Senegal's television landscape is small but culturally dense, shaped by a public broadcaster that carries the weight of national life and a handful of private stations that have learned to speak Wolof first. The result is a schedule where language code-switches mid-bulletin: a news anchor opens in French, the reporter's voiceover arrives in Wolof, and the studio panel drifts between both without ceremony. Subtitling is rare; dubbing into Wolof is common for imported dramas and children's cartoons, which gives foreign series an unmistakably local texture. Public television still sets the primetime agenda with a formal evening news block, but the private channels have pushed news toward talk: long studio debates, phone-ins, and religious programming that draws huge audiences, especially during major Sufi gatherings when coverage turns into hours of live devotional broadcasting. Music is a genre in its own right here, not filler. Mbalax performances, studio sessions and concert coverage fill weekend slots, and music channels treat the country's band culture as news. Terrestrial signals remain central outside Dakar, while satellite and IPTV packages carry the same national feeds to a diaspora that watches home television on its own clock. Compared with neighbours that lean on francophone imports or English-language syndication, Senegal's market feels unusually endogenous: local languages, local music, local religious rhythms. Sports coverage is modest by regional standards, focused on domestic league football and international tournaments, with commentary in Wolof that many viewers say is the real draw. For anyone trying to understand how this country watches itself, the small screen is an honest mirror.