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NBC Sports Use of Snoop Dogg at the Winter Olympics Reveals A Hidden Truth

John Mamola
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NBC Sports Use of Snoop Dogg at the Winter Olympics Reveals A Hidden Truth

NBC Sports hit a home run without even knowing it. Again. If you’ve been tuned into the Olympics at all over the past couple of weeks, you’ve likely been hit by a drive-by appearance by rapper Snoop Dogg. Whether he’s chumming it up with Mike Tirico in the studio or on the scene sharing his amazement of America’s winter Olympians.

Who knew that the 54-year-old entertainer could be so entertaining in the snow?

Snoop Dogg’s placement in this year’s Winter Games builds off his appeal to a massive audience during the Summer Olympics in 2024. Audiences were entertained, and critics shared their enjoyment of the moment. No one could have guessed that the laid-back approach and curiosity of one of hip hop’s greatest figures would appeal so much to a mass audience.

What Snoop Dogg’s inclusion should also point out is that NBC is thinking differently about how to present sports that are only seen every four years. It has been teaching lessons to other networks that broadcast games on an annual basis, if they’re willing to listen.

The Olympics are not a tough putt for viewership on NBC Sports. According to the IOC, NBCUniversal has averaged 24.3 million viewers from the opening ceremonies through February 16. That’s an 88% leap in average viewership compared to the 2022 Beijing Games through the same time period.

Naturally, critics can poke holes in the numbers. Comparing Italy to China isn’t apples to apples. Time zone differences matter. Tape delay strategy matters. Measurement changes matter. Nielsen’s Big Data + Panel is now the broadcast standard, and that alone shifts the landscape.

There’s also the benefit of combined windows for NBC, where it lumps in the live editions of the broadcasts with the prime-time elements on tape delay that follow.

However, the task remained for NBC Sports to make the Olympics interesting. The network needed to find a new wrinkle outside just the stories of the athletes to keep people hooked, interested and entertained. That’s where NBC bet on Snoop Dogg for the entertaining Olympic Highlights with Kevin Hart and Snoop Dogg show on Peacock in 2021.

It found angles for laughs and made the Olympic viewing experience relatable when fans were barely allowed to attend at all.

The success of that program led to another attempt and further integration into the Summer Games of 2024, which also saw great success. This winter, viewers can’t escape Snoop Dogg. He’s the life of the party, bringing an energy that beams beyond the competition itself. It doesn’t feel forced, it’s just “Snoop being Snoop.”

He asks questions the common viewer would have about athletes and sports they don’t know or watch. He interacts with pure curiosity and authentic amazement at what he sees in real time. It’s a human touch that provides the presentation through a lens no one could have predicted.

The success of the venture should also serve as an example to other networks with high-profile sports broadcasts. They should find the common curiosity of the average viewer and bring it to life in real time during the event. Access is not always promised in sports, but if a network can carve out a unique angle in its presentation, what league would say no?

Should FOX Sports consider something similar for its upcoming World Cup coverage? Would FIFA be open to the idea of Post Malone following Team USA around during drills? Could FOX Sports sign Lil Wayne as a special correspondent to interview the biggest names from other countries in a five-question feature?

Are networks that carry the four major sports also listening? Could there be more celebrity-infused content creation during a World Series, Stanley Cup playoffs or the NBA Finals? Sports are entertainment, and what Snoop Dogg has provided so far is entertaining enough to keep the audience locked in and wanting more.

He’s a showman who understands he’s now the biggest kid in sports’ candy store.

And that may be the biggest lesson of all.

NBC Sports didn’t change the games. It didn’t alter the rules, the athletes or the stakes. It simply changed the lens. By inserting a personality who mirrors the curiosity, humor and awe of the casual fan, the network made an already massive event feel even more accessible.

That’s not a gimmick. That’s strategy.

In an era when viewers have unlimited options and shrinking attention spans, presentation matters as much as product. The Olympics will always have built-in drama. But NBC recognized that relatability is the bridge between spectacle and sustained engagement. Snoop Dogg became that bridge — not as a distraction, but as a translator.

Other networks should pay attention.

Because the takeaway isn’t “find a rapper.” It’s find the voice that unlocks your broadcast for people who might otherwise scroll past it. Find the personality who asks the questions fans are thinking but analysts often overlook. Find the energy that feels organic, not manufactured.

Sports television doesn’t always need to be louder. It needs to be smarter.

NBC took a swing on something unconventional and discovered that authenticity plays in any arena — even one covered in snow and ice. It turns out the real gold medal performance might be sipping on Gin and Juice.

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.

NHL Network Scores a Game Winner With Winter Olympic Hockey Mania

John Molori
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NHL Network Scores a Game Winner With Winter Olympic Hockey Mania

This year’s Milano Cortina Olympic Winter Games have been an exciting and captivating spectacle, especially in the sport of men’s hockey. NBC and the various accompanying networks have provided comprehensive coverage, but if you want a truly hockey-focused perspective, check out NHL Network and its signature Olympics program, NHL Tonight: Milano Cortina 2026.

Throughout the Games, the show has provided a nightly whip-around featuring game highlights, scores, breaking news, and expert analysis. NHL Network has employed its talented roster of studio hosts and former players with both NHL and international experience.

In doing so, NHL Tonight: Milano Cortina 2026 has allowed viewers to stay on top of all the Milano Cortina hockey happenings.

I caught the show on February 17, and it began with a humorous cold open featuring hosts Jamison Coyle and Jason Demers. Demers was eating a cup of gelato when Coyle approached and asked about the sweet treat. Demers replied that he saw Coyle eating pasta the day before and that he really shouldn’t have any gelato.

Coyle is a seasoned broadcast veteran who always brings an authoritative appeal to television. I really like the way he and Demers have blended in Italy. They have created a tremendous back-and-forth, with lively commentary and humor added to the presentation when warranted.

Cheers to NHL Network for sending the pair to Italy for the Games. There is nothing like having that firsthand, on-site knowledge transferred to viewers.

NHL Tonight’s show open remains one of the best on television, with striking images of various NHL team nicknames — quick and dramatic shots from the Penguins to the Predators to the Blackhawks to the Kings to the Hurricanes, Sharks, Rangers, Maple Leafs, and Capitals. I could watch it on a constant loop.

This particular edition of the show was hosted in studio by the terrific Lauren Gardner and the always informative Mike Rupp. Tuesday was the first day of Olympic hockey elimination play, and Rupp was right on target when he said that it was “do or die time” in Milano Cortina.

Gardner went right to work on highlights of the game between Sweden and Latvia. As the video ran, Gardner and Rupp offered an excellent mix of detail and commentary. Gardner, whether on MLB Network or NHL Network, always brings effervescence and style to the table. Beyond these qualities, she has a sixth sense for highlights, complete with incredible intonation and well-timed doses of drama.

Like words set to music, Gardner composed each highlight, and Rupp chimed in with a melodic explanation of each play. Hockey highlights move quickly, and Gardner was on her game with top-notch descriptions.

Swedish star Erik Karlsson then spoke with Coyle and Demers about his club’s 5-1 victory over Latvia. Following this, Gardner and Rupp dissected the Swedish team’s strengths.

One of the great things about the Milano Cortina Olympics is that the men’s hockey teams are speckled with All-Star NHL players. In this light, viewers are truly watching the best players from across the globe.

Rupp continually emphasized solid goaltending as a key factor in the Games. Gardner then moved to highlights of Czechia vs. Denmark. Rupp interjected, saying that Czechia is dangerous on the power play because it has players like David Pastrňák who move all over the ice. One of the highlights of watching men’s hockey in this year’s Olympics is the incredible combination of strength and speed. Players are flying up and down the ice far more than in the NHL, with fewer stoppages in play.

