Paramount Skydance is beginning a round of layoffs expected to affect 2,000 employees on Wednesday. The company’s CEO, David Ellison, is sharing his insight on why the cuts are happening.
In a memo to staffers, which Barrett Media has obtained and is shown below in full, Ellison noted that there would be “significant change” to the number of employees working at the company, beginning today.
“As part of that process, we must also reduce the size of our workforce, and we recognize these actions affect our most important asset: our people,” Ellison wrote.
He shared that the company was “addressing redundancies” that resulted following the merger between Paramount and Skydance. He also added that the company was “phasing out roles that are no longer aligned with our evolving priorities.”
Furthermore, Ellison shared that the cuts were “necessary” and ” designed to strengthen our focus on growth” for the new company’s “long-term success.”
Ellison’s entire note is below.
Dear All,
When we launched the new Paramount in August, we made clear that building a strong, future-focused company would require significant change – including restructuring the organization. As part of that process, we must also reduce the size of our workforce, and we recognize these actions affect our most important asset: our people.
We want to be as open and direct as possible about the reasons behind these changes. In some areas, we are addressing redundancies that have emerged across the organization. In others, we are phasing out roles that are no longer aligned with our evolving priorities and the new structure designed to strengthen our focus on growth. Ultimately, these steps are necessary to position Paramount for long-term success.
That said, today we begin the difficult process of informing impacted team members across the company. These decisions are never made lightly, especially given their effect on our colleagues who have made meaningful contributions to the company. To this end, we are committed to supporting all employees through this transition. Members of our HR team will be working closely with business unit leaders to share detailed information on benefits and transition services. Additional questions can be directed to (redacted HR email).
We are deeply grateful for your hard work, professionalism, and resilience during this period of transition. We remain confident that Paramount’s best days are ahead, and we’re committed to building a strong foundation for the future.
Thank you, David
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Bonneville International’s Country 105.1 KNCI Sacramento is in the market for a new afternoon host following the departure of longtime personality Pacey Williams (Cervantes), who has decided to step away from radio to pursue an opportunity outside the industry.
Williams shared the news on social media last week, calling it one of the most emotional moments of his career.
“Today is a very emotional day for me,” he wrote. “A career which has spanned almost two decades is coming to an end. It’s very rare for people in radio to be able to leave on their own terms, and I’m so happy I was able to do so.”
He added that he is leaving radio to pursue “something so big that my hands are shaking even typing this,” hinting at a major announcement set for November 5th.
Williams joined KNCI in 2018 as the station’s afternoon drive host and also spent time on sister station Now 100.5, where he handled night duties. His on-air style—energetic, engaging, and authentic—helped strengthen KNCI’s connection with listeners in Northern California.
Before arriving at Bonneville Sacramento, Williams hosted mornings on Classic Hip Hop V101. His career has also included stints at several prominent stations in San Diego and San Francisco, showcasing his versatility across formats and markets.
Bonneville has not yet announced a replacement or timeline for filling the afternoon slot, but the search is already underway.
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Last year, Ryan Girdusky insinuated that Mehdi Hasan was a terrorist with a quip at the former MSNBC host while appearing on CNN. Hasan noted he hasn’t returned since, and questioned if he, like Girdusky, has been banned.
On October 28, 2024, Hasan and Girdusky were panelists on CNN NewsNight with Abby Phillip. As part of the conversation, Hasan said that he supports Hamas, so he’s used to being criticized by those on the right.
Girdusky then responded with “I hope your beeper doesn’t go off,” a reference to Israeli intelligence officers equipping electronic devices used by the Hamas terrorist organization with batteries that would heat and explode, intentionally injuring or killing their users.
At the time, the panel delved into chaos between Hasan and Girdusky, leading to a viral yet controversial moment. The following day, CNN shared that it had permanently banned Girdusky from appearing on the network for his statements.
However, one year later, Hasan is questioning if he has also been banned. In a post on social media, he shared he has not been invited back to the network since the incident.
"I hope your beeper doesn't go off."
A year ago today, a racist tried to make a 'joke' about me being killed by Israel. It was the 1st time I've ever walked off of live TV. That night CNN said they'd ban the racist from their air. But in the year since, I myself haven't been… https://t.co/ncyXXbgtgC
“A racist tried to make a ‘joke’ about me being killed by Israel. It was the 1st time I’ve ever walked off of live TV,” said Hasan. “That night CNN said they’d ban the racist from their air. But in the year since, I myself haven’t been invited back on CNN. So was I banned too? The victim of the abuse, alongside the abuser?”
CNN has not responded to Barrett Media’s request for comment on the statements made by Medhi Hasan.
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VSiN, The Sports Betting Network, is continuing to grow its broadcast footprint across the country, adding new affiliates and expanding existing relationships in several top U.S. media markets. The network announced that stations in Cleveland, Charleston, and Springfield have increased or added carriage of its sports betting programming, further strengthening VSiN’s position as the leading audio destination for sports wagering news and analysis.
In Cleveland, 1350 The Gambler, in the nation’s 35th-largest media market, will expand to more than 20 hours of VSiN programming daily. The station will feature weekday shows including VSiN By the Books. Plus weekend coverage that includes 24/7 programming anchored by The Ohio Betting Hour with Adam Burke and regular Action Updates.
Charleston’s WIWF-FM 96.9 HD-3, part of Cumulus’ The Game Network, has also joined VSiN’s growing lineup of affiliates. The station will air overnight coverage from 9 p.m. to 6 a.m. Featuring popular shows such as VSiN PrimeTime and Cashing Out, with plans for full 24/7 weekend programming. The network’s content will also be heard on several Cumulus stations across the region, including its Columbia flagship.
Additionally, 102.1 The Won in Springfield, Missouri, recently launched as a new affiliate, broadcasting roughly 17 hours of VSiN content on weekdays and full-day coverage on weekends, excluding live play-by-play. VSiN’s Action Updates will also run twice daily on The Won. Action Updates will also air on sister stations including Q 92.9, 104.7 The Cave, and 105.1 The Bull.
Brian Musburger, president and chief business officer at VSiN. Said the expansion underscores the network’s mission to provide trustworthy and data-driven sports betting information to fans across the country.
“We’re thrilled to bring these new radio markets the news, analysis, and expert insights listeners need to make more informed wagering decisions,” Musburger said. “Through continued distribution expansion. VSiN is delivering its trusted sports betting programming to more listeners than anyone else. Solidifying our position as the largest sports betting radio network in the country, by far.”
With more than 18 hours of live linear sports programming each day. VSiN has established itself as a go-to resource for sports bettors and fantasy players seeking insights from seasoned handicappers, journalists, and bookmakers. Its daily lineup covers every major sport. From football and basketball to golf, hockey, and motorsports. Offering analysis, odds movement, and predictions designed to inform and entertain both new and experienced bettors.
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U.S. television viewership for the 2025 World Series has dipped from last year’s record-setting numbers, but not nearly as steeply as many expected — and international audiences have more than made up the difference.
FOX Sports reported Wednesday that Game 1 between the Los Angeles Dodgers and Toronto Blue Jays averaged 13.3 million U.S. viewers, down 13% from 2024’s Yankees-Dodgers opener. Game 2 followed with 11.6 million viewers, a 16% decline. The drop was expected, given that the Blue Jays aren’t part of Nielsen’s U.S.-based market ratings and last year’s matchup featured two massive American fan bases.
Still, the story shifts considerably when Canada’s numbers are added. Sportsnet averaged 7 million viewers north of the border for Game 1. Marking a new Canadian record for a Blue Jays broadcast. Combined with FOX Sports’s U.S. figures, the total reached 20.3 million viewers across both countries. 34% higher than last year’s Game 1.
Game 2 followed a similar trend. Sportsnet drew 6.6 million Canadian viewers, while FOX Sports averaged 11.8 million in the U.S. Together, the total audience of 18.4 million topped last year’s U.S.-only Game 2 figure by 27%.
For FOX Sports, those totals underscore how the World Series has become an increasingly international television property. “No expectation that this would match last year’s NYY-LAD matchup,” Fox Sports president of analytics and insights Mike Mulvihill posted on X, acknowledging the unique market mix this year presents.
Even with the declines, FOX Sports can still point to strong domestic results. Game 1 marked the most-watched World Series opener in the U.S. since 2018 outside of last year’s event. While Game 2 ranked as the top Game 2 in six years.
In Japan, Game 1 averaged 11.8 million viewers on NHK-G — the most-watched single-network World Series broadcast in Japanese history. Game 2 followed with 9.5 million on NHK-BS, despite airing in the late morning due to time differences.
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Cox Media Group’s Magic 94.9 in Tampa is adding a familiar voice to its on-air lineup, announcing Alexia Gonzalez as the station’s new midday host.
Gonzalez brings a versatile media background to the Hot AC brand. She most recently served as a personality at SBS’s El Zol 97.1. Her career includes time on-camera with SBS’s Mega-TV and the Home Shopping Network. As well as experience as the owner of her own marketing agency, The Gaia Group.
For Gonzalez, the move to Magic 94.9 represents more than a career change. It’s a homecoming to the medium that shaped her life.
“Can’t tell you the excitement I feel getting back to my radio roots as radio has always been in my DNA,” Gonzalez said on LinkedIn. “Growing up with both of my parents in the radio industry. Some of my earliest memories were hanging out in DJ booths, backstage at concerts, recording commercials, and singing jingles before I even hit my teens. By 12, I was working in Spanish radio and made my way to television hosting and acting.”
Gonzalez joins a station known for its upbeat blend of contemporary hits and personality-driven radio. Magic 94.9 has long positioned itself as a listener-friendly brand. Connecting with its audience through music, lifestyle content, and relatable hosts.
“I can’t tell you how PUMPED I am for this next chapter. Being on air every day in St. Pete and Tampa Bay is truly a dream come true,” wrote Gonzalez. “Can’t wait to see you at our Magic 94.9 events & concerts and I hope you’ll tune in and hang with me on-air daily! Here’s to a new season, new energy, and so much more magic.”
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As younger listeners grow less loyal to artists and more responsive to algorithmic discovery, the power dynamics of the music industry are quietly shifting. The rise of the “swipe, swipe, swipe”-obsessed Gen-Z and Gen Alpha has brought a new concern by some artists that this will only help propel and fast-track record labels turning more towards AI. The result could mean a major transformation within the music industry as a whole, that may have detrimental effects for not only artists, but the music broadcasting industry should they end up on the wrong side of the Musicians vs. AI war.
It’s no secret that social media has had a direct effect on attention habits, especially for the younger generations. Many times what happens on Friday is old news come Monday. This is increasingly being seen on the music side as well, as labels are using listener habits and data to make both creative and commercial decisions, for better or worse.
This is no more evident than Spotify. The platform’s massively popular “New Music Friday” playlist is seen by many record labels as a “must-have” for their artists new songs, as it guarantees people will hear it. How long they will actually stay and listen to the song however is a different question and one that Spotify significantly uses to determine if the song will be recommended to more people or not.
”Spotify tracks whether a song is played for at least 30 seconds [or skipped]. If listeners stay past this mark, its’ a positive signal tot eh Spotify algorithm. Plus, that’s when you start earning royalties,” Pitch-US.com reports. On TikTok, that attention-span is much shorter, sometimes just 3 to 5 seconds!
Algorithm Changing Writing Habits
What I like to call “The Spotify Effect” has had a direct impact on many artists writing style and creative process: Make sure to get to that catchy riff or hook ASAP.
