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ESPN Reportedly Considering Peter Schrager as Host of New Weekday Studio Show

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ESPN is reportedly closing in on major programming decisions involving Peter Schrager ahead of the fall football season. According to The Athletic, the network has identified leading candidates for two key afternoon time slots.

What We Know: ESPN is reportedly targeting a Peter Schrager-led show for the 2 p.m. ET hour. Meanwhile, SportsCenter is the frontrunner to hold the 5 p.m. slot that it currently occupies. The timeslot belonged previously to Around The Horn, which was canceled last May. Schrager joined ESPN just over a year ago. During that time, he has quickly become a fixture across Get Up, NFL Live, and The Pat McAfee Show. Notably, his guest-hosting stints on Get Up reportedly gave executives confidence he can anchor his own program.

What They Said: Peter Schrager to Barrett Media (April 2026) “I just want to be the guy you want to sit next to on a plane and talk sports with. My goal is you see my face on ESPN and you say, ‘Oh s**t. Schrager’s on today, what’s he got. This is going to be fun.’”

What Remains Unclear: No decisions are yet final, and ESPN has not commented on the reporting by The Athletic. If Schrager were to move to a weekday program, it would potentially affect his role with Get Up, NFL Live and other programs. Schrager has filled in as a guest host on a number of ESPN studio programming which makes him a prime candidate for a role as host.

What It Means: Last month, I spoke with Peter Schrager for a Barrett Media feature. He talked about following ESPN’s lead on where he fits best. Since joining the network, his fear has faded. He no longer worries that ESPN won’t adapt to his personality and energy. That concern has proven unfounded. Schrager would make a strong host for a 2pm timeslot on ESPN. Furthermore, he represents a natural cross-promotional opportunity. ESPN could lean on the McAfee program’s audience to migrate to the network rather than staying on YouTube. As for the 5pm timeslot, ESPN has seen rising viewership since Around the Horn ended last year. The SportsCenter model continues gaining traction in that slot. Meanwhile, Scott Van Pelt made his position clear earlier this year. He said he has no plans to move his successful midnight program to an earlier daypart.

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American Idol Ready to Rock With Shinedown and Motley Crue Performing on Season Finale

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American Idol is turning up the volume for its 2026 finale. Mötley Crüe and Shinedown have been invited to perform, giving the season-ending broadcast a rare rock-driven spotlight on network television.

What We Know: Shinedown arrives to perform during a major stretch for the band. The group owns 24 No. 1 rock hits and releases its new album, EI8HT, on May 29th. Additionally, the band launches its U.S. tour May 13th in Green Bay, Wisconsin. Mötley Crüe also enters the spotlight ahead of its Return Of Carnival Of Sins tour. That run celebrates both the band’s 45th anniversary and the 20-year mark of its famous 2005-06 tour. Rock bands rarely receive this kind of showcase during the American Idol finale. However, producers appear focused on expanding the show’s musical identity this season. The finale lineup also includes Clay Aiken, Jason Mraz, Nelly, En Vogue, Tori Kelly, Blues Traveler and Gin Blossoms.

What’s at Stake: The finale will crown the next American Idol champion. Up for grabs is a recording contract and national exposure through ABC and Disney platforms. The final three contestants are Thunderstorm Artis, Jamal Roberts and Slater Nalley. Live voting is expected to shape the outcome dramatically during the broadcast.

What Remains Unclear: No word yet on which song or songs Shinedown or Motley Crue will play or when during the show they’ll perform. ABC also hasn’t revealed whether the bands will collaborate with the contestants. American Idol traditionally leans toward pop and country acts during finales so how the audience responds to rock should be interesting.

What It Means: For rock music to earn mainstream exposure before an American Idol audience is great. The show rarely gives rock artists prime placement. For Shinedown specifically, it should help boost upcoming album sales, grow fans and increase awareness. Both bands should also see ticket sales increase to live shows if their performances meet their usual standard. Looking at the bigger picture, the exposure should create additional momentum for rock stations heading into the summer touring season. Expect both bands to earn additional airplay next week to capitalize on increased interest.

The American Idol season finale airs Monday, May 11 at 8 p.m. ET on ABC, with streaming available afterward on Hulu and Disney+. Ryan Seacrest hosts the show with Luke Bryan, Lionel Richie and Carrie Underwood serving as judges.

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.

Larry O’Connor, Kevin Walling Joining Mark Halperin’s ‘The Morning Meeting’ as Permanent Co-Hosts

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Mark Halperin’s The Morning Meeting is getting two new co-hosts, as Larry O’Connor and Kevin Walling are joining the show permanently.

What We Know: The show airs live at 9 AM ET on the 2Way app. It is later heard on SiriusXM‘s The Megyn Kelly Channel at 10 AM ET. In addition to Larry O’Connor and Kevin Walling joining the show, the program also announced a new group of contributors. When Halperin or O’Connor are unavailable, The Morning Meeting will rely on six guest hosts of the show. They include:

  • Erick Erickson
  • Steve Elmendorf
  • Tricia McLaughlin
  • Yemisi Egbewole
  • Hogan Gidley
  • Hyma Moore

What They Said: “We’re super delighted to have this great team of contributors that will be part — not just of The Morning Meeting — of 2Way overall. And we’re super happy to be partnering with Kevin and Larry for the show going forward.” – Mark Halperin

What It Means: It marks another expansion for Mark Halperin. His Next Up with Mark Halperin show just reached its one-year anniversary. It also comes on the heels of Larry O’Connor taking his news/talk radio show to a national audience with Salem Radio Network.

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.

Scott Shannon Reflects on Radio’s Past and Uncertain Future

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Scott Shannon believes radio lost part of its soul when creativity gave way to corporate oversight. Yet the legendary host and programmer still sees opportunity for personalities who understand branding, emotion and audience connection.

What We Know: Shannon joined the For the Record podcast to reflect on radio’s evolution and his lasting influence on Top 40 programming. During the conversation, he detailed how stations once operated as creative laboratories instead of corporate assets. He also expressed concern over the shrinking pipeline for future talent, arguing that fewer overnight opportunities prevent young personalities from developing naturally. Shannon criticized hedge fund ownership groups for prioritizing payroll reductions over talent retention, suggesting many executives now focus more on salary lines than audience impact. The conversation also revisited the creation of the “Zoo” format and Z100’s launch in New York. Shannon emphasized “phonetic magic” as a key ingredient behind memorable station branding.

What They Said: “Nobody knows where it’s going. It’s not going up,” Shannon remarked when asked about radio’s future. “When a new hedge fund company takes over a chain of radio stations, they look at one thing. How much are they making?” He also defended the future of radio personalities despite industry skepticism. “I think that disc jockeys will continue to be stars. However, how are they going to get there?”

What Remains Unclear: Shannon offered sharp observations about ownership trends and shrinking opportunities but stopped short of identifying a clear solution for rebuilding radio’s talent pipeline. The conversation raised broader questions about syndication’s long-term impact. Shannon acknowledged many new syndicated shows launch with limited resources and fewer local connections. Still, he did not fully address how terrestrial radio can better compete with podcasts, streaming and digital creators.

What It Means: Scott Shannon’s comments resonate because they come from someone who didn’t just talk about great radio. He helped build the modern CHR blueprint at Z100. His remarks also touch on a growing concern across the industry. Companies continue chasing efficiencies while many programmers worry that creativity and talent development are slowly disappearing. Shannon’s point about “phonetic magic” is a reminder that strong branding, emotional connection, and compelling personalities still matter in radio today.

Scott Shannon shared his insights during an appearance on the For the Record podcast with Dave Sholin and Rick Bisceglia. Click the video below to enjoy the full conversation.

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.

Disney Revenue From ESPN, Disney+, Hulu, Hits $10 Billion During 2026’s First Quarter

Disney released its financial results for 2026’s first quarter. It saw positives from its investments in ESPN, Disney+, and Hulu.

What We Know: The first quarter of 2026, which for Disney ended on March 28th, is actually the second quarter of the company’s fiscal year. It also marks the first earnings report under new CEO Josh D’Amaro.

What the Numbers Show: In total, Disney earned $25.17 billion during the quarter. That figure was a 7% increase compared to the prior year. From its entertainment sector, it reached more than $10 billion between Disney+, Hulu, and ESPN.

Segment: Revenue: Change:
Disney+/Hulu $5.49 billion +13%
ESPN $4.61 billion +6%

What They Said: “At an important moment of change for Disney, we remain focused on executing our long-term growth strategy. Our creative and operational momentum drove strong quarterly results, and we continue to expect growth to accelerate in the second half of the fiscal year.” -Disney CEO Josh D’Amaro and CFO Hugh Johnston, in a joint statement.

What It Means: The price increase for Disney+ enacted in October 2025 obviously helped the financial results. The price went from $9.99 per month to $11.99 for the standard tier. The Premium tier, which doesn’t include ads, rose from $15.99 per month to $18.99. The premium version of Hulu, which will eventually be rolled into Disney+, remained at $18.99 per month. ESPN, meanwhile, said its advertising sales declined 2% due to an overall decrease in NBA broadcasts. The 2025-2026 season marked the first year of a new NBA TV deal that put games on NBC/Peacock and Amazon Prime Video, in addition to ESPN platforms.

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.

4 Non Blondes’ Linda Perry To Receive International Songwriter Prize at Ivor Novello Awards

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4 Non Blondes’ front woman Linda Perry is heading to London. The legendary songwriter will receive the International Songwriter Prize at the upcoming Ivor Novello Awards.

What We Know: Perry earned this honor through decades of hit-making. Her credits include Christina Aguilera’s Beautiful, Pink’s Get the Party Started, and Gwen Stefani’s What You Waiting For? Additionally, she co-wrote 4 Non Blondes What’s Going On?, which peaked at number 14 on the Billboard Hot 100. The ceremony takes place May 21 at London’s Grosvenor Hotel.

What’s at Stake: The Ivor Novello Awards represent one of music’s most respected honors. Therefore, this recognition significantly elevates Perry’s already-impressive legacy. Brandon Flowers most recently received this same prize, with Bruce Springsteen presenting the award. Perry now joins that elite company.

What Remains Unclear: Perry’s full remarks and plans surrounding the ceremony haven’t yet surfaced publicly. Furthermore, details about potential performances or special guests remain unconfirmed. It’s also unclear whether collaborators like Adele, Ariana Grande, or Celine Dion will also attend to celebrate her achievement.

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.

Joy Taylor Joins Urban One Launching ‘The Daily Play’ Podcast

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Joy Taylor has a new home. The former FS1 personality is launching The Daily Play, a daily short-form sports commentary series distributed by the Urban One Podcast Network.

What We Know: Taylor departed FS1 last year after a near decade-long run co-hosting The Herd w/Colin Cowherd, Undisputed, and Speak. Since then, she has focused on independent digital projects. Now, she’s returning to audio. The Daily Play airs Monday through Friday, delivering five-to-ten minutes of sports commentary built around culture, context, and sharp analysis.

What They Said: Joy Taylor “I wanted to create something fast, focused, and always authentic. Sports fans are busy, but they want the context behind the conversation. With ‘The Daily Play,’ I’m giving them what it means and what to watch next—in just a few minutes. Joining Urban One allows me to talk directly to a loyal, engaged audience across the country. I’m excited to get back to my radio roots!”

Dre Smith, Sr. Director of Podcast Operations Urban One: “We aren’t just launching a podcast; we are bringing one of the most insightful voices in sports to a national stage. Joy’s addition represents a shift in how we deliver daily sports content.”

What Remains Unclear: Taylor’s specific contractual terms with Urban One have not been disclosed. Additionally, the scope of her continued independent digital work alongside this new role is still unknown.

What It Means: Since her departure from FS1, Taylor has teased a potential return to sports media for some time. She has kept busy working on a number of independent projects while collaborating with other creators in the digital space. This is Taylor’s first re-entry back into a full time sports capacity since leaving Speak in the summer of last year. For Urban One, this is a massive addition to their growing podcast portfolio with a name that will grab attention across sports media.

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.

101.5 Freedom-FM Comes to Fayetteville

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There’s a new conservative talk station in Fayetteville, as 101.5 Freedom-FM debuted from 479 Media on Tuesday.

What We Know: The station formerly known as 101.5 The Vibe has shifted from a throwback format to conservative news/talk. The station will feature a lineup completely made up of nationally syndicated shows. 101.5 Freedom-FM will have Michael DelGirono in morning drive (5-8 AM). Its midday programming consists of The Glenn Beck Program (8-11 AM) and The Clay Travis and Buck Sexton Show (11 AM-2 PM). The Dana Show (2-5 PM) will anchor afternoon drive. The Joe Pags Show (5-8 PM) and The Erick Erickson Show (8-11 PM) will air in late afternoons and evenings. Coast to Coast AM with George Noory will air in overnights.

