The Podcast Study 2026 finds that radio broadcasters already reach many of podcasting’s most valuable listeners. Additionally, research from Point-to-Point Marketing and Strategic Solutions Research highlights opportunities to deepen those relationships.
What We Know:The Podcast Study 2026 finds that 79% of podcast Superfans and 82% of Prime Prospects listen to local radio weekly. Beyond that, nearly six in 10 also listen daily. As a result, broadcasters can turn existing audience relationships into deeper engagement and revenue. Overall, 43% of daily radio listeners qualify as either a Superfan or Prime Prospect. By comparison, that figure drops to 26% among people who don’t listen to radio regularly.
What the Numbers Show: Among radio-listening Prime Prospects, 83% follow their favorite podcasts on social media. Meanwhile, 75% are likely to subscribe to a host-read-ads-only tier. Additionally, 70% would definitely join a free VIP club, and 68% are likely to pay for a premium tier. Similarly, among radio-listening Superfans, 68% would definitely join a free VIP club. On top of that, 64% are likely to pay for a premium tier. In short, radio broadcasters already reach consumers who show the behaviors podcast publishers want to encourage.
What They Said: “Podcasting’s best fans aren’t someone else’s audience. They’re already yours. 79% of Podcast Superfans listen to local radio every week. This presents radio broadcasters with a tremendous opportunity to pull usage from these important consumers. I can’t wait to share some ideas on how to do that.” -Strategic Solutions Research Executive Vice President Hal Rood
“This is a useful reminder that radio already has a meaningful relationship with many of the consumers podcast companies most want to deepen. A significant number of the people most willing to follow, join and pay are already daily radio users.” -Point-to-Point Marketing CEO Tim Bronsil
What It Means: Ultimately, radio broadcasters may have an opportunity to extend their existing relationships into podcasting. For instance, exclusive content, listener communities, and paid subscriptions offer clear paths to do it. Rather than starting from scratch, stations can lean on established host connections. After all, those hosts already reach consumers willing to engage and spend money on audio content.
Point-to-Point Marketing and Strategic Solutions Research will share more findings during a webinar later this afternoon. You can register for the event by clicking here.
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Netflix film chief Dan Lin is out. The exit extends the Netflix layoffs, which trimmed about 6% of staff.
What We Know: Lin took over Netflix’s film division in February 2024 with a mandate to make fewer, better, and bigger movies. He came to the streamer from Rideback, the production company he founded, which built the LEGO film franchise, the It adaptations and the Sherlock Holmes movies. Before that, he oversaw production on The Departed as a senior vice president at Warner Bros. Pictures. Netflix parted ways with chief content officer Bela Bajaria last Thursday and named former Disney executive Peter Rice as her replacement. Rice will also oversee the film team until Netflix names a new head. Layoffs hit roughly 1,000 employees last week, including high-ranking members of Lin’s team, including Vice President of Film Doug Belgrad.
What They Said: “I started working with Dan well before he joined us in 2024, and his strength as a producer was always clear. Once he joined Netflix, I saw up close how his dedication to quality filmmaking, rigor around dealmaking and strategy, and collaborative spirit elevated our film business. I’m grateful to Dan for everything he’s done for Netflix films.” –Ted Sarandos
“It’s been a great privilege to lead this incredible team and work with amazing filmmakers and talent to bring their movies to the world. Thank you to Ted, Greg and Bela for the opportunity.” -Dan Lin
What Remains Unclear: Netflix hasn’t named a permanent successor to Lin. Rumors link ousted Warner Bros. chiefs Mike De Luca and Pam Abdy to the job. Likewise, Netflix hasn’t said whether the restructuring is mainly about cutting costs or part of a larger overhaul. The streamer also hasn’t addressed whether more layoffs are coming or how its film slate and theatrical plans could change.
What It Means: Lin’s exit, along with the previous layoffs and leadership changes, points to a broader restructuring. The streamer faces rising costs, tougher competition, and pressure to land bigger hits. Netflix could back fewer, higher-impact films while it tightens spending. Ultimately, the company appears focused on efficiency, profitability, and steady audience growth. Still, it must balance cost-cutting with creative risk-taking.
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As he announced his retirement, WTOP President and General Manager Joel Oxley knew there would be some recognition and accolades. It comes with the territory.
However, he didn’t foresee this. Tonight, Oxley will receive the NAB National Radio Award.
