistic merit.

Frank Alvarez, co-host of the widely streamed The Basement Yard, articulated this ambivalence: “There’s no one right way to do a podcast. You’ve got long-form interviews, sketch comedy, serious investigative journalism—and we’re all in the same pool?” Indeed, the podcast ecosystem encompasses a vast array of genres and rhetorical modes, from the anecdotal absurdism of Matt and Shane’s Secret Podcast to the formal journalistic rigor of The Daily and Up First, to the socio-political polemics of The Megyn Kelly Show and The Tucker Carlson Show.

This formal diversity is both the medium’s strength and its evaluative challenge. Kreischer framed the stakes in blunt terms: “If it’s just about downloads, then fine, give it to Rogan every year. But if you’re really honoring the best work — the most innovative, the most important — then you’ve got to look deeper.”

A recurring concern is the potential marginalization of smaller, independent creators in favor of celebrity-driven or corporate-backed projects. “If some celebrity drops an eight-episode podcast and gets nominated over someone who’s been doing it every week for six years, that’s a problem,” observed Joe Santagato, co-host of The Basement Yard and CEO of Santagato Studios. This anxiety speaks to a broader structural inequity: access to visibility, marketing resources, and algorithmic amplification is not evenly distributed across the podcasting field.

The question of political representation further complicates the landscape. Given the HFPA’s historical alignment with Hollywood’s center-left cultural sensibilities, some creators are wary that right-leaning or ideologically contrarian podcasts could be excluded from serious consideration. “If you snub shows like The Megyn Kelly Show or Tucker Carlson, you’re not representing what’s actually popular,” Kreischer warned. “You’re just reinforcing a narrative.”

Despite these concerns, few dismiss the move as unwarranted. On the contrary, most regard it as overdue. Over the past decade, podcasting has emerged as a formidable storytelling apparatus—one that rivals traditional media in reach, influence, and cultural intimacy. Call Her Daddy, hosted by Alex Cooper, routinely eclipses late-night television in terms of listenership and demographic engagement. Podcasts have become the auditory background to quotidian life—consumed during commutes, workouts, and even sleep.

Still, awards institutions such as the Emmys, Grammys, and Oscars have been slow to incorporate this seismic shift. The Globes’ move, therefore, could catalyze a broader realignment in how prestige and creative legitimacy are distributed across platforms. A publicist representing several high-profile creators explained: “There’s no apples-to-apples comparison between a 90-minute YouTube interview and a 20-minute NPR audio digest. But the Globes stepping in is a start—now they need to clarify their methodology.”

That methodology, many argue, should include a transparent articulation of evaluation criteria. Should nominees be judged by originality, production quality, audience engagement, or socio-cultural resonance? And who gets to make those determinations—HFPA members, an interdisciplinary panel of experts, or perhaps even a listener jury?

More philosophically, the debate surfaces questions about what podcasting represents as a cultural form. Is it a continuation of oral storytelling traditions, a decentralized alternative to mainstream journalism, or a disruptive commercial force akin to YouTube and TikTok? Perhaps it is all three, and therein lies the difficulty.

Yet there is also opportunity. “This is just another way to get podcasts out to the mainstream,” Kreischer offered. “They’re awesome. They’re like great books you listen to in your car. I learned more from three episodes I listened to about Martin Luther yesterday than in the 18+ years I was in school.”

Indeed, if the Globes can rise to the occasion, the Best Podcast category could become not merely an accolade but an inflection point—a recognition that media consumption has irrevocably shifted, and that institutions must adapt or risk irrelevance.

Kreischer, ever the comic realist, had his own suggestion for how to present the award: “Do it over Zoom. Let someone open with an ad read. Make it messy and real. That’s podcasting.”

Perhaps that’s the best guiding principle of all. If the Globes want to honor podcasting, they must first understand it—not as a derivative of radio or television, but as a genre unto itself. One built not on polish, but presence; not on hierarchy, but intimacy; not on conformity, but voice.

The Golden Globes Podcast Category Could Be a Brilliant Mess — And That's the Point. But Who could actually win?

With millions of active podcasts and only 25 under consideration for nomination, the best podcast category at the Golden Globes may be destined to become a beautiful chaos of conflicting expectations and inevitable snubs. But that’s precisely why it could matter.

Awards bodies have traditionally favored polished, easily categorized work. Podcasts defy this mold. They are raw, intimate, often unpredictable. Can a show like The Joe Rogan Experience—a long-form, often chaotic conversational labyrinth—compete fairly with something like Radiolab or Serial? How do voters reconcile the lo-fi charm of The Basement Yard with the A-list gravitas of SmartLess?

