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FCC Chair Brendan Carr: Late Night and Daytime Talk Shows Aren’t Exempt From Equal Time Rules

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FCC Chairman Brendan Carr has said that a 2006 ruling from the commission exempting “bona fide news interviews” in network late-night shows doesn’t give a blanket pass for partisan conversations, and is reminding TV networks of that fact in a recent letter.

In a letter to TV networks, the Commission noted that in 2006, an exemption o the Equal Time provisions was granted for The Tonight Show with Jay Leno, stating that an interview between Leno and then Gov. Arnold Schwarzenegger (R-CA) was a “bona fide news interview,” and shouldn’t be enforced as an equal time mandate.

That exemption was granted, but the FCC is reminding networks that it wasn’t a blanket exemption for any political purpose.

“Concerns have been raised that the industry has taken the Media Bureau’s 2006 staff-level decision to mean that the interview portion of all arguably similar entertainment programs — whether late night or daytime — are exempted from the section 315 equal opportunities requirement under a bona fide news exemption,” the letter reads. “This is not the case … these decisions are fact specific and the exemptions are limited to the program that was the subject of the request.

“Importantly, the FCC has not been presented with any evidence that the interview portion of any late night or daytime television talk show program on air presently would qualify for the bona fide news exemption.”

In a post on social media, Brendan Carr argued that networks have operated under the guise of news interviews in these situations, but that the FCC would be enforcing equal time rules going forward.

“For years, legacy TV networks assumed that their late night & daytime talk shows qualify as ‘bona fide news’ programs — even when motivated by purely partisan political purposes,” Carr wrote. “Today, the FCC reminded them of their obligation to provide all candidates with equal opportunities.”

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Elle Duncan Reportedly Named Lead Studio Host On USA Sports’ WNBA Coverage

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Elle Duncan continues to expand her footprint across the evolving sports media landscape, adding another high-profile assignment to an already busy schedule that now spans traditional television and global streaming platforms.

According to a report by The Sports Business Journal, Duncan, who recently joined Netflix as an on-air host for sports and live events, will also serve as the studio host for USA Sports’ inaugural season of WNBA coverage.

Duncan’s role includes pregame and postgame studio coverage on USA Network, marking a key on-air addition as the network prepares to debut its long-term investment in women’s professional basketball.

Duncan’s move to Netflix began earlier this year. As part of her new deal, SBJ reported that she made the move to Netflix largely because of the flexibility built into the deal. The agreement allows Duncan to continue taking on outside assignments, a structure that has become increasingly attractive to top-tier media talent navigating a fragmented distribution ecosystem.

That flexibility led to Duncan reportedly accepting the USA Sports role without conflict.

She will make her Netflix debut Friday as the host of Skyscraper Live, a two-hour global event featuring free solo climber Alex Honnold as he attempts to scale Taipei 101, the tallest building in Taiwan.

USA Sports’ WNBA coverage stems from a landmark media rights agreement announced last September between the league and Versant. The 11-year deal grants USA Network rights to air regular-season games, select playoff matchups and WNBA Finals games in certain years, beginning with the 2026 season and running through 2036. As part of the agreement, USA Sports will air at least 50 WNBA games annually, signaling a substantial commitment to the league’s growth and visibility.

Wednesday nights will anchor the package, featuring WNBA doubleheaders accompanied by dedicated studio programming before and after the games. Duncan’s background makes her a natural fit for the role. During her time at ESPN, Duncan carved out a prominent niche in women’s basketball as the host of WNBA Countdown.

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Fox News Host Lawrence Jones Gives Health Update After Surgery

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Fox & Friends host Lawrence Jones has been absent from the Fox News morning show in recent days. He’s now sharing why and when he might return.

In a post on social media, Jones shared the reasoning behind his absence.

“I want to assure y’all that I’m doing well. I recently underwent eye surgery and will be returning to work soon. I’ll share the details of my experience with you all in the future. God is truly remarkable.”

Lawrence Jones joined the popular Fox News morning show in a full-time capacity in September 2023.

Following his announcement of eye surgery, he praised the network for how it has handled the situation, promising to return and give a full update when possible.

“Fox has been incredibly supportive throughout this process, ensuring that I receive the best possible care. See y’all soon,” he concluded.

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How Zach Gelb Turned His Infinity Sports Network Exit Into a New Digital Chapter

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There are many sayings that those who work in media use continually. As the content space evolves, one saying has become more relevant than ever: When one door closes, another opens. For Zach Gelb, his exit from the Infinity Sports Network closed out 2025, while opportunity awaited him at the beginning of 2026.

