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NBA Christmas Day on ESPN Platforms Averages 5.25 Million Viewers, Most-Watched in Five Years

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Amid conversations and concerns about declining ratings for the NBA, the league and The Walt Disney Company delivered a record-setting performance with the most-watched Christmas Day slate of NBA games in five years. Fast national data from Nielsen Media Research demonstrates an 84% year-over-year increase in viewership of the five-game schedule, averaging 5.25 million viewers per matchup in the United States across ABC, ESPN, ESPN2, Disney+ and ESPN+. The thrilling victory by LeBron James and the Los Angeles Lakers over Stephen Curry Golden State Warriors led the way averaging 7.76 million viewers in prime time, the most-watched NBA regular season and Christmas Day game in five years.

The Lakers-Warriors game, which aired on ABC, ESPN, Disney+ and ESPN+, featured play-by-play announcer Mike Breen, analysts Doris Burke and Richard Jefferson and reporter Lisa Salters on the airwaves. This matchup attained a 499% year-over-year increase from the comparable game last year between the Philadelphia 76ers and Miami Heat. Viewership for this game peaked with an audience of 8.32 million at 10:30 p.m. EST as the game was coming down to the final possessions.

Shortly thereafter, the Phoenix Suns started play against the Denver Nuggets, a Western Conference matchup that averaged 3.84 million viewers. This marks the largest audience for a late-Christmas window in history, achieving a 161% year-over-year rise from last year’s matchup between the Suns and Dallas Mavericks. The Mavericks faced the Minnesota Timberwolves this year in the second game of the day, averaging 4.38 million viewers and up 6% year-over-year.

Preceding the prime time matchup, the Philadelphia 76ers reigned victorious over the defending NBA champion Boston Celtics in a game that averaged 5.16 million viewers. The final audience for this game will increase when viewership information from the Boston designated market area becomes available. For now, the matchup is up 3% year-over-year from the Celtics’ matchup against the Lakers last year.

Christmas Day action started from Madison Square Garden where Jalen Brunson and the New York Knicks hosted Victor Wembanyama and the San Antonio Spurs. The Noon EST tip-off averaged 4.91 million viewers, marking the most-watched opening game on Christmas Day since 2011. Viewership for the game, which includes the animated Dunk the Halls alternate presentation on ESPN2, Disney+ and ESPN+, was up 98% year-over-year from when the Knicks hosted the Bucks in this window last season.

The NBA attained more than 500 million video views across social media platforms on Christmas Day, marking an all-time record. These games also accounted for the most-viewed Christmas Day in the history of NBA League Pass, and matchups were distributed in 214 countries and territories across 60 languages. With its performance on Christmas Day included, the league has generated a record 11 billion views on its social and digital channels for the season to date.

Viewership of the NBA on ESPN platforms is up 4% year-over-year, while overall NBA viewership on ABC, ESPN and TNT is down 4% for the season. Leading up to Christmas Day, NBA viewership on these networks increased every week in December by an average of 7% per week. Emirates NBA Cup games on ESPN and TNT were up 6% compared to non-NBA Cup matchups during the same timeframe as well.

The Walt Disney Company will commence the first season of a new 11-year media rights deal with the NBA, reportedly paying an average of $2.62 billion annually. Warner Bros. Discovery is in its final season with live NBA game broadcasts in the United States, although it will still retain a digital package and international rights as part of a settlement for an investor lawsuit. Comcast’s NBCUniversal and Amazon’s Prime Video will begin broadcasting NBA games under the new 11-year media rights term next year, which, when combined with Disney, is worth a total of $77 billion.

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Netflix Reaches Nearly 65 Million U.S. Viewers for NFL Christmas Day Doubleheader

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Netflix presented a doubleheader of NFL games on Christmas Day with playoff implications to a record-setting unduplicated audience of nearly 65 million viewers in the United States. The streaming company, operating in the first year of a three-season deal with the league, broke the records for the most-streamed NFL games in U.S. history, according to Nielsen Media Research. Both matchups were produced by CBS Sports, while NFL Media produced the pregame, postgame and studio halftime programming. Netflix NFL Christmas Gameday was executive produced by EverWonder Studio.

The opening game between the Kansas City Chiefs and Pittsburgh Steelers attained an average minute audience of 24.1 million viewers, according to Nielsen Media Research data. This represents a year-over-year decline of 18% compared to the early Christmas Day game last year featuring the Chiefs and Las Vegas Raiders on CBS.