What They Said: “479 Media is proud to be Northwest Arkansas’ only locally-owned full cluster of commercial radio stations. Freedom FM 101.5 reflects our mission to serve this community with meaningful content while giving local businesses a powerful and affordable platform to reach customers. We believe there’s a real need for this kind of station, and we’re uniquely positioned to deliver it with a local-first approach.” –479 Media Owner John Lykins

“Freedom FM 101.5 is built to be a daily companion for listeners who care about what’s happening locally, nationally, and financially. We’re investing in our newsroom and prioritizing timely, relevant information for Northwest Arkansas.” -479 Media GM Mark “Haystack” Wells

What It Means: As a result, a fresh news/talk battle has emerged in the Fayetteville market. Cumulus already operates 1030 KFAY, which has long held a presence in the format. That station leans heavily on syndicated talent, but it still offers a local voice in afternoon drive with Steve Finnegan. KFAY-AM broadcasts at 6,000 watts during the day. Meanwhile, 101.5 Freedom-FM pushes 5,500 watts on the FM dial, giving listeners another option in the space.

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.

Why Spirit Airlines’ Failure Is a Mirror for Music Radio Stations

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Spirit Airlines was never really selling a good travel experience. It was selling access. Cheap flights, bright yellow planes, low fares, and a very clear message to the customer: we can get you there, but don’t expect to love it.

Ironically, that was also the general positioning of my Bumble profile. Another brand famous for yellow.

For a while, it worked. Spirit reshaped the travel business with an ultra-low-cost model that made flying more accessible for millions of people. But by May 2, 2026, the company was not just delayed. It was terminal.

This is not a column dancing on Spirit’s grave, although I realize I just walked directly past a Spirit Halloween joke and showed tremendous restraint. The airline had a real place in the market and served a real consumer need.

The lesson for music radio is not that low cost is bad. The lesson is that once the experience starts to feel stripped down, transactional, and emotionally thin, the audience may still use you while caring less every time they do.

Which, unfortunately, brings us right back to my Bumble profile.

Free Should Not Sound Cheap

Radio’s free model is still the greatest advantage in media. No subscription, login, or two-factor authentication. You turn it on, and it works.

That matters in a world where every form of entertainment has found a way to charge you monthly for the privilege of forgetting you subscribed. Hey, Rocket Money, I’m out here dropping endorsement gold in these Barrett Media articles.

But just because radio is free does not mean it should sound cheap. YouTube is free. TikTok is free. Instagram is free. Spotify has a free tier. The best free products still feel modern and alive.

Music radio cannot let “free” become an excuse for running the same listener liners from ten years ago.

No cap, I found a station doing that this week with audio so old it predated “no cap.”

The Songs Are the Seat

In the airline business, the seat gets you from one place to another. In music radio, the songs do the same thing. They move people through commutes, workdays, school drop-offs, bad moods, good moods, and the terrifying emotional journey known as Costco on a Saturday.

But the seat is not the flight. The flight is the full experience: the tone, the service, the announcements, and the in-flight credit card pitch that somehow always arrives the second you are trying to nap.

For music radio, the songs are the seat. So choose wisely, because somebody is out there Puddy-style raw dogging your radio station. No podcast. No playlist. Just sitting there, staring straight ahead, absorbing whatever experience you built around the music.

Radio Has Its Own Baggage Fees

Spirit became famous for the fees around the trip. Radio has its own version, except the listener pays with patience. Long stopsets. Promotions that sound like a flight attendant explaining how a seat belt works.

We know how seat belts work.

Your audience knows you have an app. They know they can text a keyword. That there is an email club, a contest page, and a seat cushion that doubles as a flotation device.

They know to secure their mask before helping others, and more of Today’s Best Mix returns after 12 minutes of commercials.

To be clear, promotion matters. Database growth matters. Apps matter. First-party data matters. Nobody serious about the business should pretend otherwise. But the best promotions feel like value.

And at some point, if everything around the product feels like an upcharge, it does not exactly lift the audience’s Spirit.

Branding Is Your Boarding Pass

Too many branding elements follow the same runway. Dial position. City name. Format descriptor. Empty adjective. “The best variety.” “The most music.” “The station that makes you feel good.” The best this. The most that. Congratulations, you have successfully described almost every station in America and somehow none of them.

Nobody gets into a car and says, “I am really in the mood for the station that combines today’s biggest hits with the most commercial-free variety for the workday.”

If the songs are the seat, then your branding is the airport lounge. It should feel considered, well-appointed, and useful.

That means imaging with actual personality. Promotions that feel like benefits, not chores. Talent that gives the station a point of view. Local moments that prove someone in the building knows the city is more than what is said in the legal ID.

