Fox News has announced it is elevating Bill Melugin to the role of Washington-based Correspondent, with a focus on Capitol Hill.
Since joining the network in 2021, Melugin has worked as a Los Angeles-based correspondent. He has spent large portions of his time covering the southern border.
“Congress is one of the most compelling and consequential beats in journalism, and it is an incredible honor to take on this role and continue to serve our viewers from Capitol Hill,” said Melugin.
“Bill’s dogged dedication to uncovering the story and deep understanding of national issues make him an excellent fit to cover the complex world of Congress,” added Fox News President and Executive Editor Jay Wallace.
Before joining Fox News, Bill Melugin worked in local television roles in Los Angeles, Charlotte, and El Paso, among others.
'INCREDIBLE HONOR': FOX News' @BillMelugin_ will cover Congress, reporting on legislative developments, political dynamics, and decisions that shape the nation in his new role as congressional correspondent. pic.twitter.com/XKjrn1nEoq
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Bonneville International announced the launch of Bonneville Sports Network, a comprehensive platform designed to connect advertisers with sports fans across multiple markets. The initiative unites the company’s premier sports brands into a single streamlined solution, offering advertisers the ability to buy nationally or focus exclusively on local markets.
The new network combines Arizona Sports, Seattle Sports, Denver Sports, Sactown Sports, and KSL Sports in Salt Lake City, delivering more than 63 hours of live sports programming daily across audio, video, digital, and social channels. By consolidating these established brands, Bonneville Sports Network provides a unified platform that maximizes reach and impact for advertisers while maintaining the identity of each local sports brand.
“Bonneville Sports Network gives advertisers both flexibility and scale,” said Tanya Vea, President & COO of Bonneville International. “Our network reaches fans wherever and whenever they engage with sports, across every platform. Advertisers can now leverage that strength in a way that aligns with their goals, whether they’re pursuing national reach or meaningful local impact.”
For fans, the experience will remain familiar. Each market retains its established sports brand and trusted voices, ensuring that local engagement continues. At the same time, advertisers gain a single point of access to passionate audiences across all formats and devices, from traditional radio and streaming audio to video, digital, and social channels.
Key features of Bonneville Sports Network include one-buy access to all five sports brands, cross-platform coverage, and premium, brand-safe environments built around live sports content. Advertisers also benefit from the credibility and connection of trusted local voices, which resonate deeply with sports fans in each market.
“This platform creates a unified opportunity for advertisers,” said Aleece Southern, Vice President of Digital Sales at Bonneville International. “Bonneville Sports Network connects five powerhouse markets, enabling brands to reach millions of fans with one buy or go deeper in a single market through our local sports brands.”
The launch of Bonneville Sports Network positions Bonneville International to capitalize on the growing demand for sports content that engages fans across multiple platforms. By combining the scale of a national network with the authenticity of local voices, the company is offering advertisers a flexible, results-driven solution for reaching one of the most engaged audiences in media today.
With more than 60 hours of daily live programming and coverage spanning major sports markets, Bonneville Sports Network aims to redefine how brands connect with sports audiences, delivering measurable impact whether advertisers choose national campaigns or localized strategies.
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Damon Amendolara believes his national sports media colleagues failed a fanbase, a city and, ultimately, its own responsibility when it ignored the years-long stadium crisis that pushed the Oakland Athletics out of the market.
In a recent appearance on The Damon Bruce Show on YouTube, the veteran host argued that too many national voices dismissed Oakland’s problems as the result of apathetic fans rather than examining how ownership created the conditions for the franchise’s departure. He felt the early narrative lacked critical reporting and context.
“I really thought the A’s, when they were in Oakland trying to struggle for a stadium and to keep their team was criminally reported and opined by the media. We sat on the outside of the national media and we saw an empty ballpark that was falling apart and a bad team. Then we said, well, they ought to move. And we didn’t know anything else,” said Amendolara.
However, he added that the emptiness of the Oakland Coliseum wasn’t organic. Instead, he argued it was the predictable result of ownership decisions that pushed fans away.
“We [national media] didn’t know about John Fisher and what he wasn’t investing. We didn’t know about how he pulled the plan away at Howard Terminal, and didn’t know that they had taken PR and basically told fans to go away,” noted Amendolara. “It was orchestrated apathy. They wanted to make the ballpark empty to give them the camouflage to move.”
With the A’s currently in Sacramento and possibly Las Vegas afterward. Amendolara said the media’s lack of engagement still frustrates him. He thinks reporters and national radio hosts overlooked a major story because it lacked the glamour of bigger franchises.
“The national media as a collective did such a disservice. If you woke up and saw what was really happening, this is deplorable. This is criminal, this is crazy, and nobody cared enough. Maybe because of baseball, or because it was not their team. Maybe because it wasn’t the Cowboys or the Yankees or the Lakers. It was so disgustingly overlooked by those with the loudest voices that that empowers me even more to keep talking about it,” explained Amendolara.
The morning voice of SiriusXM Mad Dog Sports Radio has no plans to stop. He acknowledged that some programmers prefer he shift to football or other national tentpoles. However, he remains adamant that the topic still matters.
“I still talk about it to this day, and I still get bosses going, well, we talk about more NFL stuff, or why don’t we? Are we sure we do? But I don’t care. I think it’s that important, because if it can happen in Oakland, where can’t it happen,” questioned Amendolara.
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Barstool Sports founder Dave Portnoy says he may be forced to cut ties with former NBA guard and podcaster Patrick Beverley if the explosive allegations against him are proven true. Beverley, 37, was arrested last Friday in Texas and faces a charge of assault on a family member or household member impeding breath or circulation.
According to police documents obtained by The Daily Mail, Beverley was accused of choking and hitting his teenage sister after she allegedly left the house to visit her boyfriend. Beverley has denied the accusations through his attorney. The longtime NBA veteran has hosted The Pat Bev Podcast on Barstool Sports’ platforms since 2022.
When the allegations first surfaced, Portnoy appeared reluctant to move quickly. During the latest episode of The Unnamed Show, he said Barstool’s philosophy is simple: “we stick with our guys until there’s a reason not to.” However, the release of the police report — which detailed the alleged altercation — forced Portnoy to reassess.
“Obviously horrific police report,” Portnoy said Thursday on The Unnamed Show. “That’s his life and he’s gotta figure all this out. It’s horrible. He’s taking forced time away from Barstool and we’ll see.”
Portnoy emphasized that Beverley will not appear on Barstool programming while the legal process plays out.
“If this turns out somehow not true, we’ll let this play out. Certainly what is hanging there, we can’t have him be a part of what we’re doing right now and we’ll see how it settles,” he said. “But this is horrible, how it read. If there’s any truth to it, he won’t be back at Barstool.”
He added that the company plans to wait for the case to move through the courts. “There’s no reason, on my end, to move unusually quick here. It’s a very serious issue,” Portnoy said. He recalled telling Beverley, “Hey, just saw this police report, we can’t be working with you right now. Figure out your life. Figure out whatever is going on here and we will regroup whenever there is a resolution.”
Through his attorney, Beverley maintains the allegations are inaccurate. She told TMZ, “Patrick is not a violent man and was not violent that night… I have every expectation that when all the facts are in, Patrick will be cleared of these charges.”
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Radio is dead, or dying quickly, so we are told. Then why do people want it? They don’t, you say? Oh, but they do. And the data is overwhelming.
As reported by Barrett Media, new data from Critical Mass Insights shows just how many prospective buyers still expect the band inside their latest models. The company’s research shows that 96% of Americans say that a car having an included AM/FM radio is “important.” An additional 98% said that easy access to AM/FM radio in automobiles is essential.
“The bottom line here is just how much people value having easy access to both AM and FM radio in their cars,” said Critical Mass Insights Senior Vice President of Research Elizabeth Falke. “Consumers want radio for a variety of different reasons that are largely unique to local radio – everything from discovering new music to weather updates, sports reports, and local news.”
Consumers want it, but carmakers are continuing to explore removing at least AM radio from certain vehicles. Hopefully, the marketplace will take care of this, and carmakers’ designers, developers, and marketers will realize that, at a relatively low cost, it’s still worth including an AM/FM radio in their automobiles.
But then again, maybe not. And while I’m typically not a fan of government involvement in the private sector, let’s not forget that the “AM Radio for Every Vehicle Act” has been sitting in some random committee in the Senate and has not been touched in months.
While the government has been shut down for the last few weeks, and we have very low expectations for Congress in general, it would be great to see this piece of legislation dusted off and brought back into the conversation in 2026. It’s been nearly three years since the discussion began, and despite this being one of the few areas with bipartisan support, there has still been little movement on the bill.
It would also be welcome if the National Association of Broadcasters got back to focusing on the issue on behalf of its members.
The timing could not be better to leverage the value of AM radio in particular. Between this new study from Critical Mass Insights and two recent Amazon Web Services outages in recent weeks that have taken down critical parts of the internet (X, Snapchat, ChatGPT, Reddit), key 21st-century information streams were unavailable to hundreds of millions.
And while we hope that this is not the start of things to come as it relates to rumored and potential cyberattacks, the value of live radio — especially news still on the AM band — should be gaining more traction right now. This is especially true in our rural communities, where the lifeblood of not just local but often national news can be AM radio.
While we’ve long discussed the issue, and that stations should not look to the government to save them, two things can be true at the same time:
AM radio has value, and data suggests people are still interested in having it in their vehicles. There is a national security and information obligation for Congress to act on the people’s behalf.
Radio must continue its push to become a multi-platform performer with attention and resources dedicated to improving its digital game and presence.
So it’s your move, Congress. Time to get everyone back to work on behalf of the people. Although, that concept might be a foreign one to the folks inside the Beltway these days. I hope I’m wrong.
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Imagine if we suddenly formulated a United Nations of Music and every genre had to send an ambassador to take part in the proceedings. For many types of music there would be a great deal of debate about who should represent them. For Hard Rock and Heavy Metal there’d be no need to even take a vote. The position is already filled. Jose “Metal Ambassador” Mangin not only owns the title but is doing the job better than anybody else could.
Mangin was nicknamed “Metal Ambassador” when a friend called him that at a party in the late 2000’s. He says, “It fit perfectly and just stuck. I’ve used it religiously ever since.” But talk to Mangin for more than a few minutes and you instantly discover it’s not just a nickname or hyperbole. It’s a role he takes seriously.
His work as Ambassador includes programming and hosting shows on several SiriusXM radio channels. They include Octane, Liquid Metal, and Ozzy’s Boneyard. Mangin also hosts the Danny Wimmer Presents Hard Rock festivals across the country such as Aftershock, Sonic Temple, and Welcome to Rockville. Each represents a four-day non-stop commitment with bands performing all day long and fans waiting to meet the Ambassador.
Being front and center at huge events for the Rock and Metal community does benefit his SiriusXM channels. It’s great to get on stage and mention the channels by name, but even more important is the opportunity to interact with listeners.
“My favorite thing about doing these festivals is talking to our SiriusXM subscribers and being able to say thank you to their face,” said Mangin. “Remember this isn’t something they get for free.”
But there’s more to it than just shaking hands. Jose is also attempting to reinvent stage announcements for a new generation. Instead of going on just before the band comes out, Mangin has pressed to do more video pieces backstage to run on the big screens at the shows. He wants to give the fans a window into a part of the festival they never see.
“I want to show them what it looks like backstage,” added Mangin. “People in the industry, we take it for granted. Seeing what’s happening back there is not normal to 99.9% of the people. It’s cool to show that.”
While this new approach may be his idea, Mangin is clear that the focus is on delivering for the fans.
“It’s not about me,” Mangin expressed. “I’m not trying to say, ‘hey, look what I’m doing.’ I’m just trying to do some fun stuff. Make people smile, and help the bands feel comfortable. I just want to be a positive voice.”
That leads back to how seriously he takes the role of Metal Ambassador.
“I love being the leader of a family. I want to be a positive person in our scene,” said Mangin.
He wonders about the negativity that sometimes crops up in the Rock and Metal community, especially from other professionals in the business who get to avail themselves of the experiences and benefits that come with working in the industry.
“They’re so sour. Everywhere I go, every day I’m smiling. I get to talk about metal, and I get to hang out with metal heads,” Mangin points out.
He also takes issue with those who would proclaim that Rock is dead. “God, that makes me want to throw up when I hear it. People who say that are sadly out of touch.” Jose doesn’t engage with those people because arguing would produce more negative vibes and that’s not his style. Instead, he hoists the banner even higher. “Rock is not dead. It is stronger than ever. Our music is the biggest that it’s been in decades and our festivals are the biggest they’ve ever been.”
While he could pull out numbers and research to prove his assertion, he prefers to back up his point by talking about what he experiences when he’s out with fans. “I’m an energy person. I feel Octane and Liquid Metal getting bigger. I can feel the love for this music and the community getting stronger.”
The other reason he’s positive Rock and Metal are alive and well is the sheer amount of new music and new artists he consumes and champions on the airwaves. As an example, Mangin talks about the success of Spiritbox, an artist he championed early on.
“We were their biggest supporters,” shared Mangin. “They were number one on the Devil’s Dozen (countdown on Liquid Metal) while they were still working at a call center. Nobody was playing Spiritbox. Then we put it in heavy rotation and boom, three Grammy nominations three years in a row.”
To find the bands that are the future of the genre, the Ambassador is constantly listening to new music, “It’s twenty-four-seven. This job doesn’t have office hours. I get so much stuff sent to me.” But to be clear, it’s not a burden. “It’s hard, but it’s fun, and it’s cool. ‘What’s your job? I get to listen to metal.’” That includes the recent discovery of the first band he’s ever managed, Ladrones from Guadalajara, Mexico.
The band, which mixes metal, hip hop, and Mexican regional music, sings in Spanish which doesn’t always go over well with listeners, one of the few things that makes the ever upbeat Mangin a little gloomy. “If I play stuff in Spanish, people complain and that’s sad. It’s been that way from the very beginning but it’s getting a little grosser now.”
He of course deals with it like a true ambassador. “I’m going to kill them with kindness. I continue to play more Spanish metal, play more music in Espanol, and talk in Espanol on the radio.” That’s important to him because, as someone who has seen the genre change over the years, he feels continued growth is going to come from crossing genres and cultures.
“Metal is beautiful because it’s a universal language. People understand the music, the vibe, and the energy. They don’t have to understand the language to get into something. I don’t know what Babymetal is saying or what Rammstein are saying. I don’t care, I just love their music. And I feel the same for Ladrones. They’re a band that’s leading the way. I think they’re going to start a whole movement.”
Mangin’s role as Ambassador wouldn’t be complete without having a way to give back. During the pandemic he felt helpless and wanted to do more. That’s when Headbang for Science was born. Established in 2021, each year the foundation awards scholarships to three students with good grades who are pursuing a career in healthcare or physical sciences and, of course, love Metal.
To prove they are metal fans students must submit a video and an essay, each of which is reviewed by Mangin. “It’s very emotional reading some of these stories.” He says he cried when he watched the video from one of this year’s winners, a shy, Native American student from New Mexico. “She doesn’t do videos. You could tell she doesn’t talk on camera. But I knew I was going to help her because I want to help people who care about metal and science. I want to help people who care about their education.”
He also has dreams of perhaps starting his own festival someday. But whether that takes shape or not, you can be sure that the Metal Ambassador will be out representing the music he loves.
“This is a dream job for me. I never want to take advantage of it or take it for granted. Everywhere I go, I have the weight of metal on my shoulders. This music has changed my whole life, so I try to give back to and that’s why it makes me proud to see the world getting more metal.”
To learn more about Headbang for Science, click here. You can also follow Jose Mangin on X, Facebook, