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Emmanuel Acho: ‘Inside the NBA’ Speaks Truth Where NFL Pregame Shows Lie to You

BSM Staff
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Emmanuel Acho: ‘Inside the NBA’ Speaks Truth Where NFL Pregame Shows Lie to You

Emmanuel Acho is offering a strong defense of Inside the NBA while taking direct aim at the tone and credibility of NFL pregame programming across multiple networks.

During Wednesday night’s episode of Speakeasy, Acho dismissed the idea that Inside the NBA leans too heavily into negativity, instead arguing that the show succeeds because of its authenticity and willingness to challenge players and teams without hesitation. In his view, that approach stands in stark contrast to what he described as a watered-down presentation commonly found on NFL studio shows.

“The reason inside the NBA is such a great show is because of their personality,” Acho said. “We’re not trying to sit there and watch them glaze players that they didn’t watch like so many of the NFL shows… I want to watch players actually keep it a bean and keep it a buck.”

Acho credited the NBA studio show’s personality-driven format as the foundation of its appeal, noting that audiences gravitate toward analysts who speak candidly rather than offering surface-level praise. He suggested that many NFL pregame programs fail to meet that standard, often relying on commentary that lacks both depth and accountability.

“I’m not going to criticize the show [Inside the NBA] that’s actually figured it out,” Acho said. “I don’t need to watch a glaze fest. And realistically, what NFL pregame show, halftime show is, is any good? FOX Sports show [is] still running out cats that nobody even watched play?”

While critics have questioned whether Inside the NBA could face pressure to soften its tone as it has transitioned to ESPN under the NBA’s new media rights deal, Acho made it clear he believes the show has already established the blueprint for success. Rather than adjusting its voice, he argued, other studio programs should take note.

“We’ve become so accustomed to being lied to that we get offended by the truth,” Acho said. “Inside the NBA, they speak the truth. They don’t care if they offend you. Football shows, they just sit there and lie to you. They want to be America’s best friend. Howie [Long], [Michael] Strahan and Terry [Bradshaw], they do a great job. You never hear them saying anything negative about anybody. Everything can’t be positive all of the time.”

Even as he acknowledged the professionalism of longtime NFL studio personalities, Acho maintained that consistently upbeat commentary limits credibility and fails to reflect the complexities of the sport. He pointed to the absence of pointed criticism as a key difference between basketball and football coverage at the national level.

“None of those shows are honest because it’s praise the sport, praise the sport,” Acho said. “I prefer — give me objectivity. Give me honesty… Everybody just sit here and lie to you and act like everybody’s the best player in the world.”

As debate continues around how Inside the NBA will fit within ESPN’s broader ecosystem, Acho’s comments underscore a larger tension in sports media between access and authenticity, with viewers increasingly gravitating toward voices they believe are willing to tell the truth.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

ESPN’s Mike Foss: ESPN Is Learning in Real Time From Pat McAfee’s Approach

BSM Staff
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ESPN’s Mike Foss: ESPN Is Learning in Real Time From Pat McAfee’s Approach

ESPN’s relationship with The Pat McAfee Show has evolved into one of the network’s most closely watched content experiments. Blending traditional television distribution with a personality-driven digital brand that continues to expand its reach.

During an appearance on The Varsity podcast with John Ourand, ESPN Senior Vice President of Sports Studio and Entertainment Mike Foss offered a detailed look at how the partnership has developed, while also pushing back on some of the assumptions that have followed Pat McAfee since joining ESPN. Foss described McAfee as far more calculated and business-minded than critics often suggest. Emphasizing that his reputation for unpredictability doesn’t reflect the level of control he maintains over his operation.

“Pat wants to win at everything that he does. He is hyper intelligent, a successful talent, and produces that show while he runs that business,” said Foss. “He has launched multiple other careers simultaneous to that business. I think anybody who spends all of 60 seconds with Pat realizes that this is a very smart, intense, driven person,”

That foundation has played a significant role in the program’s continued growth, particularly as it transitioned from a digital-first product into a daily presence on ESPN platforms. Foss highlighted how McAfee’s audience followed him to the network, bringing a deeply engaged YouTube base that already had strong habits and expectations around the show’s tone and format.

“They carried a very committed, loyal YouTube audience to ESPN. ESPN has put them on millions and millions of television screens. So ,they’ve benefited from the exposure that we’ve given them,” said Foss. “As that audience has grown, they [McAfee’s program] have insisted on staying authentic to themselves and their interests.”