The second game of the doubleheader with the Baltimore Ravens and Houston Texans attained an average minute audience of 24.3 million viewers, the most-streamed NFL game in history. Compared to the FOX late-afternoon Christmas Day matchup between the New York Giants and Philadelphia Eagles, this year’s comparable game was down 16%. Adults 18-34 accounted for 5.1 million U.S. viewers, the most-watched Christmas Day game on record within the demographic, according to Nielsen records dating back to 2001. Viewership for the doubleheader peaked at 27 million during the halftime performance from Beyoncé.

Both games surpassed the average of 23 million viewers attained by NBCUniversal when it presented an exclusive NFL Wild Card Game on Peacock between the Chiefs and Miami Dolphins. The Chiefs, featuring superstars in quarterback Patrick Mahomes and tight end Travis Kelce, are seeking to attain three consecutive Super Bowl victories for the first time in league history and have now been part of two of the three most-streamed NFL games. The broadcast also attained engagement on social media, with Netflix occupying 10 of the top 12 trending topics on X in the United States following Beyoncé’s halftime performance.

“Bringing our members this record-breaking day of two NFL games was the best Christmas gift we could have delivered,” Bela Bajaria, chief content officer of Netflix, said in a statement. “We’re thankful for our partnership with the NFL, all of our wonderful on-air talent, and let’s please not forget the electrifying Beyoncé and the brilliant Mariah Carey.”

Average minute audience viewership comes from Fast National Live + Same Day data from Nielsen Media Research, which encompasses viewing from the CBS-affiliated stations that broadcast the game in local marketplaces. The metric also contains mobile and web data from Netflix, mobile viewing from the league’s NFL+ streaming product and out-of-home viewing.

The Ravens-Texans and Chiefs-Steelers Christmas Day matchups rank ninth and 10th among the most-watched NFL games on the holiday since 1989, according to data from Jon Lewis of Sports Media Watch. Lewis also adds that the average of over 24 million viewers is the second-highest for the NFL on Christmas Day since 1995.

According to its latest quarterly earnings report, Netflix has approximately 282.7 million global paid subscribers, with its advertising tier reaching 70 million global users two years after its launch. Additional global ratings and U.S. insights pertaining to the NFL Christmas Day doubleheader will be released on Tuesday, Dec. 31.

“We’re thrilled with our first Christmas Gameday on Netflix with NFL games being streamed to a global audience,” Hans Schroeder, executive vice president of media distribution for the National Football League, said in a statement. “Fans in all 50 states and over 200 countries around the world watched some of the league’s brightest stars along with a dazzling performance by Beyoncé in a historic day for the NFL.”

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Lamont Returning To 107.7 The Bone San Francisco

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The Lamont half of the former “Lamont & Tonelli Show” is returning to KSAN, 107.7 The Bone, San Francisco on January 6th.

Posting on the “Lamont & Tonelli” Facebook page, Lamont wrote, “Major Announcement! I have signed a contract with The Bone..1st show JAN 6TH !!”

The post unveiled a new show logo. 107.7 The Bone Program Director “Chasta Lynn” Michaelis and Assistant Program Director Danny “Baby Huey” Delmore will continue to join the lineup. The duo had been holding down the morning slot following Lamont and Tonelli’s departure.

The Lamont & Tonelli Show” ended on November 15. The duo had been on air together for 35 years. At that time, sources conflicted as to whether or not both hosts were not renewed, laid off, or ending the show due to one host retiring. (BMM 11/15)

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More Than One-Third of Spotify’s Top Podcasts Were Published in Video Format in 2024, Up Almost 20%

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According to a report in Forbes, more than one-third of Spotify’s top audio podcasts were also aired as video podcasts. This figure is an increase of almost 20% year-over-year. In 2023, less than 15% of the top podcasts on Spotify had a video component. The data used in the report was provided to Forbes by Spotify.

Included in the list of podcasts which air in video format are two of the most popular podcasts, The Joe Rogan Experience and Call Her Daddy. In fact, according to the report, Spotify reported a 140% increase in the number of video podcasts in its top 50 U.S. podcasts list in 2024 compared to 2023.

Spotify added some information it had collected from its users such as reporting more than 250 million Spotify users have streamed a video podcast and that two-thirds of their podcast users say they prefer video over just audio.

Edison Research had recently shown data that said 30% of podcast listeners in the first 9 months of 2024 said YouTube was their preferred platform for podcast streaming, beating out Spotify which was preferred by 29% of those who responded.

