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Sen. Tammy Baldwin Proposing Congressional Action on Sports TV Accessibility

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U.S. Senator Tammy Baldwin (D-WI) is taking aim at one of the most common complaints in sports media: the rising cost and growing confusion around watching live games. The Wisconsin Democrat plans to introduce the For the Fans Act, a proposal designed to simplify access and reduce costs for viewers.

The bill also seeks to eliminate blackout restrictions for fans who already pay for out-of-market packages. In a recent interview with The Athletic, Baldwin said the current system has turned a traditionally unifying experience into a shared frustration.

“For many fans in Wisconsin, the only place to watch the game was on Amazon Prime, so families were forced to pay Jeff Bezos just to watch the game,” Baldwin said. “It’s extremely frustrating to not know how or where to watch the games we love. It’s also damn expensive.”

That frustration has grown as leagues shift away from traditional cable bundles toward streaming-exclusive deals. While that strategy has helped offset declining cable subscriptions, it has also forced fans to juggle multiple platforms and monthly fees.

Baldwin’s proposal works alongside the Sports Broadcasting Act of 1961, which grants leagues like the NFL certain antitrust protections when negotiating media rights. However, the new legislation would expand consumer protections across major leagues, including the NBA, MLB, NHL, WNBA, MLS and NWSL.

One key provision would require that nationally televised games involving in-state teams be available for free within that state. That access could come through over-the-air broadcasts or ad-supported streaming options, but it would need to be consistent and easy to find. The concept mirrors existing NFL policy, which ensures local fans can watch games airing on platforms like Amazon Prime Video without paying extra.

“It is leveling the playing field for fans,” Baldwin said. “Sports leagues and teams of all sizes will continue to be able to make money from advertising and media rights. We just want to have some basic ground rules to bring down costs for fans.”

Another major component targets blackout rules tied to premium services such as NFL Sunday Ticket, NBA League Pass and MLB.TV. Under the proposal, subscribers would no longer lose access to games that shift to exclusive platforms like Peacock or ESPN. In short, fans paying for “complete” packages would actually receive complete access.

The bill also directs the Federal Communications Commission (FCC) to redefine what qualifies as a local market. That adjustment would account for regional fan bases that extend beyond state lines, such as those supporting the Boston Red Sox across New England or the New York Yankees throughout the tri-state area.

Baldwin emphasized that the goal is not to disrupt league economics. Instead, she wants to restore balance between business interests and fan accessibility.

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ABC News Leads Coverage of Artemis II Splashdown

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The return of the Artemis II space mission to Earth drew millions of viewers last week. ABC News gathered the most.

In the 7:30-8:30 PM ET window on Friday evening, ABC News garnered the most total viewers, as well as the highest total of those in the Adults 25-54 and Adults 18-49.

9.8 million viewers tuned in to watch the spacecraft return to Earth just off the coast of San Diego. 2.4 million were from the Adults 25-54 demographic, while 1.9 million in the Adults 18-49 category watched the ABC News coverage.

That topped CBS News’ coverage. It featuerd 4.6 million viewers, on average. NBC News’ special coveraged averaged 4 million viewers.

However, NBC News earned more viewers in the key demographic, with 946,000 coming in Adults 25-54. That bested CBS’ 843,000. Meanwhile, in the Adults 18-49 demographic, NBC News averaged 705,000 viewers compared to the 604,000 watching on CBS News.

While ABC News topped the network news coverage, Fox News led the way in the cable news ratings with 5 million total viewers. That topped CNN (2.7 million) and MS NOW (1.4 million) on Friday evening.

CNN saw more viewers from the Adults 25-54 demographic. It featured an average audience from that sector of 597,000, besting Fox News’ 543,000, and MS NOW’s 191,000.

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NBC Sports’ Releases Impressive Viewership Data in Return to NBA Coverage

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NBC Sports is touting strong gains in its first season back with the NBA, pointing to significant audience growth across both linear and streaming platforms. After a 24-year absence, NBC returned to league coverage for the 2025-26 season. The company blended new production elements with familiar voices and legacy branding.

That approach helped drive a 109% year-over-year increase in regular-season viewership, according to the network.