“Once it came out that I wasn’t going to be part of the Westwood One Sports lineup; I had a few companies reach out to me. Two radio companies and 365 Sports,” explained Gelb. “John Vilade (365 Sports co-founder) called me and said, ‘I think you can help us, and we think we could help you.’”

After weighing the options of returning to traditional sports radio, Gelb chose the all-digital route with 365 Sports. Just weeks after his final program on the Infinity Sports Network, the 31-year-old commentator was back in the game. He hosted a daily two-hour program free from the structure of traditional sports radio, with a built-in following and added flexibility.

“It gave me a lot of flexibility if I wanted to pursue some other opportunities as well,” noted Gelb, who also continues to serve as a part-time employee for Audacy and hosted studio coverage for Compass Media Networks this football season.

Fresh Opportunity

Gelb notes that the two radio companies that reached out about his services simply weren’t the right fit at the time. Following his exit from the Infinity Sports Network, Gelb continues to receive temporary severance pay while still employed by Audacy. The agreement with 365 Sports allowed Gelb to continue producing content for his audience as the NFL postseason arrived.

While Gelb admitted the agreement with 365 Sports is only a six-month deal, it allows both him and the network to better understand what each can offer. He noted that recent shifts in how talent can hold multiple platforms for content are something he finds fully interesting. He continues to value his relationship with 365 Sports while also exploring additional opportunities for growth.

While many who leave traditional sports radio often seek independence, Gelb considers himself old school.

“I value working for a company and a network,” said Gelb. “Where I am at now, I still really value that relationship. When you go independent, it’s just you. I have a great staff with me at 365 Sports, who are people working together with me. I always liked collaborating with others; getting those different perspectives makes a better show.”

The End of the Infinity Sports Network

When Audacy and Cumulus Media jointly announced the merger of the Infinity Sports Network and BetMGM Network, Gelb says he was told by those running Westwood One Sports that he would be part of the new network.

However, over the course of the final quarter of the year, plans changed.

“People were shocked that I wasn’t part of the Westwood One Sports lineup,” explains Gelb. “It was a little bit awkward because people assumed I would be a part of the new lineup… Candidly, I was pulled into an office the day the announcement came down (in October). I was told I was going to be a part of the new lineup. I don’t know why I’m not part of the new network.”

In reflection, Gelb felt that his work showcased Westwood One Sports’ focus. With a goal of disruption and social media dominance, he felt he checked those boxes. While he admits he didn’t like Westwood One Sports’ decision not to retain him, Gelb insists he is not bitter and respects the finality of his time with the Infinity Sports Network.

“I’m over it. They’re going to do whatever they’re going to do. Westwood One is a hell of a brand with a lot of success,” notes Gelb. “The only part that rubbed me the wrong way was I was told I was going to be their guy even in a specific daypart. I won’t say which daypart. Then it was, we’re not even going to make you a contract offer.”

Gelb revealed his impending exit from the Infinity Sports Network on the Monday of his final week in December. Although he knew over two weeks prior that he would not be retained, he wanted to make the final week truly matter for the network’s longtime listeners.

Gelb focused on highlighting the names who served the audience over many years on CBS Sports Network and Infinity Sports Network. He paid homage to the past, shared memories, and offered a laugh or two along the way. He also ensured listeners understood how much they were appreciated.

“I was blown away by the amount of emotions shared by the listeners that week. People crying about the ending of our show,” said Gelb. “The last week went perfectly. Everyone is entitled to handle it how they want. I felt I was fair, respectful, and grateful. The reality is I was blessed to have a job for almost eight years where I had a lot of fun and success.”

Moving On

Following his exit, Gelb admitted he had not yet tuned into the Westwood One Sports Network. While he maintains a close relationship with Jim Rome, he has focused on his new opportunity with 365 Sports and moving forward.

He remains grateful for the support he has received online since his departure, as well as the support for his new show with 365 Sports. Much of it came from people he never expected would engage from the new network.

“I have a lot of respect for a guy like Nick Kostos. When I put out my new show pages, I didn’t ask him, but he shared and commented, sharing his endorsement of the new venture. That’s a guy I have a lot of respect for because I don’t know how much attention I would give others in this type of situation,” explained Gelb.

Despite the emotions of the past few months, Gelb says he is hungrier than ever to succeed in the industry. While many could wallow in the moment, he chooses to push forward. He feels that staying at Westwood One Sports would have been a lateral move for his career.

Yet, he gained valuable insight into the industry through his exit, which is fueling his focus for the future.

“I’m hungry to find the next chapter in my sports talk journey. I have no resentment or ill will towards sports media in any fashion,” noted Gelb. “The team is important. You want to go somewhere where you’re wanted and with people who believe in you. Then you can create something special, and I’m looking forward to that.”