Spotify CEO David Elk recently told the Wall Street Journal, “It’s becoming all about video.” Elk said in order to compete, Spotify will pay podcasters whose video content reaches a certain view threshold. Spotify also plans to offer its premium subscribers a way to watch some video podcasts without ads.

Edison also provided a list of the top podcasts for 2024, with data from January through September. More than 15,000 weekly podcast consumers were polled and top shows included:

The Joe Rogan Experience

Crime Junkie

The Daily

Call Her Daddy

Dateline NBC

SmartLess

Stuff You Should Know

This American Life

This Past Weekend w/ Theo Von

New Heights with Jason and Travis Kelce

Rob Bradford: NFL ‘Didn’t Need to Accept’ Streaming Games

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Netflix recently completed its inaugural presentation of the NFL on Christmas Day, airing a doubleheader of games with playoff implications. Operating under the first season of a three-year deal with the league, the streaming platform amassed interest from around the United States and reported strong consumption throughout the day. The games featured commentators from six different sports entities, with CBS producing the game broadcasts and NFL Media responsible for studio coverage. Moreover, the day also included special musical performances from Beyoncé and Mariah Carey, along with several interviews and cameos from additional celebrities and Netflix stars.

During the Thursday morning show on WEEI, Rob Bradford explained that there has to be an acceptance of how sports media is moving towards streaming. Reacting to a phone call in which the listener outlined how Netflix did a good job and has been annoyed by everyone panicking over NBA ratings numbers being down, Bradford discussed the appeal of professional football and what has made it successful in these ventures.

“The NFL didn’t need to accept it, right?,” Bradford said. “They don’t need to because they’re so powerful. People are going to do whatever it takes, as we have seen with Amazon and now Netflix, do whatever it takes to find the games. Not so with the NBA, and I’ll give you the ultimate one. The MLB is chasing their tail so many times in so many things.”

Apple reached a seven-year deal with Major League Baseball in 2022 to broadcast Friday Night Baseball games on its Apple TV+ streaming platform. There have been plaudits surrounding the video quality of the broadcasts and other aspects of the presentation; however, Bradford feels that Netflix learned a lesson from the manner in which these endeavors were initially executed in landing “established people” for the doubleheader broadcasts.

“With the MLB for the Apple TV – no knock on these people; they’ve probably gone on to good things and they’re very talented – but at the same time, the Apple TV broadcast – the thing that everyone was saying, ‘Look at this broadcast,’” Bradford explained. “They had very inexperienced broadcasters on doing it to a point where you’re like, ‘No, that’s not how you want first impressions,’ and that was another mistake they made.”

Nick “Fitzy” Stevens, co-hosting with Bradford on Thursday morning, added that baseball moved into streaming the wrong way. Moreover, he delineated the different expectations and standards to which football has had to cater and emphasized that the league only chose to move in this direction when technology firms began to pay top dollar. In fact, he classified the streaming endeavors from the league as evidence of it representing “capitalism at its absolute finest execution” rather than following altered consumption trends.

“Football doesn’t have to dole out or dispense the product for free because of our insatiable need to consume it,” Stevens said. “I’ve always said, ‘There is no methadone for football.’ Once that becomes your thing, that’s all you care about, that’s all you want forever, and you’ll do anything, including watching it on Amazon, streaming it on Christmas Day on Netflix.”

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A Roundup Of Post Christmas Format Flips

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The list of format flips post-Christmas music has begun. Several more stations appear on the radar for a change between now and the New Year.

So far.

Valley Broadcasting has officially rebranded its station in Grand Forks, ND, transitioning from “Christmas 98.5” to Classic Hits “98 ½ – Q98” KQYZ. The new format was launched at noon on Christmas Day.

The new format will spotlight pop hits from the late 1970s to the early 2000s, positioning itself as a competitor to iHeartMedia’s “96.1 The Fox” KQHT. The station will continue its partnership with North Dakota State University and broadcast Green Bay Packers football games.

Glades Media has transitioned the format for the former Spanish CHR “Fiesta 96.9/94.7,” West Palm Beach, FL. After a month of holiday-themed programming, the station now features Variety Hits branded as “96.9/94.7 Jack-FM.”

The station launched at 1 pm on Christmas Day.

Steel City Media has rebranded the former AC “KC 102.1” KCKC to a new Variety Hits format, now known as “102.1 Bob-FM.” This change took effect today at 9 AM.

The new 102.1 Bob-FM is branded as “80s, 90s, and Whatever.” The launch lineup includes Milli Vanilli’s “Girl You Know It’s True,” John Mellencamp’s “Crumblin’ Down,” and Prince’s “Little Red Corvette.”

All Pro Broadcasting’s Hot AC station, “Hot 103.9” KHTI Riverside, CA, has transitioned to simulcasting the co-owned AC 101.3 KATY-FM.

Branding as “More Music More Variety for The IE,” the new station will showcase a lineup of talent drawn from both stations.

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Cynthia Frelund is Deciphering the Data Behind the Decisions on NFL Network

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As a football team faces a fourth-and-short situation on offense, there are often questions pertaining to whether the group should try and secure a first down or call its special teams unit for a punt. Some broadcast networks will reference ‘analytics’ in guiding the decision-making process, yet there are disagreements over the precise definition of the term. Cynthia Frelund recognizes that identifying just what systems and paradigms encompass analytics is an undertaking enterprises approach in different manners. The lack of standardization regarding the components of ‘analytics’ can create inconsistencies in how they are used and sometimes raise doubt or uncertainty.

Frelund joined NFL Network in 2016 as its first-ever on-air analytics expert and appears across programming throughout the season. Bringing a keen understanding of mathematics and passion for football to the airwaves, she has helped launch a new subset of sports coverage as fans follow the league and its teams. No matter the complexity, Frelund is always looking to decode the rationale behind her findings.

“It’s hard to find someone who can authentically connect with the numbers that wants to do it on air that is willing to be molded and shaped, and it’s a challenging landscape to work in sports media, especially the past couple of years, but we’re trying to do something different,” Frelund said. “So, I viewed it as an opportunity to be sort of an entrepreneur in this space that’s growing and emerging, but obviously it always helps to have the most viewed and cared about sports in the United States to be kind of your subject matter.”

In entering a role with no direct precedent, there has been experimentation surrounding how to best use Frelund across NFL Network programming. Over the last several years, she has contributed to shows such as NFL GameDay Morning, NFL Fantasy Live and NFL GameDay View, blending information with lighthearted revelry and showcasing personality. With her background in computer science and predictive analytics, Frelund possesses an innate penchant for curiosity and inquiry while gleaning the entropic nature of competition.

“I think it’s been an interesting journey to express my fandom showing that I still think some things are funny or not funny, even though it doesn’t bias my model,” Frelund said. “I do all my models – I model them blindly, so I don’t even know. When I push send, they turn into colors or they turn into whatever, so I can’t see when I have to make [changes] because there are some judgment calls you have to make, but you have to make them blindly.”

The NFL entered into a partnership with Zebra Technologies last decade that installed real-time location system technology into 17 stadiums for the season to collect data and information. Three years later, Amazon Web Services became the official technology provider for this platform, equipping its artificial intelligence and machine learning capabilities to drive innovation.

Frelund can evince the enhanced potency of these systems, referencing the premise of Moore’s Law in that computing power will exponentially grow by doubling in the number of transistors once per decade. Yet when designing models that apply data to outline trends, suggest probabilities and settle on predictions, she accounts for variation in the marketplace while examining causation and carrying out any potential modifications after evaluating overall accuracy.

“A lot of times, it’s creating parallel models that run on different metrics,” Frelund said. “Because there are so many different coding languages out there and you can do analysis in so many different ways, staying on top of the structure, limitations and capabilities of each type of software out there allows me to kind of see if something’s worth exploring more and integrating and looking through those parallel models to see, ‘Okay, this one’s actually been a higher value model [and] more predictive than that one.’”

Frelund started her career in private equity, but she decided to return to business school upon exploring how to best identify value and worked in the NFL finance department for a summer. After her graduation from Northwestern University, she joined Disney ABC Television Group in business development and had the chance to work with several accomplished media executives. From the rapid assessment and prioritization of ideas from Albert Cheng to the thinking patterns and leadership of Jimmy Pitaro, she was able to express her ideas and make an impact on the direction of the division. Two years later, Frelund moved to ESPN where she was an associate director for technology development and focused on innovation.

“It was really interesting to see what drove results and what didn’t, and that’s not dissimilar to how NFL teams now in my current role kind of see things as well or how the Next Gen Stats, how we tell stories with that on television,” Frelund said. “To me, it’s all kind of the same thing. It’s like, ‘Let’s identify a good reason for why, and if it doesn’t work, let’s identify what were the drivers of ‘Yes’ and what were the drivers of ‘No.’’”

Frelund attributes the Cleveland Browns hiring former baseball executive Paul DePodesta as chief strategy officer as a seminal moment for her starting to be on air. Combined with her passion for football and ESPN’s previous fantasy sports agreement with DraftKings, the network started to have Frelund on SportsCenter as a predictive analytics analyst spanning multiple disciplines. Devoid of previous on-air experience, she sought feedback from her mentors and focused on applying her studies of the craft in each repetition.

“I did an improv class to get over myself because I watched myself back, and I was like, ‘Who is that stiff, weird woman?,’” Frelund recalled. “I watched back, and I’m like, ‘Okay, my passion came through,’ but I felt like I needed to prove something – I felt like I had to say too much, I didn’t let things breathe.”

In thinking about the NFL, Frelund felt that she always had a home with the league and developed strong connections with key personnel. After keeping in touch with people involved over the years, she was extended an invitation to return and has since been utilizing data accumulation and application to distinguish trends and guide informed prognostication.

In addition to shows on NFL Network, Frelund started a digital program, titled Numbers Game, in which she immerses viewers deeper into the analytics and prioritizes what is most important to the niche audience. Frelund routinely looks for feedback through data, which she can discern through metrics such as engagement, impressions and click-through rate, and also speak with consumers through social media. Determining a proxy for demand has assisted in her quest to grow the show and surpass expectations.

“It’s very hard through a TV lens,” Frelund said. “It’s not like giving a presentation in school or something where you can watch people nodding, like a boardroom thing. You can’t see if someone’s paying attention, you don’t know how they’re reacting, so [with] Numbers Game, it specifically allows me to filter a little bit of what’s interesting and what’s not.”

In addition to writing code to decipher data, Frelund works in consulting gigs for teams not related to her media ventures, oftentimes helping with structuring analytics departments, selecting databases and asking salient questions to elicit strong answers. Upholding integrity and deviating from television content has helped her avoid conflicts of interest in this space.

“We fully define the problem, the scope, all of the dynamics of it,” Frelund said. “The thing that helps the team is really not something that we would talk about on TV. My producers define the segments, and the teams define the questions that they answer and deliver.”

Over the years, media companies have added sports media professionals who specialize in certain areas of the business. One of Frelund’s goals is to work on an NFL telecast in an analytics-based role in which she can break down the probabilities and make real-time adjustments based on various scenarios.

“Let’s not say, ‘The analytics would say, ‘Go for it,’’ Frelund outlined. “It’s like, ‘No, the yards, downs and distance would say, ‘Go for it,’ but that’s not the situation we find ourselves in.”

Frelund regularly evaluates what is happening within the space and looks for opportunities to contribute. The capabilities of artificial intelligence continue to proliferate, and rather than being averse to its evolution, she is finding ways to work with the systems and maintain the pace of innovation. As she dives into the calculations and empirical archetypes that presumably regulate determinants of success, Frelund is not losing sight of other variables and denoting implicit synergy between these measurements amid ostensible differentiation.

“It used to be called ‘Big Data,’” Frelund said, “…but as it keeps growing and expanding, [I want to keep] growing and expanding my ability to invest and to be a part of things that aren’t necessarily camera-facing, but rather impactful from, ‘How do you get more people that are into the space doing good things [in] the place they need to be seen by the right people in order to grow?’”

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It’s ‘Party 107.7’ Time In Norfolk VA

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Coming out of all Christmas music, Rhythmic AC “Movin 107.7″ WMOV, Norfolk has moved to a more gold-based Top 40 as “Party 107.7.”

On Monday, it was announced that “The Fred Show” was coming on January 6. (BMM 12/23)

Branding itself as the go-to destination for “Feel Good Hit Music.” Core artists featured in its lineup include Sabrina Carpenter, Rihanna, Eminem, Ariana Grande, and Shaboozey. The launch took place at midnight and kicked off with a selection of popular tracks: The Weeknd’s “The Hills,” Soulja Boy Tell ‘Em featuring Sammiie with “Kiss Me Thru The Phone,” Teddy Swims’ “Lose Control,” Ashanti’s “Foolish,” and Beyoncé’s “Irreplaceable.”

iHeartMedia New England and Virginia Areas Senior VP Programming David Miller commented, “With the launch of “Party 107.7”, we are flipping the switch on traditional radio in Norfolk, offering our listeners an exciting mix of music and entertainment that keeps the party alive all day long.

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Netflix Makes NFL Broadcasting Debut on Christmas Day: Sports Media Reacts

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Netflix presented two NFL Christmas Day games for the first time in its history on Wednesday, a new foray into sports content for the company. The three-year deal between the streaming outlet and the league for games on the holiday drew interest and intrigue from those around the country regarding its production, execution and delivery. Starting at 11 a.m. EST, the studio team from Los Angeles, Calif. featuring Kay Adams, Drew Brees, Robert Griffin III, Manti Te’o and Mina Kimes took the air to preview the first of two matchups. Within minutes of the pregame show going live, viewers in all 50 states tuned in to the broadcast.

More than 200 countries tuned in at some point during the matchup between the Kansas City Chiefs and Pittsburgh Steelers, which featured Ian Eagle, J.J. Watt, Nate Burleson, Stacey Dales and Melanie Collins on the call. Laura Rutledge hosted live coverage from Acrisure Stadium with Devin McCourty and Jason McCourty serving as analysts. Comedian Bert Kreischer reported on tailgates taking place in the parking lot, while the in-stadium field-level show welcomed special guests such as CM Punk and Nate Bargatze. Netflix passed peak concurrent viewers of any Christmas in the past four years during the first game, and one-third of its global concurrent viewers were tuned into the game at just after 4 p.m. EST.

After the Chiefs secured the No. 1 seed in the AFC, the Netflix broadcast moved to the game between the Houston Texans and Baltimore Ravens with the commentary team of Noah Eagle, Greg Olsen, Jamie Erdahl and Steve Wyche. Beyoncé performed at halftime of the game with guest cameos from Blue Ivy Carter, Post Malone, Reyna Roberts and Shaboozey among several others. Mariah Carey opened both broadcasts with a special performance of her hit single, “All I Want for Christmas Is You.”

Netflix currently has 283 million paid memberships in over 190 countries, and its ad-supported tier has attained 70 million global monthly active users two years after its launch, according to data from its latest quarterly earnings report. The company reported 65 million concurrent streams for its presentation of a fight between Jake Paul and Mike Tyson last month; however, there were complaints about the viewing experience surrounding buffering and lag. The consensus around the NFL Christmas Day broadcasts was more favorable ahead of the company beginning a 10-year agreement next month reportedly worth more than a total of $5 billion to become the home of WWE Raw.

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NCAA Women’s Volleyball Championship Averages 1.3 Million Viewers on ABC

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The NCAA Division I Women’s Volleyball Championship between Penn State and Louisville averaged 1.3 million viewers on ABC, representing the third-largest college volleyball audience on record. Emanating from the KFC Yum! Center in Louisville, Ky., the Nittany Lions secured a four-set victory that peaked with 1.9 million viewers, according to data from Nielsen Media Research. The tournament was down 23% from the record-setting 1.69 million viewers that the final between Texas and Nebraska averaged last year when the National Championship Game started airing on ABC.

The game action was called live by play-by-play announcer Courtney Lyle with analysts Holly McPeak and Katie George, and sideline reporter Madison Fitzpatrick. Studio coverage took place from the arena with Christine Williamson and Emily Ehman providing viewers pregame and postgame highlights and analysis. Semifinal coverage on ESPN one week earlier averaged 1.1 million viewers, representative of a 4% year-over-year increase. The Penn State-Nebraska matchup averaged 1.2 million viewers on ESPN, marking the most-watched NCAA volleyball semifinal on record. Louisville advanced with a win over Pittsburgh that averaged 1 million viewers, and both semifinal games peaked with an audience of 1.4 million.

The NCAA Division I Women’s Volleyball Championship is sixth among the most-watched national championship events in college sports, according to Jon Lewis of Sports Media Watch. College football ranks first with an average of 25.1 million viewers tuning in for the National Championship Game featuring Michigan and Washington. College basketball ranks second and third on the list for the final games within the women’s and men’s tournaments, which garnered audiences of 18.9 million and 14.8 million viewers, respectively. The third game of the Men’s College World Series and second game of the Women’s College World Series are the only other championships under this criteria to outdraw this year’s women’s volleyball championship.

ESPN will continue broadcasting NCAA championships under a new eight-year agreement that extends a four-decade collaborative relationship. The company has the rights for 40 NCAA championships, including women’s volleyball, men’s and women’s basketball and Division I/National Collegiate championships, along with international rights for all NCAA Championships. The deal reportedly has an average value of $115 million for these rights and also includes both entities working together to maximize opportunities for exposure on ABC and ESPN during the term.

ESPN also signed a new six-year media rights deal with the College Football Playoff, 11-year extension with the National Basketball Association and 12-year deal with the United States Tennis Association throughout the year. These agreements take place ahead of the anticipated launch of the company’s direct-to-consumer platform in Fall 2025.

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