The music may get them on the plane.

The brand experience is what makes them want to fly with you again.

Premium Is a Choice (™ iHeart, iThink)

There are companies and brands showing that free and easily accessible audio can still feel premium. Bauer Media, Global, K-LOVE, Cox, and TikTok Radio all present different versions of this idea. They do not sound the same, and they should not. They remind us that polish, intention, and design are not reserved only for subscription products. Right now, the Tidal snobs are laughing at me.

Efficiency Is Not the Enemy

Centralized systems can help. Shared resources can help. Airlines share the same airports, the same runways, the same terminals, and somehow still have to create a different customer experience once you board.

Radio is no different.

The resources can be shared, but efficiency should support the listener experience. It should not become the listener experience.

Nobody falls in love with the airport logistics.

They remember the flight.

I Don’t Have to Love You to Use You

Spirit had lots of passengers. That did not mean they loved Spirit.

Music radio still reaches a lot of people. That does not automatically mean the audience has passion, loyalty, identity, or an emotional connection to the brand.

Usage is not love, as repeatedly explained to me by my Bumble dates.

The danger for any brand, politician, movie, or radio station is not always that the consumer hates it. Hate requires energy. The bigger danger is that they feel nothing.

They use you because you are there. They remember you because you have always been there. And ultimately, tolerate you because the button isn’t easy to push, or because their phone fell between the seats and now they are stuck with you until the next red light.

Damn you, middle seat.

Free Can Be For Me

Radio does not need to apologize for being free. It should defend it. Free is powerful. Local is powerful. Habit is powerful. Personality is powerful. Shared listening is powerful. A great station can still do many things a playlist cannot.

But only if the experience is cared for by someone focused on more important things than building a perfect grid in MusicMaster and making sure they dubbed in the Mother’s Day sweepers for this weekend.

Even Delta Is Cutting Pretzels

As I am writing this, Delta apparently looked at the Spirit story and said, “hold my tiny Biscoff.”

The airline is cutting snack and beverage service on shorter flights. Delta has spent years building a more premium brand position, which is why even a small service cut gets noticed.

A listener may not be able to explain your music scheduling philosophy, your Selector rules, or your operational efficiencies. But they know when their favorite personality disappeared. They know when the imaging got generic. They know when the stopset feels longer than the flight from Portland to Cleveland for Morning Show Bootcamp.

In other words, your station should never feel like it is permanently boarding, because in radio, “boarding” is only one letter away from boring. And boring is the one destination no listener is choosing on purpose — that and maybe Cleveland.

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.

Why Jason Whitlock is Fearless, Unapologetic, and Comfortable Challenging Sports Media’s Biggest Voices

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There are few names in sports media as controversial as Jason Whitlock. Over the past three decades, Whitlock has served as both a critic and a target of criticism across sports, politics, and culture. From an early age, he admired the sage wit and sharp words of Chicago-based columnist Mike Royko. Embracing a no-nonsense, fearless approach to challenging power through the written and spoken word.

“Everything about my career was based on Mike Royko, except trying to apply it to sports. That’s what I take the most satisfaction with my career,” explained Whitlock.

Early in his career, Whitlock emerged as a budding sports media star, showcasing the bravado it takes not only to offer critique but also to accept it. He caught national attention during his time as a columnist with the Kansas City Star. From there, he transitioned to writing columns for ESPN and began hosting a variety of the network’s studio programs.

Despite his growing national presence, Whitlock never lost his critical eye. He never shied away from speaking his mind, even when addressing his contemporaries.

“I entered this profession being critical of the media,” says Whitlock. “Sports media thinks that I hate them, and I don’t. I’m a critic. If anyone legitimately listens to what I have to say, I criticize myself more harshly than anyone else… I take the shots that I take because I love sports media and understand the important role we play. I’m just disappointed that sports media has been emasculated and had our power stolen from us.”

Shifting Power of Journalism

Whitlock has experienced both sides of sports media. He is a former Division I football player, offering an athlete’s perspective, and a graduate of Ball State University with a degree in journalism. He has also worked across multiple sectors of the industry, including print, radio, and network television.

Over time, he has come to believe that traditional sports media, once rooted in journalism, has been replaced. Not by artificial intelligence or happenstance, but by what he calls “idiot athletes.”

“We went from Tony Kornheiser and Michael Wilbon being the gold standard to former athletes being the gold standard. That’s a mistake,” notes Whitlock. “What I want to do is not roll over and inspire other journalists not to roll over and accept we’re being replaced in the industry by dumb jocks. We have a right to be frustrated about that.”

Whitlock argues that too many journalists have ceded control of sports opinion and conversation. While he says he likes many of the athletes now in prominent roles, he does not believe they belong in that proverbial driver’s seat.

Athlete Power Play

He attributes this shift largely to the power leagues have allowed players to acquire. According to Whitlock, today’s athletes operate in an era of empowerment, building business relationships with corporations that also partner with franchises and team owners.

This dynamic, he says, has reshaped how journalism holds players, owners, and leagues accountable.

“Who has power and authority changed,” explains Whitlock. “Players have some level of power, and they need to be held accountable. But in business with the corporations, they don’t want their partners [athletes] to be questioned. Corporations don’t want to be questioned. The athletes, media and executives have all formed a partnership… We’ve turned over too much power and influence over to the athlete.”

Whitlock believes these relationships extend to the networks that cover the leagues. Having worked for both ESPN and FOX Sports in various roles, he says networks have deprioritized developing strong studio programming in favor of maintaining league partnerships.

Instead of leaning on journalism as their foundation, networks often rely on athletes who already maintain business ties with the leagues.

“They’re very limited in what they can do. They need to create content that promotes these leagues, moving away from journalists who will say what they think from time to time,” said Whitlock. “I don’t think the industry moved away from journalism and truth. It’s because of the partnerships between the leagues, media companies, and the advertisers that has caused what we have now.”

Fearless Criticism

In 2021, Whitlock found a new home with Glenn Beck’s Blaze Media company. He hosts a daily podcast, Fearless, which he describes as roughly 95% sports content, with elements of culture and politics woven in. He believes sports provide a gateway to discussing broader issues in American society due to their wide-ranging touchpoints.

At his core, Whitlock sees himself as a media critic, a role rooted in his admiration for Mike Royko. That stance has led to numerous public disputes with high-profile media figures.

None more notable than his clashes with ESPN First Take commentator Stephen A. Smith, whom many view as having followed a similar career path.

“As a culture critic, sportswriter, and a commentator. He’s done nothing that I’m jealous of. He’s a really bad knockoff of what I do and have done in this industry. Does it disappoint me that the sports media world and corporations would rather have a horrible knockoff of what I do? Instead of the real authentic thing? Yes, it frustrates and irritates me,” explained Whitlock.

Whitlock insists he holds no jealousy toward Smith or his status with ESPN and SiriusXM Radio, among others. In fact, he says he praises Smith when he agrees with him—albeit a rare occurrence.

Regarding ESPN positioning Smith as the face of the network, reportedly with a $20 million annual salary, Whitlock believes more qualified journalists were overlooked.

“I’m just honest enough to say that’s a travesty. Everyone else will avoid talking about it because they don’t want to seem jealous. It’s not jealousy, it’s a travesty. People with real credentials in real sports journalism are there. ESPN choose otherwise,” explained Whitlock. “If ESPN is going to anoint someone as the face of their organization when there were so many other options, then shame on all of us.”

Building A Brand On Digital

Now in his fifth year hosting Fearless, Whitlock continues to chart his own course in the spirit of Mike Royko, leaving few opinions unspoken. He believes there is still much to accomplish in the evolving sports media landscape.

Even as he operates within a digital ecosystem driven by algorithms and news feeds, Whitlock feels he is only beginning to tap into what lies ahead.

“I’m going to continue my path in this new digital sports media environment,” notes Whitlock. “I know that I’m going against what you’re supposed to say. So, the algorithms are never going to be on my side. I think I got a lot to accomplish and look forward to.”

And perhaps that’s the full-circle truth. Jason Whitlock didn’t just admire Mike Royko—he built his entire approach around him. Not the platform or the popularity, but the posture: a willingness to be uncomfortable and to challenge power, even at the cost of access, approval, or applause.

In an era where sports media is shaped by partnerships, branding, and carefully managed voices, Whitlock has chosen a different lane—one that isolates as often as it elevates. It’s messy, polarizing, and at times undeniably abrasive.

Whether viewed as a necessary critic or an unrelenting provocateur, Whitlock’s career underscores a central question facing modern sports media: not just who gets to speak, but who is still willing to risk something when they do. In that sense, love him or loathe him, Whitlock remains what he set out to be—not a product of the system, but a throwback to a time when columnists like Mike Royko didn’t just cover the conversation—they challenged it.

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.