The news caught Oxley off guard. In fact, he said he felt shocked when he first heard it. Still, the recognition carries weight. Oxley joins a list of past winners that includes the likes of Howard Cosell, Larry King, and high-profile executives like Lowry Mays, Mel Karmazin, Jeff Smulyan, Ed Christian, Steve Newberry, Dan Mason, George Beasley, Ginny Hubbard, David Santrella, and Mike McVay, among others.
A Humbling Honor
“Honestly, I was shocked,” said Oxley. “I just couldn’t believe that I was getting this award. Looking at the list of the people who have received it, I’m just beyond honored. I was completely surprised, completely taken aback by this. Heck, Howard Cosell’s on this list, for God’s sake.”
Oxley quickly turned the spotlight toward his colleagues. In fact, he credited the mentors and teammates who shaped his career.
“It really means a lot to me that people would think this highly of me,” Oxley shared. “I hope everybody knows that while I feel great about this, it’s really all about the people that I’ve worked with all these years. I’ve just been so fortunate that so many people have given me so much of their time and their guidance and their knowledge. If it wasn’t for all the people who have mentored me, but also all the people who have worked with me, I just wouldn’t have been able to accomplish any of this.”
Meanwhile, Oxley plans to use his speech to say thanks. He’s worked for Hubbard, Bonneville, Evergreen and Chase Broadcasting, so the list is long.
“Mostly it’s about appreciation,” the longtime WTOP executive stated. “From the bottom of my heart, I am so appreciative of all the people that I’ve worked with all these years. I’m glad I’m going to be able to get up there and say some good thank-yous.”
Stepping Away From WTOP
Now, Oxley turns toward retirement. He’ll leave WTOP this year, and Declan Moore will take over.
“I really feel great about it,” said Oxley. “I feel really blessed that I was in something I like so much for so long. Even when I was a kid, I was big into news. In college, I worked for the school newspaper and the school radio station. To be in the news business, but also to be in the broadcast business, has just been fantastic.”
Moreover, the industry changed dramatically along the way.
“Heck, when I was first at WTOP, it was AM only,” Oxley shared. “Look at how it evolved into, obviously, FM, but also websites being so important, social, video, podcasting. I never would have imagined all the different things that we would have gotten into and, fortunately, been successful at.”
Looking ahead, Oxley doesn’t plan to vanish. Instead, he may stay connected to the Hubbard family while he enjoys more free time.
“I think I might continue to work with the Hubbard family and do some consulting,” the longtime WTOP executive stated. “I’ve talked about that. At this point, I also want to spend more time with the people I love, get out there and do some more traveling, and enjoy my life. I’m looking for maybe a little more balance than I’ve had over the years.”
The Future of Radio and Advertising
Oxley also sees a bright road ahead for radio. However, he believes the industry can’t stand still.
“I still think it’s changing,” said Oxley. “I think it’s incredibly dynamic, but with that, there’s so much opportunity. At its very base, when you look at radio, it’s still great distribution. Millions upon millions of people listen every week. What other business wouldn’t want that?”
As a result, Oxley expects broadcasters to push harder.
“I think you’ve got to realize that you’ve got to do well everywhere,” Oxley shared. “You can’t rest on your laurels. You’ve got to figure out ways to get better.”
In addition, he points to social media as a powerful tool. Radio, he believes, hasn’t promoted itself enough.
“Social is incredibly powerful,” said Oxley. “I really don’t see radio out there finding ways to promote itself as much as it could. Being local is an incredible advantage. This is the differentiator. It’s reaching millions and millions of people about things that are happening in their own local markets that they care about.”
Above all, gratitude defines Oxley’s farewell.
“The thing that strikes me as I look back is just how generous people were with their time and with their knowledge,” the longtime WTOP executive stated. “They didn’t have to be that helpful, but they did, and I’m really fortunate that they did that.”
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Barstool Sports has never been a brand that keeps anything from its audience. Nearly everything involving the brand and its roster of creators becomes content. If you work for Dave Portnoy, you know what you’re getting into. It’s part of the job. Now, however, FOX Sports is beginning to understand that very notion.
During Monday’s episode of Wake Up Barstool, the show opened with a discussion about the Green Bay Packers’ victory over the Dallas Cowboys. It wasn’t because Portnoy had been up burning the midnight oil, sweating out a bet. Instead, Portnoy said FOX Sports “suits” had advised him and the Barstool Sports team that more Dallas Cowboys discussion would be better for ratings. That revelation offers a glimpse into the challenges emerging from this unique and bold partnership idea.
The relationship between Barstool Sports and FOX Sports is now navigating its second year. Portnoy is no longer appearing on Big Noon Kickoff every Saturday, but the weekday morning show that fills four hours of programming time remains. Portnoy is a weekly contributor to Wake Up Barstool on Mondays, following a weekend of college and NFL football.
The placement makes sense. Put your biggest personality on the day when viewership is likely to be highest.
Viewership Struggles
However, Barstool and FOX are two very different beasts when it comes to content. One relies on time-honored television models: play the hits and stay safe. The other operates by its own rules and has built an audience around that independence. Barstool Sports has long portrayed itself as a pirate ship, one that has now docked in traditional media waters.
Successful partnerships, however, require both sides to work together. It shouldn’t come as a surprise that FOX Sports holds meetings and sends emails offering suggestions to improve the product. Wake Up Barstool was an experiment for the network. It’s not the traditional morning sports programming the network is used to.
Yet, more than a year after the show launched, traditional television viewership remains staggeringly low. During the premiere last September, Portnoy even joked that the programming airing before Wake Up Barstool launched had drawn “zero” viewers.
In June 2026, reported average viewership for Wake Up Barstool was 19,000 during a month of extensive FIFA World Cup coverage for FOX Sports. By contrast, ESPN’s Get Up, which airs in the same time slot, averaged 426,000 viewers during that period.
That’s not great, Bob.
Digitally, however, Wake Up Barstool tells a different story. The program launched its own YouTube channel, which now has more than 45,000 subscribers. According to Social Blade, the channel continues to grow, adding more than 2,000 subscribers and generating over 2 million views in the past month. Clips also appear in real time across social media, extending the show’s reach and engagement.
Who Is The Target Audience
For a program struggling to attract viewers on traditional television, its digital strategy has been a clear success. The challenge is translating that online engagement into the kind of audience growth FOX Sports needs on FS1. So why is FOX Sports recommending more discussion about the Dallas Cowboys? The Cowboys played on Sunday Night Football this past weekend. But does that automatically mean they should be a top priority for the Wake Up Barstool audience?
That’s where the disconnect between Barstool and FOX Sports becomes apparent. Whose audience is the show trying to reach?
Barstool appears to be tailoring Wake Up Barstool to its own fan base rather than the audience that traditionally watches sports television each morning. That distinction could help explain why the show hasn’t gained traction on FS1 despite the popularity of the Barstool Sports brand. At the same time, its digital performance suggests the program is connecting with an audience on platforms where Barstool has built its reputation.
Those competing outcomes raise a larger question about what success looks like for the partnership.
Now, just weeks after Portnoy’s departure from Big Noon Kickoff, he is publicly criticizing FOX Sports executives for suggesting content ideas for a show built around his brand. Is Portnoy sending a signal about the state of the partnership, or is he simply trying to generate more attention for a product that has struggled to attract a traditional television audience for more than a year?
The partnership between FOX Sports and Barstool Sports was always going to be an interesting experiment. I credit both sides for giving the arrangement a chance.
For the partnership to work, however, both sides must understand what makes the other successful. FOX Sports has the experience and resources to help develop a television product, but Barstool’s audience expects the brand to remain authentic to its identity. If FOX tries to turn Wake Up Barstool into something it was never intended to be, while Portnoy refuses to compromise on the content that built his audience, the relationship could be approaching a crossroads.
Watch This Space
Portnoy’s public criticism of FOX’s programming suggestions may be nothing more than another attempt to generate attention. However, it could also be an early indication that the partnership is beginning to fracture. FOX Sports can offer the platform, resources and traditional television expertise, but Barstool’s appeal has always been rooted in its independence.
If the two sides can’t agree on what the show should be or whom it should serve, the question becomes how much longer either will see value in the arrangement. The pirate ship may have found a home in traditional sports television, but that doesn’t mean it’s willing to follow the rules of the harbor.
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Anytime a family member faces a personal illness, the heart and mind can feel heavy. Coping with those emotions can lead to a loss of focus. It’s what makes us human and a challenge everyone faces at some point in life. For Derek Papa, the past year has involved navigating the peaks and valleys of his father Greg Papa’s battle with leukemia. He hasn’t faced those challenges in silence, but in the public arena.
As Derek Papa approaches the end of his second year as lead producer and co-host of Dirty Work on KNBR alongside Adam Copeland, the events of the past several months have added a new layer of complexity. While his father continued to battle health issues, Cumulus Media went through another round of layoffs that included Greg Papa and his midday co-host, Greg Silver.
“It’s been tough. Not a lot of radio hosts have to talk about their father’s illness or termination from their job. I had to talk about it a lot,” said Papa. “I’m not a woe is me type of guy. My father’s going through his illness, and I’m not. It’s been a lot and very public, and I’ve dealt with it the best I can.”
While his father built a legacy in Bay Area sports radio over several decades, Derek Papa is just beginning to establish his own. In 2024, Papa moved from executive producer to afternoon drive co-host after Cumulus Media layoffs led to the departures of Tom Tolbert and John Lund from San Francisco’s sports radio leader.
Peaks & Valleys
Since taking on the role, Papa has acknowledged that balancing his first full-time hosting position with his executive producer responsibilities requires more structure. His father’s health challenges and subsequent termination added unexpected difficulties that also affected his ability to do his job on Dirty Work.
“I don’t know how people thought I should have handled it,” Papa said. “Obviously, a lot of people knew about my father’s situation. I’m grateful for the job I have now, but I had a lot of mixed emotions. When we would reach out to guests for the show, and they would tell us they’re not coming on because of the way the station handled things with Greg Papa. Well, how do you think I feel? I’m his son.”
Following a nationwide reaction to Greg Papa’s termination as he continued battling health issues, he and Cumulus Media eventually reached a new agreement. A month later, the company announced that Papa would return to KNBR for a weekday, hour-long segment with John Lund, who had replaced Papa and Silver in middays the previous month.
Derek Papa said the reaction to his father’s termination wasn’t surprising. However, even after KNBR announced his father’s return, the circumstances surrounding the news left him with mixed emotions.
“When we announced my dad was returning, simultaneously he’s in the hospital that day. We didn’t say that on the radio, but I was feeling weird about it. We were announcing that he was coming back and everyone was excited. But at the same time, he was supposed to come on and talk about it but he wasn’t able to because he was sick,” Papa explained. “I respect everyone that deals with things in their personal life and then have to do a job. It’s easier to do when you don’t have to go live on the radio.”
Papa acknowledged that not every day has been his best. Thoughts and emotions surrounding his father’s health battle weigh on him daily, making it difficult to find the escape that Dirty Work aims to provide its audience. Although he looks forward to his father’s return to the airwaves, his greatest wish is to see him healthy again.
“When my dad gets healthy, he has a spot on that show with John Lund and spots on the other shows. I’m not sure it will happen this year with my father’s illness right now,” Papa said. “I appreciate everyone reaching out. But it’s very weird and uncomfortable to me how public this is.”
Doin’ The Dirty Work
Papa isn’t a traditional KNBR host. Although he carries his father’s name, he didn’t enter sports radio immediately. Instead, he developed a love for comedy and the art of making people laugh. However, when his father teamed up with John Lund, Papa became drawn to the balance of sports and humor the program offered.
That interest eventually led him to sports radio in San Francisco. He first developed his skills as a producer with Audacy’s 95.7 The Game and Compass Media Networks. After spending three years as a production assistant with NFL Network, Papa returned to sports radio to produce Tom Tolbert’s afternoon program on KNBR.
Little did Papa know that just over two years later, station management would choose him to replace Tolbert.
“Immense pressure. The reason I came to KNBR was because it was an opportunity to work with Tom Tolbert. He’s a legend among some of the greatest personalities in Bay Area sport history,” Papa said. “I’ll never replace him, because he’s simply too big of a personality to replace.”
Following Tolbert’s departure, Papa had to weigh whether he was ready to take over the afternoon show.
“I was very in my own head when I first started. What are people going to think. It’s just Greg Papa’s son on the radio,” Papa noted. “It was intimidating. No doubt about it. Tom has insight in sports that I’ll never have. The biggest compliment I can receive today is someone telling me they didn’t like me at first, but now they do. I’ll never fill Tom’s shoes, but at the same time I’m going to do my own thing.”