One of the more interesting graphics on NHL Tonight: Milano Cortina 2026 showed a rundown of NHL players with the most points in a single Olympics. Legendary names like Teemu Selanne, Saku Koivu, Marian Hossa, and Daniel Alfredsson appeared, with one of this year’s competitors, Connor McDavid of Canada, hot on their heels.

Coming back from another break, the show featured more men’s highlights, with Gardner expertly telling the story of the game pitting Switzerland vs. Italy, followed by Germany vs. France. It is obvious that Gardner, Rupp, Demers, and Coyle have done their international hockey homework.

Their commentary has not missed a beat in Milano Cortina. All of the talent is as well-versed as it normally is when discussing the NHL. The coverage has been impressive.

With Gardner and Rupp, the key word is synergy. Gardner provides a welcoming and steadying influence as a host. You can tell that she has benefited from working with a host of varied analysts across the sports landscape. No matter the broadcast partner, Gardner is a TV chameleon who performs well on any assignment with depth and gusto.

Rupp brings solid experience as a former NHL player and always adds a player’s edge to his work. Like Gardner, he has worked with numerous broadcast partners while talking hockey. His mix of rough-and-tumble saltiness and on-point analysis is terrific.

Later on NHL Tonight: Milano Cortina 2026, Coyle and Demers interviewed Christian Pulisic, an American-born pro soccer star currently playing for AC Milan. It is always nice to see pro and amateur athletes from other sports supporting their countries’ teams, and Coyle and Demers have done a nice job with these rather impromptu interviews.

They are fluid and fun.

Both men go with the flow and take the conversation to unplanned places. Demers asked a solid question about the difference in pressure when an athlete represents his country as opposed to his club or league team. Pulisic appeared a bit nervous, but Coyle and Demers put him at ease and allowed him to enjoy the experience.

After another break, Coyle and Demers analyzed the upcoming games in the Olympic tournament. Again, the homework was evident. Demers talked about Slovakia and Germany just as proficiently as he discussed the more familiar USA and Canada rosters. This was impressive.

Coyle offered a great line when the discussion moved to Switzerland’s 3-0 win vs. Italy in a playoff qualifier. Speaking of the Swiss netminder, he stated, “Leonardo Genoni, more like Leonardo da Vinci, just a masterful performance between the pipes.” Well played.

Throughout the Games, Coyle and Demers have adroitly ripped through game recaps and previews with specific points and reasons. They have not just told viewers which club won or lost, but instead explained why they won or lost. Back in studio, Gardner closed the show while Rupp humorously chanted, “USA! USA!”

NHL Tonight: Milano Cortina 2026 has featured a versatile roster of frontline commentators with strength throughout the lineup — a team truly built on depth.

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

How WWL Radio’s Diane Newman Keeps Fun the Focus on News/Talk in New Orleans

Garrett Searight
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How WWL Radio’s Diane Newman Keeps Fun the Focus on News/Talk in New Orleans

Diane Newman has built a philosophy at WWL Radio that sounds deceptively simple but proves powerful in practice — if you’re going to serve New Orleans, you’d better enjoy living in it.

The longtime program director has made “having fun” a core part of the station’s identity, not as a gimmick, but as a survival skill in a market where the news never sleeps and the emotions always run high.

“New Orleans is just a nonstop news story,” Newman said. “It is deeply mystical, enchanting, and crazy good. It’s a deeply soulful market. The spirit of the people is like no other. We have our hardships, and we have our celebrations, and we probably do both bigger than anybody else.”

“WWL has always been at the epicenter of everything that happens in the city,” Newman shared. “People know us, they trust us, they believe what we say. They love us, and we love them back. What everybody says about the city of New Orleans is, if you love New Orleans, it’ll love you back, and WWL is a reflection of that.”

“It’s just who we are,” Diane Newman added. “It’s what we do, and yes, it comes with pressure, of course.”

That pressure, Newman explained, is inseparable from the city’s defining moments — especially Hurricane Katrina — and it has shaped how she leads and how she encourages her team to approach their work with perspective and joy rather than fear.