More importantly: Who should be in contention? While names like Conan O’Brien, Amy Poehler, and Dax Shepard are almost certain to surface due to their fame and polish, the Globes must resist the urge to reward visibility over innovation. There are breakout voices and podcast institutions alike who warrant recognition not just for popularity, but for shaping the medium:

Podcasts Worthy of a Globe Nomination:

Call Her Daddy (Alex Cooper)

Estimated Audience: ~10 million listeners per episode

Estimated Valuation: $60 million Spotify deal; seeking $100 million distribution deal

Originally launched as a candid discussion on sex and relationships, Call Her Daddy has transformed into a cultural powerhouse under Alex Cooper’s stewardship. Her adept interviewing skills and production acumen have propelled the podcast beyond its initial shock-jock roots, establishing it as a staple in contemporary digital media. With an average of 10 million listeners per episode, the show has become a go-to platform for high-profile celebrities, including Zayn Malik and Gwyneth Paltrow.

Cooper’s strategic partnerships and business ventures, such as her $60 million exclusive deal with Spotify and the founding of her media company, Trending, underscore her influence in the podcasting realm. Her ability to pivot the show’s content to encompass mental health and celebrity interviews has broadened its appeal, solidifying its position in the digital zeitgeist.

Conan O’Brien Needs a Friend (Conan O’Brien)

Estimated Audience: Over 9 million downloads per month

Conan O’Brien’s foray into podcasting with Conan O’Brien Needs a Friend has been met with critical acclaim and a substantial listener base. The podcast showcases O’Brien’s signature self-deprecating humor and his capacity for sincere, in-depth conversations with a diverse array of guests. The show’s format allows for a more intimate and unfiltered dialogue, distinguishing it from traditional late-night talk shows.

The podcast’s success is reflected in its substantial download numbers, with reports indicating over 9 million downloads per month as of 2021. O’Brien’s transition from television to podcasting exemplifies the medium’s potential for established entertainers to connect with audiences in new and meaningful ways.

SmartLess (Jason Bateman, Will Arnett, Sean Hayes)

Estimated Audience: Approximately 6–8 million listeners per episode

Estimated Valuation: $80–$100 million+ (based on Amazon licensing deal and sponsorships)

SmartLess, hosted by Jason Bateman, Will Arnett, and Sean Hayes, offers a unique blend of celebrity interviews and spontaneous humor. The podcast’s format, where one host surprises the others with a mystery guest, creates an environment of genuine curiosity and unscripted conversation. This approach has resonated with listeners, contributing to the show’s popularity.

While specific audience metrics are not publicly available, the podcast’s success is evident through its high-profile guest list and consistent chart performance. The trio’s chemistry and the show’s innovative format have set a new standard for celebrity-driven podcasts, balancing star power with authentic dialogue.

Bertcast / 2 Bears, 1 Cave (Bert Kreischer & Tom Segura)

Estimated Audience: Approximately 500,000 listeners per episode

Estimated Valuation: Data not publicly disclosed

Comedians Bert Kreischer and Tom Segura have cultivated a dedicated following through their podcasts Bertcast and 2 Bears, 1 Cave. These shows are characterized by their unfiltered conversations, comedic storytelling, and the hosts’ palpable camaraderie. The podcasts’ informal structure allows for a wide range of topics, appealing to listeners seeking both humor and authenticity.

While exact listener numbers are not publicly disclosed, the podcasts’ popularity is evident through their strong chart performances and active fan communities. The duo’s ability to engage audiences with their relatable banter and candid discussions underscores the appeal of personality-driven podcasting.

The Basement Yard (Frank Alvarez & Joe Santagato)

Estimated Audience: Data not publicly disclosed

The Basement Yard, hosted by Frank Alvarez and Joe Santagato, delivers a mix of absurd humor and heartfelt conversations. The podcast’s grassroots origins and lo-fi production contribute to its charm, resonating with listeners who appreciate its authenticity. The hosts’ dynamic and willingness to tackle a variety of topics have fostered a loyal audience base.

Although specific audience metrics are not publicly available, the podcast’s consistent presence on charts and positive listener reviews indicate its impact within the comedy podcast genre. The Basement Yard exemplifies how podcasts can thrive through genuine connection and relatable content.

Radiolab (WNYC Studios)

Estimated Audience: Approximately 1 million listeners per episode

Estimated Valuation: Data not publicly disclosed

Radiolab, produced by WNYC Studios, is renowned for its innovative approach to science and philosophy storytelling. The podcast combines investigative journalism with immersive sound design, creating a unique auditory experience that challenges listeners’ perceptions. Its commitment to exploring complex topics in an accessible manner has garnered critical acclaim.

While exact listener figures are not publicly disclosed, Radiolab’s influence is evident through its widespread syndication on public radio stations and its numerous industry awards. The podcast’s ability to engage audiences with thought-provoking content underscores its significance in the educational podcasting landscape.