However, Foss made clear that the show’s success has depended heavily on maintaining its original voice, even as it operates under the ESPN umbrella. Rather than reshaping the program to fit a traditional network model, ESPN has allowed McAfee and his team to preserve the authenticity that initially fueled their rise, a decision Foss suggested has been critical in retaining audience trust while scaling distribution.

That philosophy extends to moments when McAfee openly critiques ESPN or its leadership on air, which has occasionally drawn attention across the sports media landscape.

“There’s this sense that it’s just him [McAfee] on an island doing his own thing. He’s super invested in what we’re doing. So I think whenever he sees someone not meeting that standard, he’s going to call it out. Odds are he’s probably right,” said Foss. “Whenever it happens on air, I think that’s just him living in the moment. Because that show is very much in the moment. When he recognizes an opportunity to speak his mind, he’s going to. It just so happens he’s on a microphone most of the day.”

Foss downplayed any notion of internal friction between ESPN and McAfee and also underscored McAfee’s demanding workload as a defining factor in the show’s consistency. He cited his daily three-hour program alongside additional commitments such as college football coverage and WWE appearances. That pace, Foss noted, reflects a level of competitiveness and internal accountability that drives both the host and the broader operation.

Ultimately, Foss said ESPN views The Pat McAfee Show as more than just a standalone success, instead treating it as a case study in how modern sports content can connect with audiences.

“While we don’t own the show, we can own the lessons from the show. It behooves us as a company to recognize what’s happening from 12 to two on ESPN and then 12 to three everywhere else,” explained Foss. “If it’s just, ‘That’s Pat,’ and you just kind of shrug. You don’t really learn anything from it. That’s not really useful or beneficial to the to the investment, because there’s a significant investment on both sides.”

Howie Rose Announces 2026 Will Be His Final Season With the New York Mets

BSM Staff
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Howie Rose Announces 2026 Will Be His Final Season With the New York Mets

Howie Rose will close out a broadcasting career that has spanned five decades at the conclusion of the 2026 Major League Baseball season, as the longtime New York Mets radio voice confirmed Thursday that this year will be his last behind the microphone.

Rose, who has served as a defining soundtrack for Mets baseball since the mid-1990s, made the decision following several seasons of scaled-back responsibilities tied to ongoing health challenges and the physical demands of travel, which have increasingly shaped his workload and long-term outlook.

At 72, Rose acknowledged earlier this spring that continuing in a full-time role required adjustments, particularly when it comes to the grind of a 162-game schedule and the rigors that come with it. As a result, he will not call road games during the regular season, opting instead to focus exclusively on home broadcasts unless the Mets advance to the postseason.

“That’s basically the only way I can keep it going at this point,” Rose said earlier this spring. “It catches up to you. Travel is not my favorite thing. So to be able to eliminate it, at least for the regular season, was something that I needed to do if I was going to work this year.”

That compromise, Rose explained, represents the only sustainable path forward for one final season after decades of balancing baseball with other high-profile assignments, including years spent calling National Hockey League games during the offseason.

Rose’s broadcasting journey began in 1975, and he became a fixture in the Mets’ booth in 1996, contributing across both television and radio platforms before settling into his current role. Over that time, he has delivered some of the franchise’s most memorable calls, including key moments from the club’s 2015 run to the National League pennant and Pete Alonso’s dramatic go-ahead home run in Game 3 of the 2024 NL Wild Card Series.

While his baseball work has defined much of his legacy, Rose also earned widespread recognition in hockey circles, most notably for his call of Stéphane Matteau’s overtime goal that propelled the New York Rangers to the 1994 Eastern Conference Finals, a moment that remains iconic among NHL fans.

Health considerations have played a significant role in his recent decisions. Rose has been navigating the effects of bladder cancer since 2021, and although he has continued to work, the cumulative toll has led him to reduce his schedule multiple times in recent years.

Even with those challenges, Rose long maintained a personal goal of remaining on the air until the Mets captured another World Series title, a milestone the franchise has not achieved since 1986. That aspiration helped extend his career beyond what might have otherwise been an earlier exit.

Still, with the realities of travel and endurance becoming harder to manage, Rose ultimately chose to set a definitive endpoint, ensuring that his final season unfolds on his own terms while still allowing him to remain connected to the team he grew up following at Shea Stadium.