“There’s a line of demarcation for everybody who is from New Orleans and who has experienced the world’s worst natural and manmade disaster, Katrina,” Newman said. “A lot of times it just goes down to that. If we went through Katrina, fought for this city, survived it, and then thrived after, we can get through anything.”

“When you’re dealt the cards that are dealt to the market, you have to play them,” the WWL Radio leader added. “I was just looking at this in a meeting earlier this morning at all the things that happened last year in this market. We started off last year with a terror attack on January 1st, and we covered that,” Newman said.

“Then, a historic snowstorm that basically shut the city down for almost a week. Then we had a Super Bowl, and WWL is the flagship station for the Saints, so we’re in the middle of that. We broadcast live from the convention center, all of the shows on the station, for the entire week. Then there was a Mardi Gras like no other, with high wind, so it changed the story,” Newman shared. “We changed with it. It’s constant action like that in this market.”

For Newman, the ability to handle that constant action comes from an emotional contract with the audience — one rooted in empathy, connection, and a belief that radio should feel human, even during chaos.

“We tell the people who live here, who believe in WWL, who trust us, who know we’re there with them no matter what happens in this city, that we are here,” Newman said. “We will tell you what you need to know, we will guide you through, and we will talk to you. And we will feel with you. We will think with you.”

That same philosophy drives how Newman evaluates talent and builds teams. She views WWL Radio less like a traditional talk station and more like a championship locker room.

“I think it’s not unlike an NFL team,” Newman said. “It’s about the players on the field. These guys are this market. Tommy Tucker came from music radio and learned the craft of talk radio through our Katrina experience,” Newman shared. “Newell Normand was the sheriff of Jefferson Parish and had a 90-plus approval rating three times. He’s brilliant, and he cares deeply about what happens within this city.”

“Then you have Scoot (Paisant), who evolved into a news/talk host and came back to the city for a rebirth on WWL,” Newman said. “He is deeply rooted here. They all are. We also have Bobby Hebert, the Cajun Cannon, who led the Saints to the playoffs. People love Bobby. They love Deuce McAllister. In so many ways, it’s about that deep connection. People can hear themselves on this radio station and see themselves in our hosts.”

WWL Radio has a slightly different philosophy in one of the most important dayparts. In afternoon drive, the aforementioned Hebert hosts a sports talk show from 4-8 PM on the news/talk station. And while that might seem out of place, to Diane Newman — who finished seventh in the Mid-Market News/Talk Program Director rankings in the 2025 Barrett Media Top 20 series — the show fits perfectly into the vision of the station.

“Give people what they love,” Newman said. “We can still cover everything in news and talk, all the conversations about the indicted mayor and the new mayor coming in to bring a rebirth to the city. But people love the New Orleans Saints. People love LSU football and baseball. Sports are part of who we are here. So why wouldn’t you give them a taste of what they love every day?”

At the heart of it all, Newman still sees herself as a producer — someone responsible for shaping daily moments that reflect the life of the city.

“Producers produce,” Newman said. “At heart, I’m a producer, and I think that’s who all of us at this radio station are. Every day, you’re served up a blank slate. You have to fill it with what’s going on in your market, what people care about, what people want to talk about, what people are happy about, and what people are upset about. To me, it all goes back to connection. When a station can reflect the market the way WWL does, that’s the goal.”

Ultimately, Newman believes that fun isn’t a distraction from the seriousness of some of the topics that are discussed on the station — it’s what sustains it.

“It still is so much fun. In the end, it’s supposed to be fun. You have things that are a pain that you have to do every day,” Newman admitted. “But even covering Mardi Gras, you’re delivering something special. Who gets to do this for a living? If the Saints win, how much fun is that? When LSU is a championship baseball team, how much fun is that?”

“We have amazing jobs,” Diane Newman concluded. “Every day starts with a blank slate, but we have jobs that most people in the world would want. How much fun is this?”

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.