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Mike Tomlin Doesn’t Fix The Bigger Issue With NFL Broadcasts and Networks

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Nothing in sports broadcasting is a guarantee. There have been countless “sure things” that turned into nothing, and many more “nothings” that have blossomed into superstars. It’s nearly impossible for anyone to truly have a pulse on whether someone coming from the field will make a great sports broadcaster. That’s why I’m astounded by reports that Mike Tomlin has networks lining up at the door for his services.

Why? Is Mike Tomlin a guaranteed star in the making for network television?

While some may see something others do not, Tomlin is not a guarantee either. He’s never done the role in any true capacity on a regular basis outside of what he’s delivered at the podium. Instead of predicting whether Tomlin is a star in the making, I choose to look at the networks themselves. This feels like the latest attempt at one-upping the competition when the true star of a network is never a singular person.

There is no denying Tomlin’s coaching resume in the NFL. The man never had a losing season in 19 years leading the Pittsburgh Steelers. He owns a Super Bowl ring, albeit from almost two decades ago. His ability to manage talent, egos, and sometimes oddball NFL players was always a defining characteristic of what made him unique. He’s a players’ coach who demands accountability and carries a relentless desire for victory above all else.

Now, “The Standard,” as he was dubbed, is being positioned as the most attractive free agent in sports media.

Based on what? That’s the puzzling part.

Ask yourself this. Do you ever remember a time when you made time to hear what Mike Tomlin had to say? Maybe it was about a key play that altered the outcome of a game, or a pointed criticism of sports media. I can’t recall a single moment when I felt compelled to seek out Mike Tomlin’s thoughts.

Nick Saban always delivered nuggets of blunt truth and honesty. Jimmy Johnson was entertaining at the podium. Even Bill Cowher gave viewers something to chew on and became a destination for content in sports media.

Tomlin is different. He has personality, no doubt. Substance, however, is what remains uncertain. Of course, there’s the occasional one-liner, but every coach has those.

From my perspective, this discussion says more about the networks than it does about Tomlin. For years, FOX Sports has failed to think through exit plans for Terry Bradshaw and Howie Long. Bradshaw’s fastball is long gone, while Howie continues to play his role at a high level. Both have been fixtures of the NFL on FOX since its inception in 1994.

CBS Sports is also in a state of transition. Boomer Esiason and Phil Simms are no longer part of the picture. In recent years, Matt Ryan and Nate Burleson were added to the mix. Ryan has since departed for the Atlanta Falcons, while Burleson continues to explore media opportunities away from football.

NBC Sports already carries a massive roster of analysts, including two former head coaches in Jason Garrett and Tony Dungy. Adding a third former head coach to pair with Football Night in America’s three former NFL players would only crowd an already bloated lineup.

Let’s not get into how many talent ESPN has for Monday Night Football.

Would Prime Video step up to the plate for Tomlin? Their NFL pregame show lacks a former NFL head coach’s perspective to complement its four ex-players. If there’s a destination that makes sense from a personality and talent standpoint, that might be it. Add in the NFL awarding Prime more attractive playoff games, and it could represent a longer-term play for both the network and Tomlin.

There’s also Netflix and potentially YouTube TV, but the likelihood of either building a full analyst roster right now feels slim.

With every potential destination, there’s no clear answer. Yet reports suggest networks are willing to shell out big-time money for an unproven entity. FOX Sports did it with Tom Brady. CBS Sports did it with Tony Romo. But are they actually attracting more viewers to the games they call? Are audiences going out of their way to hear their analysis every week?

There’s also the personal side. Would Tomlin want to return to life on the road after more than two decades of it? Would he prefer the comfort of a studio six months out of the year over constant travel, meetings, and relentless social media feedback, both positive and negative?

That’s why, instead of asking whether Tomlin will be great, the better question is why networks aren’t finding other ways to make their programming more compelling. The NFL pregame show experience has lost its appeal. It used to be a destination. Now, for many viewers, it’s background noise. While overall viewership may not suffer, the importance of these shows has lost its luster.

Instead of assuming one former NFL head coach can fix the problem, why not rethink what actually matters to fans today? How do networks connect with audiences in real time through digital platforms instead of offering another sit-down filled with little substance? News matters before games, not recycled analysis. Betting lines, injury reports, weather updates, and the details between the numbers carry the most weight.

Not another former NFL player or coach telling me how well they played last week, praising former teammates, and recycling content viewers already consumed all week.

The NFL network television experience on gameday needs a new direction, not just new blood.

Mike Tomlin may very well succeed in sports media if given the opportunity. He’s smart, respected, and accomplished in ways few coaches ever are. But respect doesn’t automatically translate into relevance, and pedigree alone doesn’t fix a broken model.