“Let’s face it, ‘Stairway to Heaven’ could never be released today, let alone get played on any [radio] station that isn’t Classic Rock,” one radio insider told me.
With the music industry (as well as let’s be honest, every industry) increasingly focusing on data, the rapid change in listening habits that comes in fleeting viral bursts, may change business models. If the majority of new music is being consumed for lesser periods of time, it makes sense to produce it and release it just as quickly.
The quickest way to do that would be thru AI, especially if volume and adaptability matter more than an artist’s legacy.
Broadcast Platforms Main Concern
The push to Artificial Intelligence within the music industry has sparked a massive backlash from many artists as well as fans.
As I previously reported, Spotify faced tremendous criticism, including a viral campaign of people cancelling their subscriptions, after they allowed a fake, AI-band to garner up hundreds of millions of streams and placements. The result was an announcement on Spotify’s end to better inform users if the music they are listening to was artificially created.
Radio stations will soon find themselves in the same predicament.
It’s only a matter of time until AI-generated music reaches the new music charts and when it does, they will have a tough decision to make.
Existential Crisis or Enormous Opportunity?
Do stations risk alienating and losing their (declining) listener base by trying to stay relevant to a younger audience by giving into the AI revolution, despite how polarizing it may be to their loyal, more music-appreciative audience? It’s a tough line to walk and one that music broadcast has to choose wisely.
I’d argue that this actually presents an opportunity for some stations or platforms to gain an edge and listener base by declaring they are “The Anti-AI” station, where listeners won’t ever hear AI-generated or created music. Music fans will appreciate the loyalty to authenticity.
Those stations better do so sooner than later however, as recent artist catalog acquisitions by record labels may hint that the AI push is quickly approaching.
Why Are So Many Labels Buying Artist Catalogs?
In the last few years, we have seen a massive push by major labels to purchase artist’s back catalogs.
In 2020, Bob Dylan sold 100% of his publishing catalog to Universal Music Publishing for a reported deal worth $250-300 million. Less than two years later, he sold his entire music catalog to Sony Music for a reported $150-200 million, according to Forbes.
But it’s not just older musicians selling their song rights. Justin Bieber, The Killers, Imagine Dragons and hundreds of others have sold either partial or entire aspects of their music catalog as well. From an artist’s standpoint, it makes sense – they might as well cash in on their hard work and get paid hundreds of millions of dollars for it. However, for the labels, there may be an ulterior motive.
“Why do you think there as such a huge push to buy up catalogs in the last few years?” Boys Like Girls lead singer and popular producer Martin Johnson recently asked me. “So they can dump them in AI. It’s all an AI play.”
Although there’s no definitive evidence of labels doing that just yet, Johnson may be onto something.
Outlets Will Eventually Have to Choose Between Authenticity and AI
As AI models continue to improve at an alarmingly quick rate, so too does their ability to recreate or reimagine music in the style of proven hits. Record labels have spent BILLIONS of dollars purchasing many of those artists’ catalogs, which could become a massive business leverage should they dump that into AI datasets.
Imagine a 2026 version of the catchy “Build Me Up Buttercup” for a generation that never heard it before? Get your dancing shoes on! Only this time you aren’t dancing in front of The Foundations like some were in the 60s, you are dancing to a computer code.
For the younger generations that claim to be so against artificial intelligence, they may not realize that it’s their own listening and viewing habits that are directly responsible for the rise of AI within music.
Thoughts? Comments? Reach out to me. @TheGunzShow on all social platforms or TheGunzShow@gmail.com.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Forget the 15-second dopamine chase. Olivia Dean just proved that attention spans aren’t dying, they’re just tired of bad songs. The past five years of pop have been a scroll, Olivia Dean is the pause.
The Backstory and the Build
Dean’s been tuning up for years. BRIT-school pedigree, early EPs, a Mercury-nominated debut album and now a leveled-up second album titled The Art of Loving. It’s 12 songs and only 34 minutes long. No filler. Music that can play at midnight or during Sunday brunch.
What matters most for today’s playlist curators and marketers is that the audience is choosing the whole thing, not just the “focus” record.
“The Man I Need” is clearing 13 million weekly streams. “Love Me Not” is over 8 million. “So Easy” has passed 7 million. She’s the only female artist with a song in the Top 10 right now that isn’t named Taylor (Swift, although Daynes is due, Love Will Lead You Back still bops).
Dean Of The New School
Olivia Dean is rewriting the syllabus on how modern pop can feel. Melody is her medium, emotion is her curriculum, and the lesson is simple: sincerity scales.
Her visuals use negative space, and clean lines. (my inner design snob is kicking in). It’s cool, composed, and shot in an unmistakable Sade style, where stillness becomes the statement. Dean even covered Sade’s “Love Is Stronger Than Pride.” The lineage is intentional.
The Art of Loving plays like an album, not a collection of songs. The titles talk to each other and feel deliberate and needed to complete the story. You’ll hear Motown warmth, 1970s soft-pop sunlight (which sounds like the name of Yankee candle) and 80s scapes more seamless than a scrunchie.
Olivia Dean doesn’t fit in a lane, and why should she? Lanes were designed by the industry, not the audience. Her tone, lyrics, and identity let her live comfortably across Top 40, Urban AC, AAA, Jazz, AC, Hot AC, Lite AC, holiday weight AC, etc..
And a few stations already understand what she represents. KYLD in San Francisco and KALV in Phoenix are both spinning two Olivia Dean records right now, while Triple A WNXP in Nashville is leading the nation by playing three.
She’s one of the few artists who can sound equally at home between Taylor and Tems, or between Norah Jones and SZA. It’s rare air, and those who understand that will get to claim her early, not chase her later.
The Right Co-Sign at the Right Time
Olivia is joining Sabrina Carpenter on select arena dates, and that’s the perfect amplifier. Millions of casual fans will walk out Googling her name and wake up Monday with two or three Olivia tracks added to their daily mix (Spotify terminology but also a great name for a Sabrina Carpenter espresso). For playlist curators and marketers, that’s the move to mirror. Growth doesn’t come from meetings; it comes from alignment and timing.
For half a decade, labels, managers and media companies chased follower counts and virality. What Olivia’s rise shows is that we’re swinging back to artistry, voice, songwriting, story and good taste (as good as Sabrina Carpenter’s Daily Mix espresso).
Stop Speed-Dating the Single
If you’re only spinning “The Man I Need,” you’re under-serving a real audience. Look at the listener (which should be on your resume) they are already exploring “Love Me Not,” “So Easy,” and “Nice to Each Other.”
Here’s how to catch up:
It’s O.K. to be like the U.K. and not just for the charming accent. The Brits have been Olivia Dean majors for years; the U.S. is just now enrolling. Don’t be late to class.
Add a second or third Olivia track to rotation now. Treat her like the future, not a fling.
If this scares you, split dayparts. Let one song own mid-day and another own nights.
Build the story. “New classic” is the frame: Sade composure, 2025 super hi-fi fidelity.
The Audience Got Its Ear Back
Burnout is real. Listeners don’t actually hate repetition, they hate predictability. No one ever complains about hearing their favorite song again. The problem isn’t familiarity; it’s formula. Too much music today sounds like it was built in a boardroom instead of dreamed up in a bedroom. Olivia’s music feels human. It breathes, lingers, and reminds you that connection can lead to commerce.
The headline isn’t that Olivia Dean has a big song; it’s that she’s arriving as a big artist. Class is officially in session and Olivia “Dean” is the one teaching us how music means something again.
It’s a rare thing in sports media to achieve a dream. Many make the attempt and work extremely hard for many years. Often never reaching the pinnacle of what they set out to do. For Don LaGreca, this summer brought the phone call he had been dreaming of. A New Jersey native who grew up watching the New Jersey Devils, LaGreca became the new television play-by-play voice of the team after two decades working for the New York Rangers radio team on pre and post game coverage.
“I was only allowed to tell my wife when I got the phone call,” said LaGreca of when he received the news. “They said to keep it close to the vest. So, I told my wife, and I sat on it for a couple of weeks before everything started to come out.”
Now just a month into the new season, LaGreca is finding his footing calling Devils games for MSG Network. The longtime fan of the organization finds himself in the booth every night working alongside Devils greats Ken Daneyko and Bryce Salvador. Not knowing what to truly expect from the move from radio to television. LaGreca is learning to unlearn a lot of what made him so effective calling games on radio.
“When I first started doing radio, Pete Silverman had hired people at MSG Networks for years. He said you’ve got to be descriptive, letting everyone know where the puck is. So, I was anal about making sure I was as descriptive as possible,” explained LaGreca. “That’s not exactly the skill set you need for television, because viewers can see it. I’m trying to crack the habit of referencing the geography of the puck, because I have to dial it back.”
Adapting to the Dream
LaGreca admitted he’s always been fascinated by the art of calling play-by-play. He sought out conversations over many years while serving as the backup voice of the Rangers radio booth. The advice he received from friends and mentors such as Kenny Albert, Howie Rose, and Bob Wischusen all sounded the same. Just be yourself, and the rest will take care of itself.
“The passion for play-by-play is just enjoying the sport. That’s why I was able to give a lot of passion for the Rangers even though I wasn’t a fan growing up,” said LaGreca. “It’s fun to do play-by-play, and fun to be involved with hockey and see a goal scored. It’s showing how much fun I’m having… People enjoy watching people have fun.”
For nearly a quarter-century, LaGreca has been a pillar of the weekday lineup on ESPN New York. A station original, he was one of the first voices ever heard on the air. His passion and love for hockey has been on display for ESPN New York listeners for some time as the longtime co-host alongside Michael Kay.
Now, as the first year of Don, Hahn, & Rosenberg nears its conclusion. He’s learning to balance calling games while remaining a key voice on the radio station daily.
“For me, I did twenty years with Michael Kay. He always had to do the Yankees and the show. It’s always been ingrained that there are other things you have to adjust to,” explained LaGreca. “It hasn’t affected Don, Hahn, & Rosenberg. Obviously, the travel and having to do the shows from the arena are the things that affect the show more than doing the show itself.”
Change At ESPN New York
LaGreca’s time co-hosting alongside Michael Kay came to an end last December. Kay announced he would be stepping away from the afternoon drive slot for a solo show in middays. LaGreca said his longtime teammate was upfront and honest about his decision and that he doesn’t regret how that chapter closed.
Immediately, the search began to see who would fill Kay’s role in afternoons alongside LaGreca and co-host Peter Rosenberg. The end result landed Alan Hahn, who moved from middays to join the duo in afternoon drive.
“It was pretty much immediate. There were a couple of names thrown out, because there’s a few people that I felt comfortable working with,” explained LaGreca. “Four hours of radio every day—you want to know that you click with somebody. I didn’t want to go from twenty years with Michael to experimenting with people I had never worked with before. Once I made it known that Alan was one of the guys I wanted to work with. It just clicked from the start. It was pretty much from the get-go.”
With Kay moving to middays, the long-running simulcast of the afternoon drive program on the YES Network also left the station. Recently, ESPN New York launched a YouTube channel that features live streams of every program, reaching a new audience on a global streaming platform.
When asked about how more radio stations are adapting to a YouTube model of content creation, LaGreca noted that the real-time sports radio formula has changed based on where consumers are going for content.
“Radio feels like it’s on its last legs because of the expense of the transmitters and how people are consuming things now. People work from home and aren’t in their cars as much,” explained LaGreca. “YouTube makes you more conscious of what’s going viral days after it happens. Content might hit a few days later. It’s about creating broad content instead of focusing on specifics tied to the moment, because you don’t have an audience that’s listening right then. That’s where radio suffers, and where YouTube, streaming, and on-demand content are our future.”
