Why Doomscrolling is Doomed

Could 2026 be the year that storytelling stretches its legs again? The addictive, algorithmically-optimised 15-to-30 second clips which compete for our attention can’t give us a beginning, middle and end. Instagram stories attempt to replace actual stories with something fast and ultimately hollow.

But audiences are now consciously combatting the doomscroll. A recent MIDiA report showed that over 80 per cent of 16 to 43 year olds have actively tried to reduce screen time in the last month. As we begin to pull away from saturated socials, audio is quietly championing storytelling, and encouraging us to spend time with long-form content rather than being sucked in by short-form.

Investment in audio dramas is increasing. The new, $150 million dollar, full-cast Harry Potter audio series with over 200 actors and Dolby Atmos sound being produced by Audible and Pottermore Publishing has been described as an ‘unprecedented and highly ambitious undertaking’ by Aurelie de Troyer, Audible’s head of European content. The scale of this project suggests an audience appetite for high-quality, long-form content that fits into our lives rather than pulling us out of them, keeping us company through chores, commutes and walks.

Roxanne Harley, head of growth at Azerion, a major European digital entertainment and media platform, also believes this shift is only going to accelerate, “2026 will see audio stop being the sidekick and start being the channel brands build around… Not because it’s new, but because it’s ready: streaming, podcasts, in-car audio, smart speakers, and addressable radio are finally giving planners both scale and precision. Azerion’s Meaningful Connections study showed that, after cinema, audio was the channel where people were most receptive to ads, arguably making it the best place to do what digital can struggle with: proper storytelling.”

We’re seeing the same pattern online in the use of Substack. A platform that originally positioned itself as a tool for simple newsletters is now a home for voices and brands which reject the algorithm’s power to decide who sees what. This approach has breathed new life into the long-form editorial work once the preserve of newspapers and magazines, and encourages a slower and more deliberate reading experience.

As audiences push back on the bottomless scroll, they’re gravitating towards formats that respect their time rather than seeking to monopolise it. At Cameo, we’re tracking this trend, but we welcome it too. Socials have their place, and we work with some great creators. But our origins lie with long-form screen entertainment, and getting it talked about on the best audio outlets, whether radio or podcasts. It’s great to see quality and patience coming back. As consumers, we’re not logging off; we’re simply recalibrating, and reconsidering which kinds of content truly merit our attention.

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