News/Talk Radio Can’t Ignore Digital Video Any Longer

Garrett Searight
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News/Talk Radio Can’t Ignore Digital Video Any Longer

News/talk radio has never lacked strong opinions or compelling voices. What it’s lacked, far too often, is urgency around digital video. In 2026, that hesitation is no longer quirky or cautious. It’s costly. News/talk radio leaders don’t need another white paper or conference panel to see where the industry is heading. The signals are everywhere, and they’re flashing bright red.

Just this week, two of the biggest names in conservative media made the move impossible to ignore. Mark Levin and Sean Hannity both announced new digital video shows, with YouTube and Rumble among the key platforms.

These aren’t experiments from fringe players. These aren’t new projects because Mark Levin, Sean Hannity, Westwood One, and Fox News are bored! They’re calculated bets from brands that already dominate radio and television.

At the same time, Apple Podcasts revealed plans to integrate video into its app, aiming to better compete with YouTube, Spotify, and even Netflix. When Apple starts chasing video relevance, the message is pretty clear.

Yet, despite all of that momentum, many news/talk radio leaders are still dragging their feet. Some dismiss digital video as a distraction. Others see it as expensive, complicated, or unnecessary. Just another thing that could possibly go wrong and need fixing. A few quietly hope it’s a fad that’ll burn out. None of those positions hold up anymore, and deep down, most decision-makers know it.

To be fair, this isn’t an all-or-nothing indictment. There are stations and groups that have leaned in and built legitimate video presences. They’ve invested in studios and equipment, dedicated creators, and created content that works beyond terrestrial radio. Those brands are already reaping the benefits in audience reach, advertiser interest, and cultural relevance. The problem is how many others are still wildly behind the times.

What makes the resistance so puzzling is how low the barrier to entry has become. This isn’t 2010, when video meant massive budgets and clunky workflows. Today, a solid camera, decent lighting, and a producer who understands digital platforms can get you in the game. The tools are cheaper. The platforms are begging for content. The audience already expects to see the people they hear every day.

Digital video doesn’t replace radio. It enhances it. It creates shareable moments that travel far beyond a station’s signal and gives advertisers who view having their logo on something as the end-all, be-all something tangible to align with, especially as younger demos continue to drift away from audio-only habits. Ignoring that reality doesn’t protect radio’s legacy. It slowly erodes it.

There’s also a branding problem at play. Earlier this week, Curtis Sliwa said that young people don’t listen to talk radio, that it’s only people who are 55+. And you know what? It’s hard to argue with him. That identity rings true when the industry refuses to embrace the dominant media format of the moment. Audiences notice. So do competitors who are more than happy to scoop up viewers while radio debates whether the water’s warm enough.

The real risk isn’t trying digital video and falling short. The real risk is doing nothing while the rest of the media ecosystem races ahead. Levin and Hannity didn’t move because they were bored. Apple didn’t add video because audio was thriving on its own. They moved because attention has shifted, and smart brands follow attention. That’s where the audience is and is going. I know I’ve banged this drum a thousand times. And I’ll keep banging it until it sinks in to the highest ranking, most influential leaders in the format and in the business.

It’s never been easier to take the leap. Those leading your brands in the future will thank you for making the decision today. The only question left is how much longer news/talk radio can afford to wait.

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.

John Fanta To Make NBA on NBC Play by Play Debut Next Week

BSM Staff
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John Fanta To Make NBA on NBC Play by Play Debut Next Week

John Fanta will add another milestone to his rapidly accelerating career next week when he steps into the NBA on NBC booth for the first time, marking a significant expansion of his responsibilities at the network and signaling NBC Sports’ growing confidence in one of its youngest rising voices.

Fanta will handle play-by-play duties next Tuesday night for the matchup between the Minnesota Timberwolves and Portland Trail Blazers. He will work alongside former NBA guard Jamal Crawford, who serves as the game analyst, while Grant Liffmann reports from the sideline.

The broadcast will stream on Peacock and air on NBC Sports platforms.

When NBC initially announced Fanta’s hiring from FOX Sports last year, the network outlined a role that included college basketball play-by-play and occasional NBA reporting. Although this marks his NBC NBA play-by-play debut, Fanta does bring prior professional experience to the assignment.