The transition to YouTube is not the only change ESPN New York has made in recent years. The Good Karma Brands-owned station also stopped subscribing to the traditional Nielsen ratings system early last year.
The decision marked the end of a very competitive head-to-head ratings battle between ESPN New York and WFAN’s programming—something LaGreca admits he still struggles with, not knowing how well the program is doing against his competitor.
“I’m a very competitive person. I want to beat my competition, but now I’m told there is no competition,” said LaGreca. “Now you have to find different ways to satisfy that competitive drive, which is hard for me. I don’t love it and wish there was a measuring stick, but it’s the way it is right now, and I do miss scoreboard watching. I want to know where I stand, and we’ve lost that element.”
Future Decisions
When ESPN New York launched Don, Hahn, & Rosenberg in January, the station also announced contract extensions for Hahn and Rosenberg. With his new role with the New Jersey Devils, LaGreca confirmed his current agreement with ESPN New York expires at the end of 2025.
After working alongside Kay for two decades, he saw firsthand what balancing play-by-play and hosting a daily afternoon drive show can do to a person. With his current agreement coming to a close at the end of next year, the lessons from working with Kay will help guide his decision moving forward with ESPN New York.
“What I learned from Michael is it’s a difficult balance—it can be all-consuming. If I learned anything, it’s to take care of yourself, because with the travel and the amount of time on air, if you’re not careful, you’ll get sick and wear yourself out,” noted LaGreca. “My contract is up at the end of the year. I have seven-year-old twins, so right now every decision I make is based on what’s best for my family.”
With two months remaining on his deal, LaGreca reflected on his continued dedication to the radio program and station, saying ESPN has been amazing to him every step of the way.
“I’ve got to make sure I don’t do too much,” said LaGreca. “I am committed to the Devils with a new contract from them. I’m excited about that, but that’s only half the year. There has to be another thing to balance that out.”
With family on his mind and living the dream of his childhood calling New Jersey Devils games on MSG Network, LaGreca understands there are aspects of his life that have become more important as his career moves forward.
“I’m a 57-year-old father of seven-year-old twins. So, time is as important to me as money. In a lot of ways, it’s even more valuable than money,” explained LaGreca. “As I weigh my options of staying or going, it’s all about what’s best for my family.”
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Replacing a show in a news/talk radio station’s lineup is never easy. But in the case of The Charlie Kirk Show, it’s especially difficult after the tragic assassination of the host last month.
The program from Charlie Kirk had consistently been featured in the top podcasts in the country before his untimely death. Those rankings — whether it be from Edison Research, Podtrac, or Triton Digital — have only increased following the tragedy.
Furthermore, the radio show had featured an expanded audience in the months preceding his death, with Kirk assuming all of the affiliates of The Dennis Prager Show after Salem Radio Network announced that Prager wouldn’t return to the lineup after his fall last November, which has left him paralyzed from the neck down.
To be clear, neither Salem Media Group nor Salem Radio Network has announced or suggested that the network was considering replacing The Charlie Kirk Show in the immediate future.
In late September, just over three weeks after her husband had been assassinated, Erika Kirk shared that the program would not be ending in spite of the tragedy. At the time, she shared, “My husband’s voice will live on. The show will go on. We will have rotating hosts, rotating cast, rotating people coming on … Nothing is changing. But I want to preface: we’re not awkward, we’re not like weird, we’re not going to be tweeting as if it’s him. That’s tone deaf and really disturbing, and anyone who does, that’s morbidly off. That’s not what’s happening.”
The Charlie Kirk Show currently occupies the 12-2 PM ET timeslot in the Salem Radio Network, with The Scott Jennings Show rounding out the early afternoon/late midday timeslot that news/talk radio leaders have prioritized in the past.
We spoke with three current and former Program Directors who either aired the show live or on a tape-delay basis. Individually, they all agreed that the slate of guest hosts in the immediate aftermath of Kirk’s death, featuring the likes of Glenn Beck, Tucker Carlson, and Megyn Kelly, was a fantastic way to honor Kirk’s memory and to help the audience grieve after the loss.
However, they all also, individually, agreed that the way the show is currently formatted isn’t likely sustainable and alternative programming would need to be sought eventually.
Each of the three program directors was granted anonymity to share their unbridled opinions and to not interfere with potential negotiations in the future.
Program Director A
Program Director A is the leader of a news/talk station that carried The Charlie Kirk Show live, and continues to feature the program in its lineup.
The station leader said that they are willing to see how things operate with the current setup of the show, but believe it is likely that they’ll be looking for a replacement in the somewhat near future.
“Because of the success of Rush (Limbaugh), Noon to 3 PM is important. It’s the most important window in the format,” the PD said. “We have to be great there. I don’t say that to discredit Andrew (Kolvet) or anyone else with Charlie’s team, but they aren’t Clay and Buck, Vince (Coglianese), or even Dana (Loesch). Bluntly, I don’t think a show of former producers learning to be hosts, who are relying on clips of Charlie to help shape their arguments, is going to do well for us.”
That program director added that they believed the remedy to the problem was already a part of the Salem Radio Network lineup.
“The best option would be for Chris (Stigall) to extend his show one hour (until 10 AM ET), have Mike (Gallagher) keep his show where it is, and then have Scott Jennings from Noon to 3,” they said.
When asked if Scott Jennings — who only joined the network’s lineup in July, and features a robust slate of analyst and contributor work with CNN — wasn’t able to add a three-hour daily radio show to his schedule, Program Director A said there’s another option in the network to consider.
“Larry Elder,” they said. “I understand why Larry’s show is where it is in the lineup right now. He’s West Coast, so 6-9 PM means afternoon drive out there. And he also competes against Mark Levin, so I get it. But having Larry (in early afternoons) would be the next best thing.”
Program Director B
Like Program Director A, Scott Jennings was also the preferred choice for Program Director B, which aired The Charlie Kirk Show on a tape-delay basis on their station.
“Scott (Jennings) is the hot new thing,” they said. “When you turn on TV, he’s there. When you open social media, he’s there. He’s making an impact. Our listeners have already decided that they like him, they like his show, (and) I think they’d like to have more of him.”
Program Director B added that while Jennings would be the biggest interest to them, they believed that The Dana Show — hosted by Dana Loesch — might be their best option if Jennings didn’t want to increase his radio workload.
“We don’t have any women on our station,” they said. “I think our listeners would see that as a positive, not a negative. Someone like Dana, fiery and sarcastic, could do well for us, I think.”
Program Director C
Program Director C previously operated a news/talk radio brand that carried The Charlie Kirk Show. They shared that they had never really considered what replacing Kirk’s show would look like because they assumed Kirk would have a long career ahead.
“It was devastating to hear the news, see the videos all over social media,” they shared, adding that “thinking about what I was going to do for my station in those moments never crossed my mind.”
But in the weeks that followed, they said they had to consider what they would do if forced with the idea that they’d need to replace their 12-3 PM ET host.
“I’d have to know what was available from Premiere and Westwood (One), before I could tell you what I’d decide,” they shared.
In a somewhat similar thought process to Program Director A, this former brand leader shared that they would think the successor to Kirk would already be inside the Salem Media Group family.
“Mark Davis in Dallas would be a great addition nationally,” they argued. “He’s funny and a great conservative. Salem likes Salem guys. Chris (Stigall) got bumped up to mornings when (Dr. Sebastian Gorka) left and Hugh Hewitt went to afternoons. Mark’s been around the block in his career. He has relationships in cities you wouldn’t believe. And he’s been a loyal guy to the company. He deserves the chance to go national again.”
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