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Huberman Lab (Andrew Huberman)

Estimated Audience: Average of 1.4 million views per episode; some episodes exceeding 5 million views

Hosted by neuroscientist Andrew Huberman, Huberman Lab delves into the intricacies of brain function and human behavior. The podcast’s methodical yet accessible exploration of neuroscience topics has attracted a substantial audience, bridging the gap between academic research and public understanding.

With an average of 1.4 million views per episode and some episodes surpassing 5 million views, Huberman Labdemonstrates the public’s appetite for science-based content. The podcast’s success highlights the potential for educational podcasts to achieve mainstream popularity.

The Ezra Klein Show (Ezra Klein / NYT)

Estimated Audience: Between 100,000 and 500,000 monthly listeners

The Ezra Klein Show, produced by The New York Times, offers in-depth conversations on politics, policy, and culture. Ezra Klein’s analytical approach and thoughtful questioning facilitate nuanced discussions with a diverse range of guests. The podcast serves as a platform for exploring complex ideas in a comprehensive manner.

With an estimated monthly audience ranging from 100,000 to 500,000 listeners, the show has established itself as a significant voice in the political podcasting sphere. Its commitment to intellectual rigor and balanced discourse contributes to its reputation as a trusted source for in-depth analysis.

Crime Junkie (Ashley Flowers & Brit Prawat)

Estimated Audience: Over 1.5 billion downloads; approximately 500 million streams on Spotify

Crime Junkie, hosted by Ashley Flowers and Brit Prawat, has become a leading podcast in the true crime genre. The show’s narrative-driven format and engaging storytelling have captivated a broad audience, contributing to its impressive download numbers. Its success has also enabled the expansion of the Audiochuck podcast network.

With over 1.5 billion downloads and approximately 500 million streams on Spotify, Crime Junkie’s impact is undeniable. The podcast’s ability to present true crime stories in a compelling and respectful manner has set a standard within the genre.

Matt and Shane’s Secret Podcast (Matt McCusker & Shane Gillis)

Estimated Audience: Approximately 168,000 subscribers; estimated monthly revenue between $282,000 and $725,000

Matt and Shane’s Secret Podcast, hosted by comedians Matt McCusker and Shane Gillis, offers a blend of irreverent humor and candid commentary. The podcast’s unfiltered approach and willingness to tackle controversial topics have garnered a dedicated listener base. Its success is reflected in its substantial Patreon support.

With approximately 168,000 subscribers and estimated monthly revenue ranging from $282,000 to $725,000, the podcast exemplifies the financial viability of independent content creation. The show’s popularity underscores the appeal of authentic, unpolished dialogue in the podcasting landscape.

The Megyn Kelly Show (Megyn Kelly)

Estimated Audience: Approximately 15,560 Spotify listeners per episode; 2.3 million YouTube subscribers; 116.8 million YouTube views in July 2024

Estimated Valuation: Data not publicly disclosed

The Megyn Kelly Show has emerged as a formidable presence in the political podcasting landscape, blending incisive commentary with high-profile interviews. With a YouTube channel amassing 2.3 million subscribers and recording 116.8 million views in July 2024, the show’s digital footprint rivals that of major news outlets. On Spotify, the podcast garners approximately 15,560 listeners per episode, reflecting a dedicated and engaged audience.

Kelly’s adept navigation of contemporary issues, combined with her journalistic rigor, has positioned the show as a trusted source for many seeking alternative perspectives. Her ability to tackle contentious topics with nuance and depth resonates with a broad demographic, further solidifying the podcast’s influence in shaping public discourse.

The Joe Rogan Experience (Joe Rogan)

Estimated Audience: Approximately 11 million listeners per episode; 14.5 million Spotify followers; 19.6 million YouTube subscribers; 5.97 billion YouTube views

Estimated Valuation: $250 million Spotify deal

The Joe Rogan Experience stands as a titan in the podcasting world, known for its expansive guest list and unfiltered conversations. With an estimated 11 million listeners per episode, the show commands a vast and diverse audience. Its Spotify following of 14.5 million underscores its dominance on the platform, while the YouTube channel boasts 19.6 million subscribers and nearly 6 billion views, reflecting its massive reach.

Rogan’s $250 million deal with Spotify highlights the show’s significant commercial value and influence. His ability to engage in deep, wide-ranging discussions on topics from science to culture has redefined the podcasting medium, making the show a central hub for discourse in the digital age.

Whether the Globes lean into intellectual journalism, culture commentary, comedy chaos, or true crime obsession, the new podcast category could signal a long-overdue shift. And if nothing else, it’s already done what podcasts do best: spark an unfiltered, passionate conversation.

Golden Globes: Best Podcast Award Coming in 2026

The Globes are finally recognizing podcasting with a major new category — but questions swirl about fairness, access, and the risk of mainstream dilution?

The Golden Globes Podcast Category Could Be a Brilliant Mess — And That's the Point. But Who could actually win?