The obsession with landing the next “name” ignores the bigger issue. NFL studio shows didn’t lose their edge because they lacked star power. They lost it because they stopped evolving. They became predictable, sanitized, and interchangeable. No single hire, no matter how decorated, changes that reality.

Until networks shift their focus from chasing headlines to building smarter, sharper, fan-first programming, the result will remain the same. More money. More familiar faces. Less impact.

The problem isn’t who’s sitting at the desk. It’s what they’re being asked to do once they get there.

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How Much Has Tony Romo Regressed in the Booth for CBS Sports?

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Being a first-team network NFL broadcaster is equal parts terrific and terrifying. Social media has turned anyone with a mobile device into a critic. One man who knows both sides of broadcast fame is CBS lead NFL analyst Tony Romo.

After a solid career as a Cowboys quarterback, Romo burst onto the TV scene in 2017 to rave reviews. He was insightful, incisive, and intrepid alongside Jim Nantz in CBS’s top-tier booth. Romo took to television like Michael Phelps to water. He had cadence, rhythm, humor, and deep knowledge.

Recently, however, Romo has come under fire from critics, professional and otherwise. In fact, many feel that he has actually gotten worse at his job with each passing season.

In my view, Romo is still quite capable at what he does.

He remains top-notch in describing schemes and play designs, as well as commenting on the quarterback game specifically. When you start out not so great in TV (see Tom Brady on FOX), it’s easy to gain fans as you improve. When you are great from the beginning, people tend to expect that every single year, and if you fall off even a little bit, you get destroyed.

I wanted to see for myself where exactly Romo is, and what better game than last Saturday’s Divisional matchup featuring Buffalo at Denver?

In the on-air pregame chit-chat with Nantz, Romo made a nice point about the Broncos trying to improve their run defense to go further in the playoffs. The Broncos lost to the run-heavy Bills 31-7 in last year’s Wild Card round.

On Denver’s first drive of the game, quarterback Bo Nix had some solid passes, mostly to rookie wideout Pat Bryant. There was ample opportunity for Romo to jump in and give us a technical explanation of what was happening on the drive. Instead, he was just vague and surface-level in his analysis, saying only that it was a good start for Denver.

Romo somewhat redeemed himself on the telestrator during replays. He still does a good job isolating which positions on the field made the right moves to make a play work. He definitely pays attention and looks away from the ball while Nantz is calling the play.

Still, on a couple of replays, Romo was oddly silent. It was Nantz who made a technical comment that normally falls into the color analyst’s realm. I have no problem with effectively used silence in a televised game. However, at key times Romo needs to step in and make those insightful explanations that only an ex-player can provide.

Romo and Nantz do have a tremendous rapport. Nantz sets up Romo expertly, and Romo returns the favor, giving Nantz humorous credit when the veteran play-by-play announcer makes a good point.

When Denver fumbled in the first quarter and the ball was recovered by Buffalo, Romo was right on it, saying the flag on the play was an offside call against the Bills. His ability to see the entire field and make that kind of call is definitely his stock-in-trade. Romo also remains strong in detailing some of the finer points of the game, such as spacing by wide receivers. There are times, however, when he glosses over important facts.

Throughout the game, you could tell Josh Allen was having trouble hearing the play call through his helmet because of the decibel level of the Denver crowd. Instead of giving some experiential thoughts on that, Romo uttered rather useless words like, “This is a great environment.” Romo did provide some level of insight on how Denver head coach Sean Payton was trying to take advantage of the Buffalo defensive backfield. This included analysis on the creative play designs from Bills offensive coordinator Joe Brady.

There are times when it seems Romo is not focused on a particular play. At other times, his explanations of plays just don’t measure up to his past standards.

Late in the second quarter, Nix had a tremendous first-down run from scrimmage on 3rd and 3. Romo’s commentary on the play was, “He’s hyped right now. This is my game, my stadium.”

How about a description of how the play broke down? Or possibly commentary on how Nix was nimble enough to turn it into a first-down run? We know Nix is hyped and that it’s his game and his stadium. Romo did redeem himself somewhat with 29 seconds remaining in the second quarter. Denver had a 2nd-and-10 on Buffalo’s 30-yard line. Romo stated this was a good moment to take a shot at the end zone.

Sure enough, Nix hit WR Lil’ Jordan Humphrey on a touchdown pass, giving Denver a 17-10 lead.

There were other good moments. On a nice run by James Cook in the third quarter, Romo offered a solid explanation of the offensive line scheme and said it was the formation he would like to see Buffalo in more often.

When the Bills scored a touchdown on a Dawson Knox reception to go ahead in the fourth quarter, Romo revealed he had in his notes that in critical situations, Josh Allen always goes to DK, meaning Knox. I like that stuff—the inside look at his preparation for the game.

