Producers do not usually lose hosts to a better offer. They lose them to a flat download graph. We put your roster in front of an audience that is already assembled — local news sites, city newsletters, Spreely, and 160+ connected-TV channels — so the numbers move, the host stays, and the catalog you paid to build keeps earning.
The retention problem
Every show that walks takes the setup cost, the editing hours, the artwork, the feed, and whatever audience it did build. Then you spend the next quarter recruiting a replacement who starts at zero.
Hosts almost never say “I quit because the numbers were flat.” They say they are busy, or the season is over, or they want to focus elsewhere. Underneath it is the same thing: nothing was changing, so the recording night stopped being worth it.
Growth is the cheapest retention tool a producer has. It is also the one thing most studios cannot manufacture in house, because it is a distribution problem, not a production problem.
What your roster plugs into
The Loop is a working local media network, not a directory listing. Shows get carried on city news pages, promoted in city email newsletters, placed in the audio network, and run on the connected-TV side across Roku, Fire TV, and Apple TV. Promotion is scheduled and funded on our end, not left to the host.
Spreely Media runs alongside it and reaches the same audience a different way. Where the Loop organizes by city, Spreely organizes by genre and carries the audio, video, and music side of the portfolio nationally. A show with no local angle still has a home there, and a show with one gets both.
Traffic outcomes are worked toward, not guaranteed. We will tell you plainly what we think a given show can do before you commit it.
Beyond the feed
The same pipes that carry an episode carry a ninety-minute film. Studios sitting on documentary work, finished features, or a slate they never found a window for should bring that to the first call.
Between the Loop's city channels and Spreely's genre channels we program real streaming television, which means we have shelf space to fill and an audience that shows up for faith, family, and American stories. Trailers can run as promotional inventory across the network well ahead of a release, and finished long-form can be scheduled, placed on demand, or built into its own channel.
Long-form terms are handled title by title rather than on the per-show rate card. Bring the slate and we will scope it.
Same editorial standard as the shows. Local subject matter is a bonus, not a requirement.
Why it holds your roster
A host watching the number climb week over week has a reason to keep the schedule. Motivation follows momentum, and momentum is what we sell.
Top-5% placement is a sales credential. It gets your host into meetings a passion project never gets into, and those meetings come back to the studio.
Shows can opt into dynamic ad insertion across the back catalog, with the host side of the split negotiated show by show. Old episodes start working again.
Access to a shared guest pool, and on the upper tier we pitch your hosts as guests on outside shows. That is normally a separate PR retainer.
You brought the distribution, so growth is attributable to you. That is the strongest renewal position a producer can hold with talent.
Shows shopping for a home pick the studio that can move numbers. Carriage across 160+ city channels is a line no independent producer can match.
Studio economics
Every show also gets the full AdRevv toolbox — DataPulse visitor identification, LeadEngine buyer intent, AdServe, and EFluence email — which you and your hosts can resell to local and national advertisers at a 20% commission.
That is the part most producers miss. A typical AdRevv account runs about $1,200 a month, so one client is roughly $240 a month recurring to whoever sold it, and it has nothing to do with ad slots on the show. It is a second revenue line for the studio that does not depend on download volume.
Networks at four or more shows also get their own branded channel across the portfolio and an additional 10% off wholesale on every tool.
| Roster size | Per show, monthly |
|---|---|
| Free tier | $0 — listing and toolbox access, 10% commission cap, no funded promotion |
| 1–3 shows | $500 |
| 4–7 shows | $400 — plus your own channel |
| 8+ shows | $350 — plus your own channel |
Start free if you want to see it work before you spend. The free tier is the proving ground: your shows get listed and you get the tools, but funded promotion toward the 1,500 floor is what the paid tier buys.
Editorial fit
The Loop is a faith, family, and America-first network. Our audience shows up for it, our advertisers buy against it, and shows that do not fit it do not perform here no matter how much promotion we put behind them.
Local content is preferred and gets extra placement, but it is not required. A national show with the right editorial voice fits fine.
Shows that lean into local topics can earn a featured local slot, which is also a real selling edge with local advertisers.
How it starts
Your feeds stay yours. YouTube stays yours. Existing sponsors stay yours. The Loop is additive distribution on top of what your shows already do.
Show names, feeds, and a sentence on each. No paperwork yet.
We tell you which shows we would take, which we would pass on, and what we think each can realistically do.
Feeds and artwork in, tools provisioned, hosts set up in the partner portal with their commission settings.
Placement across news, newsletter, audio, and CTV starts on our schedule. 90-day minimum term, 30 days notice after.
Send us the roster and we will come back with a per-show read on fit and upside before anyone signs anything. If we do not think we can move a show, we will say so.
HyperLocal Loop — Close to home. Always in the loop.