In 2024, he called an NBA regular-season game remotely for NBA TV when the Brooklyn Nets faced the Cleveland Cavaliers in Paris. In addition, he has hosted The Warmup, the league’s pregame program, and contributed to NBA Draft coverage, building familiarity with the league’s storylines, personnel and production rhythms.

Over the past two seasons, he has served as one of the play-by-play voices for the WNBA’s New York Liberty, further sharpening his live-game command and deepening his professional basketball portfolio. At NBC, he has already handled college basketball assignments, delivered studio updates during college football coverage and contributed to Football Night in America.

A 2017 graduate of Seton Hall University, Fanta has climbed the industry ladder quickly while maintaining ties to his Big East roots. For NBC Sports, the decision to elevate Fanta into the NBA play-by-play rotation reflects both long-term planning and short-term opportunity.

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.

FCC Chair Brendan Carr: Coverage of Stephen Colbert Pushing Interview to YouTube ‘Embarrassing Episode for the Media’

BNM Staff
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FCC Chair Brendan Carr: Coverage of Stephen Colbert Pushing Interview to YouTube ‘Embarrassing Episode for the Media’

CBS late-night host Stephen Colbert alleged that the network forced him to move an interview with U.S. Senate candidate James Talarico (D-TX) to YouTube due to concerns about the equal time rules enforced by the FCC. FCC Chairman Brendan Carr believes the situation has been covered poorly by the media as a whole.

Following Colbert’s revelation that he was told he couldn’t broadcast the interview as originally scheduled, CBS refuted those claims.

“The Late Show was not prohibited by CBS from broadcasting the interview with Rep. James Talarico,” a statement from the network read. “The show was provided legal guidance that the broadcast could trigger the FCC equal-time rule for two other candidates, including Rep. Jasmine Crockett, and presented options for how the equal time for other candidates could be fulfilled. The Late Show decided to present the interview through its YouTube channel with on-air promotion on the broadcast rather than potentially providing the equal-time options.”

While speaking on the subject on Wednesday, Carr argued that Colbert had lied about the situation, pointing to the statement released by CBS denying that they forced the interview off the network’s linear television program.

“I think yesterday was a perfect encapsulation of why the American people have more trust in gas station sushi than they do in the national news media,” Carr said.

He added that late-night TV shows rarely fall under the news program distinctions.

“The idea is that if you’re a partisan political actor under the case law, then you’re likely not going to qualify under the bona fide news exception,” Brendan Carr continued.

He added that media coverage of Colbert’s comments was a “hoax” and that he had been “highly entertained” by the situation.

“I think you guys should feel a bit ashamed for having been lied to and then just run with those lies,” concluded Carr. “I think it was an embarrassing episode for the media.”

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YES Network Reportedly Using Two Play-By-Play Voices For Yankees Broadcasts

BSM Staff
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YES Network Reportedly Using Two Play-By-Play Voices For Yankees Broadcasts

The YES Network is heading into the 2026 season with a noticeably streamlined Yankees broadcast booth. According to a report by NewsDay, the network has taken a different approach behind the microphone, significantly narrowing the number of voices calling games compared to last year’s rotation.

During the 2025 season, YES utilized four different play-by-play announcers and six analysts, creating a booth that shifted frequently depending on scheduling, availability and other assignments.

That revolving-door approach will give way to a more defined structure in 2026, as Michael Kay returns as the lead play-by-play voice, backed up by Ryan Ruocco, while David Cone, Paul O’Neill and Joe Girardi will rotate as analysts. Meredith Marakovits remains in her role as the network’s clubhouse reporter.

YES Network executive producer and vice president of production Jared Boshnack told Newsday the decision focused on viewer continuity. He said many fans structure their routines around nightly baseball broadcasts. Boshnack explained that baseball’s rhythm favors familiar voices and steady presentation. That consistency matters, especially for fans who watch after work or set aside weekend time to follow the club.