The Bills got a first down with a little over eight minutes remaining in the fourth quarter on one of those Josh Allen pseudo-tush push plays. Romo then made the point that the Bills adjusted and ran Allen to the right. Since Denver had fewer defensive linemen on the left side of their line.

He was also solid as the game wound down in regulation. As the Bills were driving for a tying score, Romo was all over it. Giving quick and concise explanations of each fast-moving play.

On the flip side, Romo was not at his best during the game’s frenetic overtime. In fact, it seemed he was overrun by the moment. He did not give nearly enough criticism or questioning to the officials on some very controversial calls and non-calls.

Similarly, he could have been more argumentative with CBS rules analyst Gene Steratore, who continues to most often be just a mouthpiece and apologist for the current officials.

Overall, I still give Romo his props as a football analyst, but there is no doubt that his performance has dipped.

The Internet was abuzz when, at one point in the game, it sounded like Romo called Allen “Mahomes.” Pitted against the other major network color analysts, he trails Cris Collinsworth, Troy Aikman, and Dan Orlovsky, with Louis Riddick and the vastly improved Tom Brady hot on his tail.

I don’t know if it’s comfort or just a change in style, but there’s definitely a difference in the breadth of Romo’s analysis. He’s not telling us things we don’t know or predicting plays and strategy as often. Much of his replay analysis has become casual and surface-level, as opposed to concise and specific.

There is no question Romo knows football, but even ex-QB studio and guest analysts like Matt Hasselbeck, Alex Smith, and Matt Ryan have surpassed him. I am not going to be ignorant and say Romo is untalented, but just watching and listening, he needs to hone, refine, and bring more gravity to his analysis.

Romo will be back in Denver on Sunday calling the AFC Title game. The city is the same, but the question is: will his performance rise above the altitude?

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Revisiting the Z100 Formula That Changed Radio

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Everyone is still shaking their head this week over the amazing Indiana football story. Coach Curt Cignetti took a team that nobody thought could have a winning record to the national championship in just two years. Remember when a radio station could do that? As a New Yorker, the best example was Z100 under Scott Shannon.

He took a lowly New Jersey-licensed station to the top in New York in essentially one ratings book. August 2, 1983, was a significant day in radio history, as that was when it all began. Scott was the perfect man for the job.

While he came to New York from Tampa, his resume was filled with many success stories, including time with record companies. And while he did not live in New York, he studied and knew the market. His success was built not in the boroughs of the city, but rather in the suburbs, which were starved for hit music.

By the time school started in September, every high school student on Long Island and in New Jersey was starting their day with Scott Shannon and the Z Morning Zoo. Could anything like that even happen today? Could a company find a format hole in a huge market and make enough noise to go from worst to first?

Beyond the music and personalities of Z100 in 1983, a key element of the station’s success was the imaging. Here was a little station licensed to New Jersey suddenly proclaiming that they were broadcasting from the “Top-Top-Top of the Empire State Building,” but that was just the beginning.

I was fortunate enough to work with Scott at CBS-FM, and one of the many things I learned from him was the importance of imaging. He always said, “The greatest radio stations are created on a typewriter.” Sadly, that’s an area where many stations miss the mark these days.

I know programmers are doing multiple stations, have to grow revenue, and have no time to coach talent, let alone update imaging. However, as I travel this country, when I hear the exact same mediocre imaging piece on a station for two years, I shake my head. Where is the creativity? Are call letters followed by a positioning statement five times an hour really the best we can do?

Scott constantly pushed us at CBS-FM for creative and topical imaging. If something was happening in New York, it was always part of the imaging in Scott’s show. No matter the format, you can do the same with your station.

I’m always impressed with what comes out of the speakers here in Southwest Florida on WFSX, a conservative FM talk station featuring Clay Travis and Buck Sexton, and Sean Hannity. How’s this: “Welcome to Florida, where you get to keep your money, your guns, and the gender you were born with.” That statement tells you everything you need to know about what you’re listening to. Their main positioning statement is “right, all along,” which is a fantastic way to state their position to their audience as well.

If a conservative talk station can create fun and interesting imaging, imagine what could be done for a music or sports format.

How about this Saturday morning, when you have a minute and are drinking a cup of coffee, you come up with something a bit more creative than “My City’s #1 Hit Music Station.” Maybe something more interesting than “Today’s Hits and Yesterday’s Favorites.”

Some ideas never get old. Think of Scott Shannon and create a great radio station on your keyboard. It may not take you from worst to first, but it will certainly make your station more listenable.

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Why Paul Rieckhoff is Betting on the Middle with His ‘Independent Americans’ Podcast

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Plenty of politically focused podcasts are aimed at one side or the other. Independent Americans with Paul Rieckhoff is looking to change that, by targeting the largest voting bloc in the country: those neither affiliated with the Republican nor Democratic parties.