Balancing his dual roles as producer and host continues to present challenges. To this day, Papa considers himself a better producer than host. He often catches himself critiquing his own thoughts mid-segment while trying to focus on the conversation. Although the arrangement isn’t ideal for an afternoon show in a top-five radio market, Papa isn’t one to complain.
“My bosses want me to host and produce at the same time. But I can’t stop a segment and scream what the hell are we doing here. It’s hard to do, and an impossible task. But that’s the industry these days,” Papa said. “I plan the show for others more than myself most of the time… Do I love it? No. I wish I had more guidance from a producer. I was that guy for a lot of talent, but I wish I had that for me to be honest.”
Despite Dirty Workapproaching its second anniversary, Papa believes the show’s biggest weakness remains its inexperience. With his producer’s mindset, he feels the program is still figuring out what it wants to be. He also acknowledges that the show isn’t for everyone, nor is it intended to be.
“We don’t sound like a typical KNBR show if you’re a traditional KNBR listener. We can be a little unsettling at times, because we’re different,” Papa said. “What I like most about our show is the mentality of not giving a fuck. Honestly. We call the show Dirty Work, because we’re following a tough act to follow in Tom Tolbert… We don’t know how long we’ll have to do this show. So, we’re going to have fun doing it.”
Seize The Opportunity While You Can
Papa also believes the radio industry is dying a slow death as podcasting continues to grow as a preferred medium for audio content. The departure of prominent talent from the San Francisco market over the past several years has only reinforced that belief.
From Damon Bruce, Ray Ratto, Paulie Mac, John Lund and Tom Tolbert to his own father, Papa believes the industry’s treatment of its talent demonstrates that, regardless of the success or legacy someone achieves, nothing is guaranteed.
“I like doing a renegade show. We’re going to do it till the wheels fall off. Then we’ll see where the industry is at,” Papa said. “The radio industry is dying, but it’s not going to die tomorrow. I’m going to have fun doing Dirty Work. I hope I’m wrong, and that radio lasts a long time. But I’ve seen the writing on the wall, and what’s happened with my own station where you have to plan for the future.”
Recognizing that Dirty Work could be on “borrowed time,” Papa approaches each program with authenticity. He blends humor with sports, aiming to entertain listeners and generate a laugh or two along the way. He also refuses to shy away from difficult topics while recognizing that he doesn’t need to have an opinion on everything.
Each day, however, presents a new opportunity for growth. Papa continues to produce his podcast, Just Your Opinion, Man, while navigating the daily demands of his dual role on Dirty Work. As he prepares to enter his third year in afternoon drive, structure has become his primary focus.
“Our show needs to have a little more structure. I like how we’re off the wall, crazy, and fun. But there’s also days where I’m sure the audience feels it’s all over the place,” Papa said. “Copes [Adam Copeland] and Danny [Dunn – Producer] do a fantastic job. But for me, I need to find more balance with producing and hosting. It’s difficult to do both jobs at once. But I need to be more equal parts host and producer.”
As Derek Papa prepares to enter his third year hosting Dirty Work, the challenges of the past year have reminded him that some things matter far more than what happens on the air.
Papa remains focused on improving the show, embracing the opportunity he’s been given and making the most of the time he has with his father. He knows the future remains uncertain, but as long as he has a microphone and an audience willing to listen, he intends to do things his own way.
And if Dirty Work is going to follow a legend, Papa is determined to build a legacy of his own.
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.
Have you seen the Nick Saban documentary on ESPN? Sports is life, and comparisons can constantly be drawn between what we do and sports. The obvious difference is that there is no disclaimer on the final score in football, baseball, basketball or hockey like the one at the bottom of every Nielsen report. Even more of a reason to buy into what drives Nick Saban — the “process.”
Ignore the Scoreboard
It seems Saban was focused on the win until he met a sports psychologist at Michigan State University. Coaches are judged by their won-loss record much the same way we are judged in media. When I programmed in Portland and got beat by KKRZ, I was a dumbass. However, the tide turned, and people thought I was smart when WLTW had 36 No. 1 ratings books while I was there. Same guy.
If you haven’t seen the show, here’s the gist: A sports psychologist got Saban to ignore the final score (as much as he could) and focus on each individual play. Seems a play was six seconds, and that was all that mattered in the moment. If the execution of each play went as planned, the end result would be a win. That’s not unlike each individual break on a radio station. While content breaks are longer, most song intros are in the six-second range.