Across NBC and Peacock, with select simulcasts on Telemundo, games airing on Sunday and Tuesday nights averaged a Total Audience Delivery of 2.8 million viewers. The package also included five Monday broadcasts.

The centerpiece, Sunday Night Basketball, delivered the biggest results. The weekly showcase averaged 3.4 million viewers. That figure ranks as the most-watched Sunday NBA package in 13 years, excluding Christmas Day games. It also marks the league’s most-watched regular weekly window since the 2015-16 season.

Meanwhile, Coast 2 Coast Tuesday averaged 2.6 million viewers. That total represents a 99% increase compared to similar Tuesday windows last season.

NBC Sports President Rick Cordella said the network focused on modernizing the presentation while maintaining elements fans remember.

“We wanted to elevate the viewing experience while honoring our history with the NBA,” Cordella said. “These results reflect the strength of the league and the work done across our teams.”

NBC also saw gains in studio programming. Basketball Night in America averaged 1.6 million viewers, making it the most-watched NBA pregame show in 15 years. Additionally, NBC highlighted audience trends on Peacock. The platform attracted a younger and more diverse audience for NBA games. The network said nine out of 10 viewers also consumed other entertainment content on the service.

Several marquee matchups fueled the season’s momentum. The debut of Sunday Night Basketball on February 1, featuring the Los Angeles Lakers and New York Knicks, averaged 4.5 million viewers. It became the most-watched Sunday night NBA regular-season game in more than two decades, excluding holiday broadcasts.

That mark did not stand long. A February 22 matchup between the Boston Celtics and Lakers drew 5.6 million viewers, setting a new season high across NBC platforms. Elsewhere, a March 10 doubleheader on Coast 2 Coast Tuesday led all Tuesday broadcasts. The games averaged 3.6 million viewers.

NBC also pointed to a strong opening night. The October 21 NBA Tip-Off doubleheader averaged 5.6 million viewers across NBC and Peacock. It marked the most-watched opening night presentation since 2010, excluding holiday-adjusted schedules.

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Prime Video Wraps First Year of NBA Coverage Averaging a Million Viewers

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Amazon Prime Video’s first full season as an NBA media rights holder delivered steady viewership and a noticeably younger audience, according to data released by Amazon Prime Video.

Across 67 regular-season games, NBA coverage on Prime averaged 1.00 million U.S. viewers. The package also introduced 14 games in new broadcast windows, signaling an expanded approach to scheduling in its debut year.

When isolating 53 game windows that mirrored last season’s linear TV schedule, Prime Video essentially matched traditional network performance. Those games averaged 1.09 million viewers, down just two percent year over year. However, the platform showed meaningful gains where it matters most to advertisers.

Prime Video recorded double-digit increases across all key adult demographics under 55. That included gains of 11 percent among adults 18-34, 20 percent in the 18-49 demo, and 16 percent among adults 25-54.

The streaming platform also delivered a younger overall audience. The median viewer age for NBA on Prime landed at 46.9, nearly a decade younger than the 56.0 average on linear television.

That figure marks the league’s youngest audience in six years.

In addition, Prime Video attracted a more affluent audience. Nielsen data showed a median household income of $96,800 for its NBA viewers. That number is 16 percent higher than the $83,600 median for those watching on traditional networks.

The season’s most-watched game came during the Emirates NBA Cup Championship, when a matchup between the Spurs and Knicks drew 3.07 million viewers on December 16.

Prime Video also built momentum with its studio programming.

NBA Nightcap, the company’s postgame show produced from its Culver City facility, averaged 491,000 viewers. The program’s median age of 46.7 made it the youngest postgame show across major U.S. sports properties.

Compared to Inside the NBA on TNT last season, NBA Nightcap finished nearly even in total audience, down five percent. It also posted gains across younger demos, including a 17 percent increase among adults 18-34.

Beyond the United States, Prime Video emphasized its global reach. The company reported that NBA games were streamed on 227 million devices, generating more than 13.1 billion minutes of watch time across over 200 countries and territories.