Boshnack, who took over production and programming about a year ago, said the network already featured elite talent. However, he saw an opportunity this offseason to refine the presentation. The goal was to tighten the structure of coverage and sharpen the on-air identity. He also wanted viewers to know exactly who would guide each broadcast when they tune in.

Last season, John Flaherty, Todd Frazier and Jeff Nelson served as analysts at various points, while Flaherty and Justin Shackil also handled play-by-play duties. Flaherty and Nelson will not return to the booth this year, though Shackil and Frazier remain part of the network’s pregame and postgame programming lineup.

Kay, who enters his 25th season with YES, is expected to call between 85% and 90% of regular-season games, further reinforcing the network’s emphasis on stability at the top of the broadcast. He and Cone are slated to call the network’s first spring training telecast Saturday when the Yankees host the Detroit Tigers.

For YES, the philosophy entering 2026 is straightforward: fewer voices, clearer identity and a booth designed to feel as familiar as the daily cadence of baseball itself.

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Green Bay Packers Micah Parsons Responds to Criticism by Skip Bayless Following Exit From Dallas Cowboys

BSM Staff
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Green Bay Packers Micah Parsons Responds to Criticism by Skip Bayless Following Exit From Dallas Cowboys

Micah Parsons didn’t attempt to soften his words, walk them back or offer a carefully polished response when addressing critics during a recent appearance on the Open Thoughts Podcast, choosing instead to confront the backlash surrounding his departure from the Dallas Cowboys and make clear how he feels about television personalities who have questioned both his performance and his decision-making.

Parsons, now with the Green Bay Packers after leaving Dallas earlier this past season, directed pointed criticism toward national sports television commentators, accusing some of hiding behind studio desks and social media platforms rather than engaging directly.

“They’re scared. They scared to voice their opinions. F**k them,” Parsons said. “Like, I’ll tell you, f**k Skip Bayless. F**k all them. I don’t give a f**k.”

The comments represent one of the most direct responses Parsons has offered since his move from Dallas, a transition that sparked debate across national programs and social media feeds alike. While the defensive end has remained productive on the field, he acknowledged frustration with what he described as commentary designed more to provoke reaction than offer substantive analysis.

“They want to rage bait me, but they won’t say that to my face,” Parsons said. “You Twitter finger a** motherf****rs. F**k them. I don’t give a f**k. I’ll tell you how it is.”

Among the commentators Parsons referenced was longtime television personality Skip Bayless, who questioned the optics and competitive implications of Parsons’ exit from Dallas. Rather than deflect, Parsons challenged Bayless directly during the podcast conversation.

“You suck, your show don’t work no more. What are we talking about here?” Parsons said. “F**k them. Motherf****rs be trying to tell you how to play the game. Come play my position, Skip. Cause I can do what you do. I do it better sometimes. So, what are we talking about here?”

Parsons’ remarks underscore the increasingly tense relationship between Parsons and the national debate ecosystem that fuels modern sports television, where strong opinions often drive ratings and viral clips. He suggested that some personalities cross a line when criticism shifts from performance evaluation to personal attack, particularly when the conversation centers on loyalty or character.

At the same time, Parsons did not rule out the possibility of joining sports media once his playing career concludes, though he made clear any transition would come with conditions.

“It just depends if they let me be me,” Parsons said. “I’m not here to instigate no other player or talk back about another player because they had a bad game or whatever. If they want me to be anti-whatever fanbase, I’m good. I’m not no puppet. A lot of these dudes is puppets for national TV. If you want to be a puppet, be a puppet. But that’s not me. I’m not selling my soul for a check. I’m good.”

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.

PHLY Adds Corey Seidman To Phillies Coverage

BSM Staff
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PHLY Adds Corey Seidman To Phillies Coverage

Philadelphia’s digital sports outlet PHLY has added a familiar voice to its baseball coverage, hiring longtime Phillies analyst Corey Seidman to co-host the PHLY Phillies Podcast alongside Jamie Lynch as the company continues to expand its footprint in a competitive local media landscape built around daily conversation and direct-to-consumer engagement.