Every Break Is a Play
In a football game, you can’t waste a play with a mistake. When first down and 10 becomes second down and 18, you’re in trouble. Same for a radio show. If a listener is giving you a nine-minute occasion and they hear one break, it better not suck. That one break may determine how people feel about your show or your station. Just like not every play in a football game is going to score a touchdown, not every break is going to be Marconi-worthy. But just as every play in a football game should be for a yardage gain, every break on a radio station should create a positive impression of your brand.
This doesn’t mean you shouldn’t plan ahead. Saban had plays he could pull out at any time, depending on the situation. You should have topical content and a plan for where to use it. Not to mention evergreen content waiting in the wings for when it’s needed. Saban also had plays he would save for certain opponents, the same way you should prepare content for the holidays ahead.
Trust the Process
We would all feel much better if we received a real final score at the end of every show, or every day as a programmer. One without a disclaimer about its accuracy at the bottom of the page. But as long as we don’t, trust the “process” of delivering great content with every break. If you continue to do that on a regular basis, the audience will grow. The Nielsen scoreboard will eventually reflect a win for you and your team.
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A few weeks ago, my wife mentioned that the assistant site director at the music school we own together was heading to California for “another EDM festival.”
Another one. I nodded and moved on. Later, curiosity got the better of me, and I looked it up.
The festival was Head Trip, a one-time-only event Goldenvoice — the company behind Coachella — staged October 10–11 at the Empire Polo Club in Indio. Calvin Harris. Skrillex. Swedish House Mafia. Okay, I know those names. Then I kept reading. FISHER b2b Chris Lake. Dom Dolla b2b Kettama. Seth Troxler b2b Ben Sterling. DJ Harvey. Floating Points’ Sunflower Sound System.
By the bottom of the lineup, I was struggling with who’s who. Yet every one of those artists means something real to a lot of people. I just hadn’t wandered into their world.
Here’s a dad of two in suburban Kansas City who works in music every day, and a festival this size still caught me flat-footed. I need an EDM sherpa to help me navigate this landscape.
We All Live in Bubbles
I’ll go first: I’m guilty of this. When you know your corner of the business well, it’s easy to assume your view covers more ground than it does.
Work, family, and the routines that hold a week together don’t leave much time for exploring. My teenage daughter and 12-year-old son are my best windows into what’s happening. They hand me things I’d never find on my own. But even with those windows and a genuine willingness to learn, I’ve got blind spots.
That’s worth remembering the next time something feels small or fringe. We should be careful about discounting something simply because it hasn’t reached us.
Big Audiences, Different Rooms
Technology lets music communities grow without regard to geography. A scene can form across thousands of miles and a dozen time zones. Every genre has its own stars, its own tastemakers, and its own paths to discovery.
That means something can sit at the center of millions of people’s musical lives while barely registering in my professional circles. Head Trip is the example. My shaky grasp of the lineup sat right alongside a festival that took over the same polo fields Coachella uses, with a stage that became one of the most talked-about productions of the year.
So here’s the question I keep asking myself: How much of what we believe about the music business comes from the small slice we see every day?
Pack a Bag
Exploring another music scene is a lot like traveling to another country. You can wander around and guess, or you can find someone who knows the territory — your sherpa — and let them show you what matters.
Take Head Trip. Instead of spreading acts across multiple stages, Goldenvoice put everything on one massive stage built by Romain Pissenem’s High Scream, the production company whose résumé includes the closing ceremony of the Paris 2024 Olympics. No schedule conflicts. Every fan shared the same moment. Then Apple Music livestreamed main stage sets both days, its first festival partnership at that scale, so fans who couldn’t make the trip still got the show.
Radio people, promoters, and artists can learn from that. A shared experience is powerful, and extending access doesn’t cheapen it.
Now think about NPR’s Tiny Desk. It started in 2008 at Bob Boilen’s actual desk, after he and Stephen Thompson couldn’t hear Laura Gibson over a noisy SXSW bar. An office. A few feet of floor space. No light show. And it became one of the most recognizable performance formats in music.
The lesson for an artist or a station? You don’t need a desert and a laser rig to create something people recognize instantly. You need a clear idea and the discipline to repeat it.