A former soldier, Paul Rieckhoff started the show with a specific focus in mind.

“My background is really in the military, and then working for veterans when I started Iraq and Afghanistan Veterans of America,” he shared. “Part of my job in that role was to advocate on behalf of people who didn’t have a voice, and also to tell stories. To focus on issues that were below the radar and amplify the voices of people who were meeting the moment and inspiring.

“I’d always been at the intersection of news, politics, and culture, but I never really had my own platform. I was always everybody’s guest and never the host,” he continued. “For close to 20 years, I’ve been on almost every network and TV show podcast that’s out there. I felt like it was the right time for me to shape my own platform that could bring attention, especially to national security, veterans issues, and the world of independent politics, which is still completely below the radar for most Americans.”

Rieckhoff shared that polling shows that the Republican and Democratic parties now each account for 27% of all voters. But Independents are at 45%.

“I wanted to build a platform that spoke with and for those people in particular,” he said of his reasoning for launching the show.

Now more than 400 episodes into the podcast with Bleav and Righteous Media, Rieckhoff is proud of the positive growth the program has seen since launching more than five years ago.

“We have what we call the ‘five I’s’ that guide everything the show is about: independence, integrity, information, inspiration, and impact,” Paul Rieckhoff shared. “That was what I wanted to bring to this space, especially at a time when podcasts were emerging, and media was being disrupted. I felt like it could be a positive voice that could bring light to contrast the heat.”

Rieckhoff shared that he had been a frequent guest on cable news shows, and other avenues due to his military and charitable backgrounds. Those experiences only reinforced his conviction that there was a large portion of those following politics but weren’t a fan of the two major parties.

“I’ve seen all the platforms, and I think most Americans are looking for something different,” he posited. “We want to be an alternative for folks who don’t want something as extreme or partisan as most of the leading podcasts out there. If you want an alternative to Megyn Kelly, Tucker Carlson, Rachel Maddow, and others, that’s where we sit. We have a real audience that’s been strong and growing rapidly.”

Now that the podcast has gained strong footing with those political independents, Paul Rieckhoff admits he hopes to expand the show’s horizons. After having guests like actors Sarah Jessica Parker and Ron Perlman on the show, he hopes to make an impact by reaching new listeners who have interests outside of politics, too.

“We want to reach people who don’t usually follow news and politics but now understand it impacts their lives,” he shared. “In difficult times, people need leaders to help them navigate what feels like a battlefield every day. I want to use my experience to help people understand what’s happening and what’s next. I want to help listeners stay ahead of the curve and protect their communities, businesses, and families. We want to expand our reach, bring in inspiring guests, do more events, take the show on the road, and build community.

“There’s an aspiration for what we’re building,” he added. “We want to be for independents what Pod Save America was for liberals or what (Ben) Shapiro has been for the right. We want to be the flagship for a larger ecosystem serving the biggest underserved media market in America: unaffiliated independent Americans.”

And Rieckhoff concluded that he believes that those focused on politically independent voters is only going to increase in the coming years. So he’s glad to be at the forefront.

“That part of the media landscape is untapped, and it’s the future of politics,” he shared. “According to Gallup polling last week, 60% of young people are unaffiliated and independent. Independent doesn’t mean neutral. It means none of the above. They’re tired of corporate media and partisan corruption, and they want voices they can trust. My background working with veterans gives me a strong foundation. I’ve been in the public space for 20 years. I’ve never been a Democrat or Republican. I didn’t just change jerseys. This is the jersey I’ve been wearing since I first got on the field.

“We don’t have big money, corporate sponsors, or a media machine like Fox or CNN,” he later added. “This has been entirely organic. We started in my garage using sweat equity with my producer and creative partner, Chris Rosenthal. It’s been extremely low-budget. We don’t have a fancy studio. Sometimes I do the show from my kitchen, between picking up my kids from basketball practice. The challenge for truly independent journalists is breaking through without a marketing budget. The validation is the organic growth. We hit #36 last week on Apple’s news podcast charts. We’re punching above our weight class, and we’re just getting started.”

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Why Chris Plante Focusing on News/Talk Radio Should Be Viewed as a Big Win

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Chris Plante stepping away from his Newsmax television show to focus on news/talk radio at Westwood One should be labeled exactly what it is: a win for the format.

In an industry that often treats radio as a stepping stone to television, Plante’s decision moves in the opposite direction. That matters more than some may realize.

For years, the common career arc in news/talk has been predictable. Build an audience on radio. Get noticed by cable news. Shift attention to TV, or split time between both.