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CBS Sports Masters Final Round Viewership Best in Over a Decade

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CBS Sports delivered one of its strongest Masters audiences in more than a decade, boosted by a familiar champion and a tightly contested finish at Augusta National Golf Club.

The network announced that Sunday’s final round of The Masters Tournament averaged 13.995 million viewers. That figure marks the most-watched final round since 2015, when Jordan Spieth captured his first major title and drew 14 million viewers.

This year’s audience rose eight percent from 2025, signaling renewed momentum for one of golf’s marquee events. Viewership gains came despite increased competition across the sports and entertainment landscape.

The final-round broadcast also delivered a significant peak. More than 20 million viewers tuned in during the closing stretch to watch Rory McIlroy secure his second consecutive green jacket. The surge represents the tournament’s largest peak audience since 2013, when Adam Scott won and Tiger Woods remained firmly in contention.

A year ago, McIlroy’s breakthrough victory drew 12.71 million viewers and peaked at 19.54 million. That performance ended his long pursuit of a Masters title and completed the career Grand Slam.

Saturday’s third round also contributed to the strong weekend. CBS reported an average of 8.109 million viewers, up 14 percent from last year. It stands as the most-watched third round since 2019 and helped build momentum heading into Sunday.

McIlroy entered the weekend with a commanding six-shot lead after Friday’s second round. That advantage evaporated during Saturday’s action, leaving him tied with Cam Young atop the leaderboard after 54 holes.

Sunday’s final round featured multiple contenders making a push. World No. 1 Scottie Scheffler began the day four shots back but mounted a late charge. He ultimately finished one stroke behind McIlroy, keeping the outcome in doubt until the final moments.

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Marc James Departs KJR As iHeartMedia Continues Ongoing Layoffs

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Barrett Media has learned that Marc James is no longer with iHeartMedia’s KJR Sports Radio in Seattle, as the company continues a series of layoffs impacting markets across the country.

James joined KJR in February of last year. He replaced Jason Puckett and Jim Moore, both of whom exited the station in March of 2024.

KJR has not commented on the departure, but has updated their on air lineup to signal the changes. Currently, KJR has listed a 10am-12pm show in James’ place which could lead to potential other changes with the lineup dayparts.

James’ short tenure at KJR is just the latest name as iHeartMedia continues a round of layoffs at company. So far, this has affected leadership, sales, and some members of the programming staff throughout the country are starting to be let go, too.

James formerly worked in Tampa, Fla. at SportsTalk Florida 820 WWBA and started his radio career from the Miami-Fort Lauderdale marketplace in 2004. Throughout his career, he has hosted afternoon drive on WFNZ in Charlotte and morning drive on 92.9 The Game in Atlanta.

Moreover, he formerly worked for the New England Sports Network in Boston as an anchor and also appeared on WEEI-FM. James has been working in the Tampa designated market area since 2020 on the sports talk radio station, and he will now be making the move to the Pacific Northwest.

James has not responded for comment from Barrett Media.

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Michele Steele Reflects on Her Pivot From ESPN to Big Ten Network

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It’s a rare opportunity to find your passion while building your career in your hometown. Very few people get the chance to plant their flag and shine in the same place they grew up and will always call home. When Michele Steele walked away from her 14-year chapter at ESPN in the summer of last year, speculation followed about where the Chicago native would land.

Luckily for the self-admitted Chicago Bears and Cubs fan who graduated from the University of Illinois in Champaign, her next opportunity landed in her own backyard.

“I had been handling a lot of ESPN assignments out of the Chicago bureau for some time since 2016,” explained Steele. “Then I was called in for a meeting with Mark Hulsey (senior VP of production, Big Ten Network), and Quentin Carter (VP studio production, Big Ten Network) to talk about the opportunity to contribute.”

That meeting sold Steele on the chance to stay home and break new ground with a network centered on celebrating the teams, players, and coaches of the Big Ten Conference. With the network’s offices rooted in downtown Chicago, Steele says she leapt at the opportunity to join a network that highlights the conference she knows so well.

From ESPN To BTN

She noted that the transition, now nearly seven months removed from ESPN, has been practically seamless. Steele added that staff members welcomed her with open arms, making her adaptation feel as though she has been with the Big Ten Network for years.