The point isn’t to copy EDM or NPR. It’s to understand why these approaches work and adapt the useful parts for your own audience.
Stay Curious
“Another EDM festival.” Behind those three words was an entire world I’d barely glimpsed.
You don’t need to recognize every artist or follow every scene. Nobody can. But make room to investigate something unfamiliar before deciding whether it matters.
My not knowing about it tells you something about my bubble. It tells you very little about how big the world outside it has become.
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Christiane Amanpour is leaving CNN, and the timing is hard to ignore. The longtime anchor announced Monday that she’ll depart next June after 43 years with the network. Her exit isn’t happening all at once, though.
Amanpour will continue hosting her daily interview show on CNN International and PBS until December. Then, the daily show ends. From there, she’ll transition to a once-per-week program through June, when she officially walks away.
Naturally, the initial reaction connected her exit with Skydance taking over the network. Frankly, I thought that was a bit overzealous. At first, it felt like a convenient storyline.
Where There’s Smoke
Then Amanpour started talking about her departure. Suddenly, the storyline didn’t feel so overzealous. She consistently referenced “editorial independence” and the importance of strong journalism. Those aren’t throwaway phrases, especially from someone with her résumé.
Her 43 years at CNN span some of the biggest stories of the modern era. Consequently, she’s earned the right to choose her words carefully. Perhaps, where there’s smoke, there’s fire.
Veteran journalists don’t casually raise editorial independence on their way out the door. As a result, it’d be hard to argue there isn’t at least a loose connection between her statements and Skydance’s arrival.
Nobody leaves a 43-year career without weighing every word. Still, viewers can read between the lines.
So the question becomes this: Is Amanpour the first person to leave CNN directly because of the Skydance acquisition, or the only one?
I think she’s much more likely the first. Change almost always follows new owners. Executives bring new priorities, and talent either adapts or exits. Those shifts reshape management, programming, and newsroom culture. That’s just how it works.
However, there’s a difference between being told you no longer work here and deciding on your own that you no longer work here. Amanpour appears to have chosen the second path. It signals a decision made on principle.
Stability Matters
Meanwhile, CNN has struggled mightily in the ratings. Therefore, every high-profile departure raises fair questions about the network’s future. Reportedly, Anderson Cooper didn’t want to continue on 60 Minutes because of the direction of CBS News. Well, that direction is likely coming to CNN. What does that mean?
Stability matters in cable news. Viewers build habits around familiar faces, and those habits drive ratings. Consequently, each exit chips away at that foundation. Moreover, a struggling network can’t afford to lose credibility along with its audience.
CNN’s challenge isn’t only ratings. It’s trust, too. Audiences return to anchors they believe operate without interference, and Amanpour built that reputation over four decades. Therefore, her departure carries more symbolic weight than a typical contract exit. Likewise, her message may land with viewers who already wonder where the network’s priorities lie.
A Familiar Pattern
Industry watchers have seen this script before. New owners arrive, promise stability, and then reshape the product. Eventually, the talent reacts. Some leave quietly, while others leave loudly.
Amanpour’s exit sits somewhere in the middle, which makes it more telling. She’s giving CNN a long runway, yet she’s also making her priorities clear. Of course, none of this proves what Skydance intends to do with CNN. Nevertheless, perception matters in a talent-driven business.
If other stars follow, the narrative will harden quickly. Subsequently, CNN will have to answer for it, and those answers will need to convince. Sometimes the quietest exits speak the loudest.
In the end, Christiane Amanpour’s decision tells us something, even if it doesn’t tell us everything. CNN’s next moves will fill in the rest. Until then, the questions will keep coming.
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MLB Network is ending Intentional Talk after 16 seasons. The show’s final episode airs Wednesday, November 4.
What We Know: The show debuted on Opening Day 2011 with Kevin Millar and Chris Rose as co-hosts. Rose stayed through 2020, and Stephen Nelson then joined Millar from 2021 to 2023. Since 2023, Ryan Dempster and Siera Santos have shared the desk alongside Millar. Notably, Millar is the lone constant across all 16 seasons. In making the announcement to open Monday’s program, an emotional Millar shared his thanks for 16 seasons of opportunity to share baseball with laughs along the way.