The list of examples is long and familiar. Sean Hannity. Brian Kilmeade. Mark Levin. Clay Travis. Will Cain. Guy Benson. Ben Ferguson. Greg Kelly. Scott Jennings. All are involved in both radio and television, either nationally or locally.

There is nothing wrong with that path. Television exposure can elevate a brand. It can expand reach. It can also bring credibility in the eyes of certain audiences. But it often changes the relationship between host and medium. Radio becomes one piece of a larger puzzle instead of the primary focus.

That is where Plante’s move stands out. He is choosing radio as the destination, not the detour or stepping stone. In a business where many hosts clearly want to be on TV, that choice sends a message. It says radio is still worth a full commitment.

News/talk radio demands a specific skill set. The pacing is different, the storytelling is different, and the connection is different. There is no camera to lean on. There are no graphics to save a weak segment. The voice, the content, and the rhythm have to do the work.

Listeners can tell when a host is all-in. They can also tell when someone sounds like they would rather be doing television. That matters more than consultants often admit. Radio is intimate. It is habit-driven. It rewards consistency and preparation.

Splitting time between radio and TV makes that harder. Preparation hours shrink. Focus gets divided. Creative energy gets spent in multiple directions. That does not automatically mean the radio show suffers, but it often does.

Radio also requires daily reinvention. The show has to feel fresh even when the topics are familiar. The audience expects more than headlines. They expect context, perspective, and personality. Delivering that five days a week is a full-time job.

Chris Plante focusing his attention on radio gives him the chance to do exactly that. At a time when it’s needed the most.

This is also a reminder that news/talk radio still has room to create influential voices. You do not need a cable news set to matter. Radio still reaches millions every week. It still shapes conversations in ways that television often cannot.

Part of the format’s challenge has been perception. Too often, radio is framed as secondary. TV is treated as the promotion. That mindset hurts radio in the long run. When top talent treats the medium as something to outgrow, audiences notice.

Plante’s decision pushes against that narrative. It reinforces the idea that radio can be the main event. That is healthy for the industry. A cynic could say that Plante might be being pushed out of Newsmax as much as he’s focusing on his news/talk radio show. My response would be: I don’t care. Take wins when you can get them. And this is a win for the format.

This does not mean radio and television should exist in separate silos. Cross-platform exposure can be beneficial. It does mean radio deserves hosts who wake up every day thinking about their radio show first.

At its best, news/talk radio is engaging, entertaining, and thought-provoking. Achieving that consistently takes focus. It takes dedication. It takes a host who wants to be there.

Chris Plante choosing radio over television is not a step back. It is a statement of confidence in the medium. For news/talk radio, that is a win worth acknowledging.

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.

Graphic Design for Video Games: Trends Players Notice in 2026

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Graphic design is a field that plays an important role in various industries. Many see it as just a means to create captivating graphics that attract attention, but it’s much more than that. It goes beyond visuals because it serves to create an authentic experience. That applies to games especially, which use various elements to create unique experiences for players.

The challenge of any design is providing an experience to players that is rich in artistic expression but is also functional. Nailing the sweep spot will create a seamless, memorable experience. Let’s get into more details with trends to expect in 2026.

Cross-Industry Gaming Design Influences

Different entertainment sectors rely on different graphic designs to visually communicate with audiences. Some approaches used in marketing are going to be different than movies, but there are plenty of elements they share. Game designers are aware of all these design elements and deploy them in their industry for the best user experience. This also applies to casino games available at magyar online casino that have unique graphic design elements that keep players engaged for hours. They stand out with designs highlighting jackpots, unique typography for special slot game features, and a range of colors that celebrate wins based on the chance of winning. All this creates a seamless and memorable experience for players who 

Even streaming and social media has an impact on internal game designs. There are settings created around privacy in-game, where the game automatically hides your credentials if you’re streaming it to an audience. These design elements weren’t present before.

On top of that, developers today have in mind that some players of their game are going to stream it with others, and they incorporate additional elements to keep the story alive and interactive.

The Evolution of Visual Communication in Games

Gaming started with pixel art, showing how creative people can get, even though they’re working in a limited framework. In fact, even though graphic design has moved lightning years ahead, the pixel art community is huge even today, and numerous new games are released every year that fit this graphic design style and gameplay.

However, as years moved on, there was a big shift that happened as our hardware components got more powerful. Over the last two decades, graphics processing units have gotten so powerful that they have been able to render 3D photorealistic scenery. Today, we’re nearing the experience where created games resemble what we see outside of the game. The realism is there, and graphic designers have more tools than ever to amaze players with captivating graphics.

But as some players now have decades of experience, the expectations have changed. They’re aware of different game designs, what they’re called, and when they’re used. So game designers and graphic designers have to be creative and introduce new elements 

Minimalist UI Design Taking Center Stage

Here’s an overview of some trends that are taking center stage in 2026.

Design Element2024 Standard2026 TrendPlayer BenefitImplementation Challenge
HUD elementsMultiple overlaysContextual displayCleaner screenInformation timing
Menu systemsNested menusRadial/gestureFaster accessLearning curve
TypographyDecorative fontsReadable sans-serifAccessibilityArtistic compromise
Color paletteFull spectrumLimited intentionalVisual clarityMood setting

As you can see, everything is changing to meet the expectations of players. It’s all about offering a cleaner screen, making accessibility easier and faster while maintaining visual clarity. It’s a brief shift towards minimalism that promises better immersion for players on PCs and consoles, but also for those who are watching the streams.

Photo Credit: https://www.google.com/url?q=https://unsplash.com/photos/person-holding-smartphone-with-game-controller-attachment-gC6BmJGz_ns&sa=D&source=docs&ust=1769035822435591&usg=AOvVaw0zu6FersWcorG2m3Tf05ks

Accessibility-First Visual Design

Today, graphic designers focus on the experience for everyone. That’s why the majority of modern games from big studios offer accessibility-first visual design. Here’s what that means:

  • Colorblind modes are becoming standard – Color vision deficiency is present in 8% of men, who primarily play games. That’s a huge number, and game graphic designers today are aware that colorblind modes are essential for providing an engaging experience for those affected by colorblindness.
  • Scalable UI elements – Today’s game graphic design accommodates users on different platforms. Many of them are available for Android, Windows, iOS, PlayStation, Xbox, and numerous handheld devices. That means that various UI elements need to scale according to different screen sizes.
  • Subtitles and visual indicators – A modern game is not just an audio experience; it incorporates other elements, such as subtitles and visual indicators, to amplify the player’s experience. This is especially important during low activity periods when the emphasis of the game is on a dialogue between other NPCs.

Inclusion of all player types is always important, and it’s good to see it becoming a standard part of modern games.

Motion Design and Micro-Animations

We all remember those boring screens that gave us a break and disconnected us from gameplay. Well, things have changed over the decades, and they’re a bit different now. Game graphic design has evolved, and almost all bits of a game are animated today.

  • Subtle movement creating life in static interfaces – One of the most common static interfaces is the menu. Graphic design in video games has shifted to even animating the menu. A great example is Hogwarts Legacy, which reinvents the menu by adding subtle animations to it and unique graphical elements.
  • Transition animations providing spatial context – Transition animations serve to connect you better with the storyline and with the overall flow of the game. It’s a powerful tool used in video game graphic design. The seamless switch from gameplay to a transition animation brings the story plot to the surface and keeps players engaged. Additionally, many games feature a design where the transition animation is interactive, and you have to participate, which will change the course of the plot in games with multiple endings.
  • Loading screens as designed experiences – Modern graphic design for video games incorporates different elements during loading screens to keep them more engaging. This ties players to the games, keeping them more immersed, offering an overall better experience. Some graphic designers opt for delivering valuable game tips, whereas others animate the loading screen. This trend will likely continue as current generations have shorter attention spans.

Consistent Visual Language Across Platforms

Consistency also plays an important role in video game graphics design. Here are the ongoing trends.

  • Adaptive resolution – Similar to scaling UI elements, modern games rely on adaptive resolution for several reasons. The most important one is the difference in screen sizes, but it also comes to rendering, as modern devices rely on upscaling for better in-game performance.
  • Unified art direction – The feel of the game needs to remain the same across all platforms. If there’s a unique feature available on a console due to the gamepad’s functionality, it needs to be available on other platforms as well. The game’s graphic design needs to be the same across all devices.
  • Localization-ready design: Games are not only available in a single market. The biggest studios and game providers launch them globally, and offering several languages will make the game more enjoyable and immersive.

Here are the typography trends that we see in games today.

Typography StyleUse CaseReadability ScoreArtistic ImpactBest For
Clean Sans-SerifUI/HUD9/10MediumAction games
Custom DisplayTitles/Logos7/10Very HighBranding
MonospaceCoding/Tech themes8/10HighCyberpunk/Sci-fi
HandwrittenNarrative elements6/10Very HighStory-driven games

Conclusion

As we venture into 2026, it’s clear that the game’s graphic design has matured to meet the demands of the players. The focus remains on the player’s experience, and it’s almost perfect at this point. The best part is that it applies to all players in terms of accessibility and readability. Everyone can enjoy a game that’s been perfectly optimized for them. Additionally, this translates across all platforms. It seems that these trends will remain the same in the coming years, as focus continues to be on absolute player experience across all platforms.