His departure will mark the end of an era for Mets fans, who have come to associate his voice with generations of the club’s biggest moments, as well as its everyday rhythms across nearly 30 years in the booth.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Anaheim Ducks Broadcaster Steve Carroll Announces Retirement Following 2025-26 Season

BSM Staff
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Anaheim Ducks Broadcaster Steve Carroll Announces Retirement Following 2025-26 Season

Veteran play-by-play announcer Steve Carroll will step away from the microphone at the end of the 2025-26 NHL season, bringing to a close a five-decade broadcasting career highlighted by nearly 30 years with the Anaheim Ducks.

Carroll plans to call the team’s final regular-season home game on Sunday, April 12, marking his last appearance in the booth before shifting his focus toward health and family after a career that has spanned multiple sports, leagues and regions across the United States.

“It’s been an honor to call games for  the Anaheim Ducks and be a part of the franchise for so many years,” said Carroll. “I am grateful to the Samueli family and the entire staff for their friendship, and the incredible fans for all their support over the years.“

The Ducks confirmed the decision this week. Team president Aaron Teats praised Carroll’s impact on the franchise and its fan base. He said Carroll’s voice became synonymous with many defining moments. Those moments include the 2007 Stanley Cup championship run and multiple deep postseason appearances. They helped shape hockey’s footprint in Southern California.

Carroll joined the Ducks in 1999 and became one of the franchise’s most recognizable voices. He provided continuity and credibility as the team grew into a consistent contender. He also served as a trusted radio companion for listeners for more than two decades.

Earlier this year, he was inducted into the Southern California Sports Broadcasters Hall of Fame. The honor came during a milestone season for his career. He also reached the 2,000-game mark calling Ducks regular-season action. That milestone occurred December 16, 2025, in Columbus.

Over his tenure with Anaheim, Carroll called more than 2,100 NHL games. That total includes over 140 postseason contests. His longevity made him one of the league’s most experienced and consistent voices. He also documented many memorable playoff runs, including the franchise’s 2003 trip to Game 7 of the Stanley Cup Final.

His path to the NHL booth began in 1976 at Mineral Area Junior College in Missouri. That start launched a career across multiple sports, including baseball, basketball, football, and hockey. His assignments included the Los Angeles Angels, Nashville Sounds, and Iowa Cubs. He also held a range of collegiate and minor league roles that showcased his versatility.

Carroll’s resume also features time with the Philadelphia Flyers during the 1995-96 season, in addition to stints with several minor league hockey organizations, and a unique period in Nashville during the mid-1990s when he simultaneously handled broadcasting duties for multiple teams while contributing to local media coverage.

Beyond the booth, Carroll remained active in the Ducks community, contributing to the team’s digital platforms and serving as an emcee at charitable events, further strengthening his connection with fans and reinforcing his role as a key ambassador for the organization.

With his retirement approaching, the Ducks will soon begin the process of identifying a successor, but Carroll’s voice and legacy are expected to remain a lasting part of the franchise’s identity for years to come.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

92.3 The Fan’s Ken Carman, Nick Wilson Engage in Social Media Feud Over “Fake Outrage”

BSM Staff
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92.3 The Fan’s Ken Carman, Nick Wilson Engage in Social Media Feud Over “Fake Outrage”

A heated on-air critique quickly spilled onto social media this week after a hypothetical trade discussion on 92.3 The Fan ignited a public back-and-forth between two of the station’s prominent voices.

The exchange stemmed from a segment on 92.3 The Fan’s afternoon show, featuring Nick Wilson and co-host Jonathan Peterlin, in which the pair explored the idea of the Cleveland Browns trading the No. 6 overall pick in the upcoming NFL Draft for Jalen Hurts of the Philadelphia Eagles.

While the concept was framed as a discussion point, it drew a sharp rebuke the following morning from Ken Carman, who did not hold back during his show. Carman repeatedly labeled the idea “the dumbest thing” he had heard during his tenure at the station, expressing disbelief at how the conversation unfolded and questioning the logic behind the proposal in emphatic terms that underscored his frustration.

“It’s the dumbest thing I’ve ever heard. We have lost our minds,” said Carman in response to the topic on The Fan. “We have we have literally taken the bottom lip and wrapped it over our heads now and are suffocating for air. This is dumb, guys. This is stupid. Do you hear what’s coming out of our mouths?”

Carman’s comments quickly gained traction, prompting Wilson to respond on X with a pointed remark, characterizing the reaction as “solid fake outrage.”

That post marked the beginning of a series of increasingly personal exchanges between the two hosts, shifting the focus away from football analysis and toward questions of authenticity and credibility.

Carman fired back, insisting his on-air delivery has never been performative, while adding a blunt dismissal of Wilson’s criticism.

“Nothing I’ve ever done on the air is an act. Can’t say the same for you. Please, respectfully, blow this out your ass,” tweeted Carman.

Wilson countered by suggesting Carman’s persona is more calculated than presented, continuing the dispute in a tone that blended sarcasm with accusation.

“I know you want people to believe that, Ken,” responded Wilson.

As the thread developed, Carman leaned into the idea that audience trust separates the two, arguing listeners can question his opinions but not his sincerity.

“I know it bothers you that they can believe me, Nick,” tweeted Carman. Anyone can call me dumb, but they can’t call me fake. Four hours between shows isn’t the only thing that separates us.”

Wilson, in turn, escalated the rhetoric by accusing Carman of misrepresenting aspects of his identity and presentation, further personalizing what began as a disagreement over a hypothetical trade scenario.

“So true, Ken. For instance I’ve never lied, mislead or omitted facts about any of my fandoms so people would like me more. Nor have I faked a slight southern drawl to appear more blue collar,” wrote Wilson.

Although spirited debate is a hallmark of sports radio, the public nature of the exchange highlighted the increasingly blurred lines between on-air content and off-air interaction. Especially as personalities use social platforms to extend their shows’ conversations. What started as a speculative roster discussion ultimately evolved into a broader dispute about style, substance and authenticity in the medium.

Neither host appeared to walk back their comments as of publishing Thursday, leaving the episode as another example of how quickly internal disagreements can become public storylines in today’s sports media landscape.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Clay Travis: ‘Bad For Free Speech, Bad For Privacy, Bad for Public Safety’ to Remove AM Radio From New Vehicles

BNM Staff
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Clay Travis: ‘Bad For Free Speech, Bad For Privacy, Bad for Public Safety’ to Remove AM Radio From New Vehicles

OutKick founder Clay Travis has written an op-ed for The Hill, urging Congressional lawmakers to finally pass the AM Radio for Every Vehicle Act.

“Millions of Americans depend on AM radio to receive news, opinion, and viewpoints you won’t hear anywhere else,” Travis wrote. “My radio show with Buck Sexton is listened to by millions of people each week on AM stations all across the country. But AM radio is not just for political news and talk radio. It is critical to everyday Americans across all political, ethnic and economic demographics.

“Farmers and their trade associations have told Congress they depend on AM radio for weather reports, crop prices and emergency alerts. Civil rights organizations have said that their members rely on AM to get their breaking news,” continued Travis. “Churches use AM radio to carry services and expand their ministries. Most importantly, emergency management professionals have said AM is a critical public safety device as it stays operational during extreme weather events when every other communications device is prone to outages.”

Clay Travis continued by questioning the reasoning from manufacturers about why they’re removing AM radios from vehicle dashboards.

“Infotainment systems aren’t inherently evil. If consumers understand the risks and have other choices, fine. But if automakers get their way, there soon might not be any other choice,” he said. “Automakers, which have been subsidized by taxpayers to the tune of billions, are quietly removing AM radio altogether.”

He added that the lack of competition in the dashboard is anti-American and should be pushed back against.

“If left unchecked, you may very well be forced onto platforms that monitor you. That’s bad for free speech, it’s bad for privacy, and it’s bad for public safety.”

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Facebook Launches New Monetization Program to Compete with TikTok and YouTube

BNM Staff
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Facebook Launches New Monetization Program to Compete with TikTok and YouTube

Facebook announced a new Creator Fast Track program to help entice creators from TikTok and YouTube to create content on its platform.

Those enrolled in the new program can earn $1,000 per month if they have at least 100,000 followers on Instagram, TikTok, or YouTube, and $3,000 per month if they have over one million followers on those platforms. Facebook has also committed to increasing the reach of those creators in newsfeeds to help grow followers on its platform faster.

“We wanted to be able to address creators’ concerns that it would be a hard road to onboard onto Facebook and build a community from scratch and build a following,” said Facebook Vice President of Creator Product Yair Livne. “So we set up this program to address that.”

“You don’t need to create exclusive, brand-new content for this program to meet our initial posting conditions,” Livne later added. “Obviously, we would love for you to bring your latest and greatest, but if you have a great back catalog of best hits, we would love to get that as well, and that qualifies for the terms of the program. So super excited about this. This is something that is addressing a lot of feedback that we’ve heard from established creators who we’ve tried to entice, or have been interested in coming on board.”

The news of the program comes after Facebook shared that it paid creators $3 billion in its monetization programs in 2025. That figure represents a 35% increase over 2024, the company claimed.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Academy of Country Music Awards Announces Local Market Radio Award Winners

BMM Staff
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Academy of Country Music Awards Announces Local Market Radio Award Winners

Parker McCollum helped shine a spotlight on country radio’s impact, revealing the local-market winners of the ACM Radio Awards during Country Radio Seminar, while also offering a reminder of the format’s role in shaping artists’ careers and sustaining their connection with fans across the country.

The Academy of Country Music’s radio honors recognize excellence across multiple market sizes. They highlight personalities and stations with strong audience engagement and brand identity. The awards also honor a commitment to serving local communities with compelling content beyond music.

“Country radio holds such a special place in my heart,” McCollum said from the stage at CRS, where industry leaders, programmers and on-air talent gathered for one of the format’s most visible annual events. “Without all of you guys and gals, I would not have the career that I have,” he added, reinforcing a sentiment that continues to resonate in an era increasingly driven by streaming metrics and social media reach.

In the Major Market category, Chris Carr & Company on iHeartMedia’s K102 in Minneapolis earned Personality of the Year honors. Cumulus Media’s New Country 96.3 KSCS in Dallas secured Station of the Year recognition. The station continues its long-standing reputation as an influential brand with deep ties to listeners and the Nashville music community.

Large Market winners included Heather Froglear of Audacy’s K-FROG 95.1 in Riverside, California. Her on-air presence and community involvement set her apart in a competitive field. Hubbard Broadcasting’s B-105 WUBE in Cincinnati won Station of the Year, cementing its status as a dominant Midwest force

Meanwhile, the Medium Market category recognized Mo & Styckman of Audacy’s US101 in Chattanooga as Personality of the Year. Their chemistry and listener connection continue to drive strong ratings. Audacy’s 99.7 The Wolf WLFP in Memphis earned Station of the Year honors for consistent performance and audience loyalty.

In the Small Market division, The Eddie Foxx Show on iHeartMedia’s 99 Kiss Country WKSF in Asheville, North Carolina, claimed Personality of the Year, reflecting the importance of local voices in building meaningful relationships with listeners, while ADX Communications’ Cat Country 98.7 WYCT in Pensacola, Florida, was named Station of the Year.

Although the local-market winners were unveiled at CRS, the ACM will continue the celebration later this week, with National Daily and Weekly Personality of the Year honors scheduled to be announced Friday during the New Faces of Country Music showcase, one of the seminar’s marquee events.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

2026 Country Radio Hall of Fame Honorees Unveiled

BMM Staff
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2026 Country Radio Hall of Fame Honorees Unveiled

The Country Radio Hall of Fame revealed its Class of 2026 on Wednesday during CRS Honors at CRS 2026, spotlighting a group of industry veterans whose careers have shaped both the sound and business of the format across multiple decades and markets.

Presenting the honorees were past inductees Mike Moore (Class of 2024) and Trish Biondo (Class of 2023), continuing a tradition of peer recognition at one of country radio’s most visible annual gatherings.

This year’s class features three honorees in the On-Air Personality category — Chris Carr, Michael J and Rick Jackson — along with four inductees in the Radio category: Marci Braun, Phil Hunt, Bruce Logan and John Marks.

Each has met the organization’s criteria of at least 20 years in radio, including a minimum of 15 years dedicated to the country format, while also leaving a measurable impact on audiences, stations and the broader industry.

The induction ceremony and dinner are scheduled for Aug. 3 at the Virgin Hotel Nashville, where the seven honorees will formally join the ranks of the Country Radio Hall of Fame. Additional ticket information is expected to be announced in the coming months as organizers finalize event details.

Carr’s career stands out for its longevity and consistent success in major markets, particularly in Minneapolis, where he has spent the majority of his tenure with KEEY (K102). His resume includes multiple CMA and ACM Personality of the Year honors, along with recognition for community impact through fundraising efforts that have generated more than $25 million for St. Jude Children’s Research Hospital.

Meanwhile, Michael J built a reputation as a versatile and driven talent, balancing roles in Baltimore and Washington, D.C., while also contributing in programming and music leadership positions throughout his career.

Jackson’s influence stretches across more than five decades, combining on-air success with programming leadership and syndication. From helping launch KYGO in Denver to creating a long-running syndicated show, he has maintained relevance across changing eras of radio while also contributing at the executive level.

In the Radio category, Braun has emerged as one of the format’s most respected programmers, overseeing key markets for Audacy while helping drive both ratings performance and charitable initiatives.

Hunt’s career reflects a wide-ranging impact that includes programming, executive leadership and consulting work that has shaped numerous successful stations nationwide.

Logan’s leadership across multiple markets and companies has consistently produced ratings growth and talent development, while Marks has influenced the format on a global scale through roles spanning terrestrial radio, satellite platforms and streaming. His work with SiriusXM and Spotify underscores the evolving distribution of country music and the importance of strong programming leadership across platforms.

Together, the 2026 class represents a cross-section of country radio’s past, present and future, highlighting individuals who have not only adapted to industry changes but helped lead them.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

How News/Talk Radio Can Use Kalshi and Polymarket to Make Content Decisions

Garrett Searight
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How News/Talk Radio Can Use Kalshi and Polymarket to Make Content Decisions

Prediction markets aren’t new. But their profile has never been higher, and platforms like Kalshi and Polymarket are now serious tools that deserve serious attention from news/talk programmers and hosts.

The data they generate is real, it’s current, and it’s free. There’s no excuse for ignoring it. It can truly be an invaluable tool for any news/talk radio host, producer, or programmer.

Here are three ways you can put prediction markets to work for your station right now.

Trading Volume Tells You What Matters

Programming decisions are hard. You’ve got limited time, a restless audience, and roughly a thousand stories competing for your attention every morning. So how do you cut through the noise?

Check the trading volume.

When people put actual money behind a question, they’re voting on what matters to them. That’s not an algorithm guessing at engagement. I view it as a glimpse into what actually matters to people using these markets.

Prediction markets track how many contracts are being traded on a given topic or outcome. High volume means high interest. It’s that simple.

Think of it as a free focus group running 24 hours a day. If you’re debating whether to spend a full segment on a story or just give it a quick hit, look at the money. Are people trading heavily on this topic? Then your audience probably cares. If trading is light, maybe it’s a 90-second mention and you move on. Don’t overthink what the data is already telling you.

Go to the politics tab, sort by trading volume, and see what the most popular items users are trading on. That is an easy way to view what matters.

Current Projections Give You a Launching Pad

The 2026 midterms are on the horizon, and that means months of competitive race coverage. Prediction markets are already pricing out who’s likely to win, lose, or flip key seats. Those projections are great conversation starters.

Here’s the thing about a market projection: it invites a reaction. When Kalshi or Polymarket puts a candidate’s win probability at 62%, that number becomes the topic. Why 62%? Is that too high? Too low? What would have to change for it to move? Your listeners have opinions, and a concrete figure gives them something to push back against.

That’s exactly what you want in news/talk. You don’t need to endorse the projection or treat it as gospel. Use it as the opening line. Set the number, then let your audience argue about it.

The market’s trying to get people to react with their wallets. You’re trying to get them to react with three hours of appointment listening. The goals aren’t that different.

Popularity Tracking Is a Show Unto Itself

Prediction markets don’t just cover the next election cycle. Some contracts stretch out to 2028 and beyond, which means you’ve got a running, crowd-sourced popularity meter on major political figures updated in real time.

Take JD Vance. He’s currently sitting at around 19% on 2028 presidential win probability markets. That’s a notable figure — but what’s more notable is that he was once as high as 32.5%. What happened? What changed? That’s a segment in itself. Heck, you could probably argue it’s several segments or maybe even a whole show.

When a figure’s market probability drops that significantly, you’ve got to ask why. Is it policy? Controversy? A shifting political landscape? Listeners are going to have strong opinions on all of it. Better yet, you can track these numbers week to week and build ongoing coverage around them.

You’re not just reacting to news — you’re narrating a story as it develops. This is a great element to help set up the story and to help you tell the story.

The Bottom Line

There are plenty of other ways to tap into what prediction markets can offer. These are just three of the most accessible, most actionable entry points for programmers and hosts who want better tools for content decisions.

The data’s free. The insights are real. And in a format where the best talkers are always looking for an edge, there’s no good reason to leave this resource sitting on the table.

Put it in the toolbox. Start using it tomorrow.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

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