PHLY, which has invested heavily in team-specific coverage and subscription offerings, announced the move positioning Seidman as the centerpiece of its Phillies content strategy heading into a season that many around the club view as pivotal for both the roster and the franchise’s long-term trajectory.

“Corey’s credibility, experience, and understanding of the Phillies make him an ideal fit for us,” PHLY General Manager Todd Berman said in a statement, emphasizing the importance of institutional knowledge at a time when fan expectations for year-round coverage continue to rise alongside the team’s competitive ambitions.

Seidman arrives after a 15-year run with NBC Sports Philadelphia, where he developed a reputation for detailed reporting, analytical breakdowns and a steady presence during both rebuilding stretches and postseason pushes that defined multiple chapters of modern Phillies baseball.

“I’m thrilled to join PHLY and continue covering the Phillies for the most passionate fans in baseball,” Seidman said, adding that Philadelphia remains home and describing the upcoming season as one of the more intriguing storylines the organization has faced in recent memory.

By bringing Seidman into the fold, PHLY strengthens its credibility with an audience that increasingly values insider access, historical context and unfiltered discussion delivered across podcasts, written content and premium membership platforms rather than through traditional television broadcasts alone.

Seidman said the move allows him to maintain his connection with a passionate fan base while embracing a digital-first model that offers more flexibility in tone, format and immediacy than legacy media structures often permit.

In his new role, Seidman will anchor the PHLY Phillies Podcast with Lynch, while also producing written analysis, conducting interviews and delivering real-time reaction that feeds into the company’s broader coverage ecosystem, including exclusive offerings for its Diehard membership tier designed to deepen subscriber engagement.

The podcast will launch in conjunction with the regular season and will be distributed across major audio platforms, signaling PHLY’s intent to meet fans wherever they consume content while building a consistent daily destination centered on one of the city’s most scrutinized teams.

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Megyn Kelly, Chris Cuomo Trade Barbs Over Nancy Guthrie Coverage

BNM Staff
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Megyn Kelly, Chris Cuomo Trade Barbs Over Nancy Guthrie Coverage

There’s never been any love lost between Megyn Kelly and Chris Cuomo, and that was on display this week over the Nancy Guthrie case.

Cuomo and Kelly have been frequent critics of one another over the years. That boiled over this week when Chris Cuomo took shots at Megyn Kelly and his colleague Ashleigh Banfield over their coverage of the disappearance of Nancy Guthrie.

During a monologue on his NewsNation show, Cuomo called Kelly a “fugazi, sloppy influencer” and a “would-be sleuth” for continually bringing up Nancy Guthrie’s son-in-law as a potential suspect in the case.

In response, Megyn Kelly took Cuomo to task on her SiriusXM show, calling him a “douchebag” and continually calling him “Fredo”, an insult based on Fredo Corleone from The Godfather, meant to label someone as the inept younger brother of someone more powerful and influential.

“Ok, so let me tell you what Fredo is really upset about,” Kelly began. “Fredo no rate-o. That’s his real problem: nobody watches his show on NewsNation, and I mean nobody. Nobody watches his failed podcast either. Nobody watched his Sirius radio show, nobody watched him on CNN, and therefore he gets upset at anybody who does well, like our show, which is always one of the top three conservative podcasts in the nation … Fredo doesn’t like that, ok? Because as I say, Fredo no rate-o, so he gets upset and he gets jealous.

“Sometimes in the past on this show, we’ve called out Fredo for his terrible behavior, for his bad ratings, for his lies about bumping into people who just happen to be listening to his podcast, because literally nobody does,” Kelly concluded. “And Fredo can’t take criticism.”

In response, Cuomo took issue with the language Kelly used in her monologue.

“Get over yourself, little hater,” Cuomo said in a post on X. “Odd language choice for a mom with young kids. Classy.”

After that post, Megyn Kelly responded by saying, “I know your thing is harassing women (runs in the family!) but your focus on me is getting creepy.”

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

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