Kevin Millar says he gave everything he had to Intentional Talk on MLB Network: “The fans of Intentional Talk. The one thing we’ve given you every single day is all we got. I’ve given you everything I have for that one hour over 16 years, no matter what’s going on outside that door. Things go outside our doors. If you’re a dad or a mom, you know there’s stress. There’s three colleges right now. There’s cars, gas prices, insurance. It doesn’t matter. But for this hour, we laughed.”
Kevin Millar on receiving the news that Intentional Talk is ending after 16 seasons: “I’m thankful for the opportunity. I’m thankful to be able to show you the inside of our life. I’m thankful for you to know that I can’t read, write, or spell. Just like the scouts thought I couldn’t run, field, hit, or throw. I got a chance to play 12 years in big leagues. I got a chance to have 16 years doing our own show together. It’s been IT3 [Intentional Talk with Siera Santos, Ryan Dempster] that I thought we were heading up here to the mountains. We got the news about five six days ago, and it was hard, and it’s sad.”
Kevin Millar thanks the crew and staff behind the scenes of Intentional Talk: “I want you to understand that I truly do love and thank everybody behind the scenes. Just like we did when we won that World Series with the grounds crews and the clubhouse dudes. They’re family. They’re bigger than they’re bigger than us. We’re just the pretty little faces that get to go and put powder on our foreheads so the lights don’t glimmer.”
Kevin Millar says he’ll miss the opportunity with Intentional Talk: “I will miss everybody. But I promise you, when I see you at the World Series, we’re gonna be hugging and the tears will be shedding.”
What Remains Unclear: However, MLB Network has not said what will replace the show in its afternoon lineup. It’s also unclear whether Millar, Dempster or Santos will take on new roles at the network. Likewise, the network has not explained why it is ending the program.
What It Means: Ultimately, the decision closes the book on MLB Network’s longest-running talk show. For 16 seasons, Intentional Talk leaned on humor, personality and player-driven stories. As a result, its exit leaves a noticeable void in the network’s daily schedule. Meanwhile, fans have just over two weeks left to say goodbye.
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Dave Portnoy says FOX Sports wants more Dallas Cowboys talk on Wake Up Barstool. The Barstool Sports founder revealed the network’s guidance during Monday’s FS1 broadcast.
What We Know: Portnoy opened Monday’s show with the Cowboys’ Sunday Night Football loss to the Green Bay Packers. During the segment, he said network executives have requested that the morning program engage in more Dallas Cowboys conversation. In his remarks, Portnoy called the suggestion a “ratings thing” but also questioned the validity of the notion that Dallas Cowboys chatter equals better ratings.
Dave Portnoy on FOX Sports suggesting to talk more Dallas Cowboys on Wake Up Barstool: “Are we going to talk about this game? The Cowboys. We get notes, by the way, from Big Fox. The big boys at FOX Sports. You can never talk enough about the Dallas Cowboys. Talk more about the Cowboys. Cowboys put butts in seats. Everyone wants to hear about the Cowboys. Why?”
Dave Portnoy quotes what he’s been told about talking about the Dallas Cowboys: “The big wigs, the suits. Talk Cowboy. They get on their bat phone the red phone and that’s how it works boys. For all the people out there do networks tell you what to talk about or what you can’t talk about some situations. A direct quote. You can never have enough Cowboys talk and never enough LeBron talk. [I] swear to God.”
Dave Portnoy believes the Dallas Cowboys are not worth talk about: “They have been an irrelevant gaggle of losers for a long time that we continue to talk about. They stink ad never were going to be good this year. This is a ratings thing, I guess. Talk about the Cowboys. What has there been to talk about the Cowboys for a decade? The Cowboys are not good. They haven’t been good for a long time. The network, the big suits up in their ivory towers, want us to talk about the Cowboys. What do you want us to say about the Cowboys?”
What Remains Unclear: FOX and Barstool launched their partnership in July 2025. Initially, the deal included a two-hour weekday morning show and Big Noon Kickoff appearances. Wake Up Barstool remains intact, though it’s unclear how often executives send programming notes. Additionally, it’s uncertain whether Portnoy will keep honoring them on air.
What It Means: It’s no secret that ESPN has found daytime ratings success by leaning on the Dallas Cowboys for content. In addition, FOX apparently wants the same formula for its morning show with Barstool Sports. However, the request tests how much control Barstool keeps over its voice on the morning program. Moreover, it will be interesting to note how much added coverage of the Cowboys Wake Up Barstool commits to moving forward.
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