“What is so great about Big Ten Network and the job I have is you’re really giving people an escape. There’s a lot of really heavy news out there, but we exist to celebrate these programs,” said Steele.

Steele also pointed to the conference’s recent success as a key reason she was drawn to the role. With the Big Ten claiming national championships in football and both men’s and women’s basketball, she says the conference is riding an all-time high in many respects.

When Steele exited ESPN in August of last year, she viewed the moment as the closing of a significant chapter in her career. Over 14 years, she ran the gauntlet at ESPN, taking on nearly every role the network had to offer. From the sidelines to SportsCenter, Steele says that although she was saying goodbye to ESPN, she wasn’t leaving sports behind.

“For me, I always wanted to stay in sports,” said Steele. “I was not done with sports when the chapter at ESPN ended. I was actively thinking what the next chapter certainly would look like… Now I’m really happy to be hosting and contributing at the Big Ten Network and getting to do things across the board where they need me.”

Adapting To Change

The Big Ten Network has long served as a destination for fans to connect with the stories of the conference’s teams, players, and coaches. Its content approach differs in philosophy from Steele’s previous work at ESPN.

“Sometimes at ESPN or any other sports network, you’re not necessarily rooting for one conference or another. At Big Ten Network, you are rooting for the conference and celebrating the success across so many programs,” explained Steele. “I’m not saying one [approach] is better than the other, but it’s just a different vibe. It’s a privilege to bring that type of vibe and celebration to fans.”

With seven additional universities joining the conference since the turn of the century, demand for conference-specific content has never been higher. With a coast-to-coast reach, Steele understands the importance of creating a destination that meets fans in their day-to-day connection with these programs.

This is where Steele’s experience in both journalism and studio roles proves most valuable in delivering content.

“The SEC gets a lot of ratings headlines. But the Big Ten has an incredibly strong fanbase,” said Steele. “From my vantage point, the storytelling opportunities are everywhere. The Indiana football story alone is very energizing to me. That means it can happen to any other program within the Big Ten. It’s an incredibly rich field to mine for us to tell the story of this conference.”

With another football season ahead, as Indiana attempts to defend its national championship, Steele’s role with the network remains somewhat fluid. She describes her role as doing whatever is needed, always willing to raise her hand for new opportunities.

However, she does have her personal favorites.

“It’d be a lie that I wasn’t so happy and energized to be in studio again. Being back in studio, putting on that mic, and talking about Fernando Mendoza. Getting into where he’ll go in the NFL Draft. Those fun conversations again have been great,” said Steele. “I was one of those reporters in the field who relished the time I got to be in the studio.”

So far in her time with the Big Ten Network, Steele has worked in the studio and appeared on the sidelines for the Nebraska spring game. She is also slated to work the Ohio State spring game broadcast on the sidelines this Saturday.

Business Is Sports Business

Steele’s journey in media didn’t begin in sports, but in the business world. She spent years working for Forbes and Bloomberg, establishing herself as a respected journalist.

While working at ESPN—and now with the Big Ten Network—Steele also hosts a program for StocktwitsTV, where she discusses the latest financial and business developments.

That background has given her a distinct advantage when covering sports.

“You can’t cover college sports without understanding the business of sports. That’s a new sentence that rings true that didn’t maybe a decade ago,” said Steele. “I understand how to read a business story, and how to ask the right questions about money, structure and strategy… That context is always going to make you a better interviewer and make the storytelling that much richer for the viewer as well.”

Steele says she plans to continue balancing her roles with Stocktwits, her weekend appearances on NPR, and her work with the Big Ten Network.

“For now, I would like to continue as multi-dimensional as I can for the time being. These relationships and platforms I currently work in matter to me. Staying connected to those business conversations makes me better at everything I do,” explained Steele. “It’s excellent I get to stay sharp on both sides.”

Now settled into her role with the Big Ten Network, Steele continues to embrace a philosophy she has carried throughout her career: make the work fun and positive. It’s a message she hopes to pass on to the next generation of media professionals—stay curious, be fearless, and always support those around you.

She believes success comes from balancing preparation with patience.

“I’d like to think I’ve always been easy to work with and always prided myself in no matter what the assignment is. It’s sports and let’s have fun,” said Steele. “Every job I’ve had, I’ve been so lucky that throughout my career I have genuinely liked what I was doing at every job I’ve had.”

In an industry that often demands relocation, reinvention, and constant movement, Steele’s story serves as a reminder that sometimes the next chapter doesn’t require going somewhere new—it requires seeing home in a new way.

After years of building a national profile, Steele has found something just as meaningful in telling stories that hit closer to where it all began.

Because for all the miles traveled and roles embraced, there’s still something uniquely special about doing the work you love in the place that first made you love it. And in Steele’s case, that rare opportunity has come full circle—right back where her passion first took root.

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Dianna Russini Learned When You Don’t Control the Message, It Controls You

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Dianna Russini did the right thing by deciding to resign from her role with The Athletic. Make no mistake about it, denials without proper context matter, especially for figures in the public eye. The photos are what they are, and the initial responses seemed rushed but offered very little to halt speculation.

This matter only grew because Russini, Vrabel, The Athletic, and the New England Patriots allowed it to.

That’s why Russini’s Tuesday resignation statement was correct, yet somewhat baffling. The decision was right. The explanation was not. Without question, a letter of resignation is often considered the final word on a matter. However, what the statement lacked was exactly why the controversy grew to her dissatisfaction: context. Without it, Russini may have done more damage to her career than she realized.

Over the past week, there has been significant discussion about the standard to which Russini should be held. She is a decorated and respected journalist, as she stated. There is no doubt that the work, networking, and relationships she reinforced over many years created opportunities for impactful journalism.

Her letter of resignation led with that very point. She stood behind every story she has published with professionalism and dedication throughout her career. That professionalism prompted The Athletic to quickly defend her reputation and work. The statement called Russini a “premier journalist” and said The Athletic is “proud” to have her on its team.

However, optics matter, which is why context was needed from all sides. Russini, Vrabel, The Athletic, and the New England Patriots forgot the golden rule of PR 101: tell the truth.

That’s why the silence over the past week from those four parties has been deafening.

When a reporter is seen in a pool with someone they cover at a couples resort, optics matter.

If a reporter is seen holding hands and hugging on a mountain bridge with someone they cover, optics matter.

When those two parties issue only a single statement each without context, optics matter.

The goal for any organization is to control the messaging. The issue is not whether Vrabel and Russini did anything inappropriate on a personal level. That is not for the public to decide, nor is it the central point. The issue is that once those images become public, the audience begins connecting dots—fairly or not—and those connections can impact credibility.

Russini, Vrabel, The Athletic, and the Patriots allowed the public to create and own the narrative. This is not about double standards; it is about a failure to communicate.

But here’s the more concerning part for Russini.

In her resignation letter, she stated the following.

“In the days that followed, unfortunately, commentators in various media have engaged in self-feeding speculation that is simply unmoored from the facts. Moreover, this media frenzy is hurtling forward without regard for the review process The Athletic is trying to complete. It continues to escalate, fueled by repeated leaks, and I have no interest in submitting to a public inquiry that has already caused far more damage than I am willing to accept,” wrote Russini.

She decided to resign “not because I accept the narrative that has been constructed around this episode, but because I refuse to lend it further oxygen or let it define me or my career.”

Is it fair to ask a reporter to tell the truth? The controversy only gained oxygen because no party revealed the truth. Also, how is media speculation affecting an employer’s review process? Did she also refuse to provide context to The Athletic?

“When this situation was brought to our attention last week, there were clear concerns, but we received a detailed explanation and it was our instinct to support and defend a colleague while we continued to review the matter,” wrote The Athletic Executive Editor Steven Ginsberg in a memo to staff. “As new information emerged, new questions were raised that became part of our investigation.”

New information? Ah, context. Finally.

Is it fair that there are two separate standards for an investigative reporter and an NFL head coach? No, and there shouldn’t be. However, both chose their professions and understood the ethical boundaries that come with them. There are things Vrabel can do that Russini cannot. Again, that may not feel fair in this situation, but those are the realities of their roles.

For Russini, optics matter more because of what her job requires: trust.

When you work in media—especially covering a league like the NFL, where information is tightly guarded—relationships matter. Scoops are built on trust. Even the appearance of being too close to a source can raise legitimate questions.

That does not mean Russini’s reporting was compromised, nor does it mean her past work should be discredited. However, it does mean that a segment of the audience will question it moving forward—and that is the consequence of perception.

Fair or unfair, that’s the reality. This is where media ethics move from theory to real life.

And that’s why Russini decided to step away. She always had more to lose in this situation, and she knew that. Once a reporter’s credibility is gone, that is everything in the role she chose.

Unfortunately, by remaining silent and not providing context, Dianna Russini allowed optics and messaging to force her resignation. That was her choice, and now she will have to live with it. Because of that decision, her credibility may now be questioned in future reporting.

Does that mean Dianna Russini is done with sports media? Not at all. She has built strong connections in an opinion-driven space where someone with her background and experience could still make a significant impact.

However, the lesson here is simple—and it applies far beyond this situation. In an era where perception moves faster than facts, silence is no longer neutral. It is a choice.

Tell the truth. Provide context. Control the message before it controls you.

Because credibility is not only built on what you report. It is built on how you respond when the spotlight turns on you.

And in that moment, the same rule always applies: transparency is not optional—it is essential. Because if you do not, the optics will—and as this situation proved, once they do, the outcome is rarely in your hands.

Dianna Russini’s resignation underscores a hard truth in modern media: optics and silence can define a career as much as your reporting.

Choosin’ The Wrong Song: How Top 40 Radio Is Failing Ella Langley — And Itself

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Every so often, a song comes along that exposes the gap between what people want and what radio is willing to try. Right now, that song is “Choosin’ Texas” by Ella Langley.

While some pop radio decision-makers are hiding behind the phrase “brand expectation,” Ella is out here doing the exact thing radio brands are supposed to do themselves: win consumer attention.

“Choosin’ Texas” is in its sixth week at No. 1 on the Billboard Hot 100. She has both of the top two streaming songs in America with “Choosin’ Texas” and “Be Her.” And yet “Choosin’ Texas” is only No. 20 on Pop Airplay, while “Be Her” may never be heard. That’s a bar.

Please spare me the “it’s too country” or “it doesn’t fit pop radio” talking point. Did we forget pop is short for popular (long for popularington)?

How widespread is it? Start at A and keep going. Atlanta. Baltimore. Chicago. Dallas. Detroit. Las Vegas. Miami. Minneapolis. Milwaukee. Phoenix. Pittsburgh. Salt Lake City. San Francisco. Seattle. From A to S, Top 40 keeps finding reasons to ignore the biggest record in America.

And let’s not pretend country is a Top 40 disqualifier. See Morgan Wallen. See Shaboozey, Jelly Roll, or Luke Combs.

If Ella Langley were a man, would “hit” programmers still be clutching their pearls over “fit”? Could it be that when male artists show up with country swagger, radio calls it texture — but when a woman shows up with those same qualities, they mutter brand alignment?

Radio shows it can bend when it wants to. See Tame Impala. See BTS. Or Freya Skye.

This is not a shot at Freya Skye. She is not the problem. Math is — you’re welcome, everyone who ever took math.

“Silent Treatment” by Freya Skye is the No. 9 song at Top 40 today, despite averaging roughly 64,000 streams a day. Ella Langley is doing nearly 5 million a day.

To put that in perspective, Ella generates more streams in 30 minutes than Freya does in about a day and a half.

Is mainstream radio still occasionally guilty of manufacturing chart position while holding back the songs audiences are clearly choosing? I thought this was a trick only rhythmic radio — and ironically, country radio — still pulled.

Modern Top 40 should be about identifying the records people don’t want to escape. The songs taking over cars, bars, social feeds, and group chats. It should be a reflection — not a projection — of what some playlist prince thinks the format is “supposed” to be.

There are still programmers who love to say, “What you don’t play can’t hurt you.” That sounds like 1974, pre-internet logic, but fine — let’s run with it.

If what you don’t play can’t hurt you, then you have to agree that what you do play can.

Every time you pass on Ella, you’re actively choosing a lesser song, then wedging that lesser choice into an hour with 20 minutes of commercials, a weather report nobody needs because windows exist, and a traffic report nobody needs because we have Waze — and then wonder why your AQH is down. Has to be Nielsen’s fault, right? It couldn’t possibly be that some stations are choosing not to play the two biggest streaming records in North America.

Ella Langley is both a Stagecoach-level and Coachella-level artist at this point — an artist women can relate to and men can admit to liking.

The irony is that Ella is becoming so big so quickly, she may soon face the same problem artists like Zach Bryan run into: once you outgrow more than one format, the old PD handbook kicks in, and people start arguing over whether you belong in any of them.

If you’re not choosin’ “Choosin’ Texas” this week, then you’re choosin’ the wrong song.

Phil “Ella Fella” Becker

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What the Artemis II Mission’s Digital Popularity Says About the State of Cable News

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The Artemis II moon mission that has everyone buzzing — from President Trump to Captain Kirk, Star Trek‘s William Shatner — wasn’t dominated by TV; it exploded online. NASA’s livestreams pulled in millions, dwarfing traditional coverage as viewers watched every jaw-dropping moment, some in cinematic 4K.

There’s something about space travel — which lost its luster for decades — that captured the attention of all generations. It’s a feel-good news story at a time of heightened tensions from the war in Iran. While Artemis II was in flight, it offered hope, incredible pictures and a reminder to rise above our petty and often partisan selves.

About 10 million viewers watched live on TV when Artemis II, carrying four Gen Z astronauts, lifted off for a ten-day mission, compared to 18 million who watched across all digital platforms. Social media posts related to the mission generated billions of global impressions.

In contrast, during the first moon landing in 1969, one-fifth of the population watched the shaky feed mostly on black-and-white televisions, making it the most-watched broadcast to date.

This time, the real winner was NASA. It delivered the most comprehensive, widely viewed coverage, reshaping how historic events are consumed.

NASA+ streaming service blew out its previous audiences by millions, thanks to its deals with Roku, Apple TV, Fire TV, and Android TV. On YouTube, almost 15 million people subscribe to NASA’s channel.

It also made a splash on the social media platform Threads, racking up more than 11 million followers in just four hours.

Networks like CNN and ABC News scrambled to keep up with splashy specials, but the real action was streaming straight from space. Let’s face it — this was a digital-first event, further evidence of an increasingly diminishing TV news juggernaut.

The networks showcased it in a positive, informative — and sometimes jovial — way. We heard laughter and applause from Mission Control, jokes from Senator Mark Kelly, a former astronaut, and the celebrification of space travel was front and center.

William Shatner, interviewed by CNN’s Anderson Cooper and best known for his iconic role in the ’60s as Captain James T. Kirk in Star Trek, also has a real connection to space travel. Almost five years ago, at age 90, he became the oldest person to go into space, taking a roughly 11-minute, 62-mile-high journey on Jeff Bezos’ Blue Origin spaceship. (Bezos himself took an 11-minute turn — it’s good to be a billionaire.)

“I’ve got an inkling of how they must feel having landed. These people are explorers. They are Magellan…the flames shooting over their heads. I don’t know how anybody doesn’t say, ‘Oh my Lord, what have I gotten into,'” Shatner said.

Such broadcasters as ABC News, CBS News, NBC News, and CNN aired dedicated primetime specials documenting the crew’s return. Before the mission, TODAY host Al Roker went behind the scenes with the astronauts in the same “suit-up” room where Apollo-era astronauts put on their spacesuits. During their mission, he got a special shoutout from the crew from 252,000 miles in space.

The workhorses — space specialists like CNN’s Kristin Fisher, Tom Costello, senior correspondent for NBC News, and Jonathan Serrie, who reported for Fox and NASA — deserve a lot of credit for accurate, timely reporting.

And the images were extraordinary — especially the luminous crescent Earth slipping behind the moon’s cratered far side, a view that felt almost unreal. The photograph has already been hailed as a modern successor to the iconic Apollo-era “Earthrise,” evoking the same awe that revealed just how vast the universe truly is.

I was riveted by the coverage, watching across every platform as it all built to Anderson Cooper’s four-hour special, culminating in the breathtaking moment when the capsule carrying four astronauts splashed down off the coast of San Diego. There’s something almost otherworldly about watching human beings, in a capsule the size of a minivan, hurtle back to Earth and strike the ocean at 20 miles an hour — showcasing the courage and fortitude of the four aboard the spacecraft they named Integrity. That gave the story a human focus far greater than the faraway photos on the longest space mission ever attempted.

It wasn’t just news junkies glued to the mission — this was a full-blown cultural moment. On TikTok, teens, like my daughter and her friends, devoured the highlights, including floating Nutella, heart hands, and epic shots of Earth from deep space. A-listers and politicians chimed in, social media lit up, and audiences around the world were fixated. A call from Trump and Shatner’s awestruck reaction only amped up the drama.

Networks covered the live call as Trump congratulated the crew, praising their “courage” and “genius” as pioneers of a new space era. He promised there will be an Artemis III with a crewed lunar landing planned for early 2028.

Even dogs got in on the action. An AI-powered talking duo on Instagram’s Dog Pack account suited up in astronaut gear, “floating” in space as a steak and tennis ball drifted by — entertaining their 612,000 followers.

Days later, CNN ended a broadcast with a lighter moment: Christina Koch returning home from her trip around the moon, greeted by her overjoyed dog, who couldn’t stop jumping on her.

Koch was the breakout star — a history-making astronaut and physicist who didn’t just go to the moon, she smashed records doing it. From Antarctica to deep space, Koch became the face of a new era. She inspired a new generation of young women.

“What you saw was a group of people who loved contributing, having meaningful contributions and extracting joy out of that,” Koch said. She invited everyone to see themselves reflected in the crew.

It’s a striking contrast to a year ago, when singer Katy Perry — floating in space alongside celebrities like Gayle King and Lauren Sánchez Bezos — held up a daisy to promote her tour. By comparison, this crew brought experience, determination, and a profound sense of purpose. Devoted not to spectacle but to something far greater. Against the quiet gravity of their mission, those earlier moments fade into insignificance.

The most touching moment came when the crew emotionally declared they would name a newly discovered crater after Commander Reid Wiseman’s wife, Carroll, who had died of cancer. “Absolutely, I would love that. I think that’s just the best.”

And there were moments of laughter when Mission Control had to offer remote advice to Wiseman to fix software problems the crew was having with Microsoft Outlook on their Surface Pro tablets. Talk about a bad commercial for Microsoft. We feel his pain. Along with the software issue, the crew managed to fix a jammed toilet fan, which spawned plenty of potty jokes.

The trip was not without its critics. The chief complaint was that the technology seemed like something out of the 1960s. Including the airlifting of the astronauts by helicopter. One Facebook commenter posted this: “When I look at the Artemis capsule that splashed down in the Pacific — then compare it to the Space Shuttle — I feel like we have gone backwards 60 years.”

It’s a harsh critique — and not without some validity.

NASA Administrator Jared Isaacman was on hand to welcome the astronauts back, greeting them with evident excitement as they returned safely to Earth. He underscored the lasting significance of space exploration, acknowledging both its challenges and its wide-ranging rewards. “The long wait is over.”

Sending astronauts to the moon hadn’t happened since 1972, when the Apollo 17 crew took the last steps. It was John F. Kennedy who famously telegraphed the mission during the Cold War, rallying excitement for space exploration. “We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard.”

These astronauts won’t become household names like Neil Armstrong and Buzz Aldrin. But their optimism — and, yes, their integrity — was a sight almost as breathtaking as seeing Earth from the dark side of the moon.

The mission is designed to set the stage for future lunar landings and support the development of a long-term human presence on the moon and potential missions to Mars.

The bottom line: space is back, it’s bigger than ever. And this time, it’s streaming live. No matter the platform, at crucial moments at least, good news does sell after all.

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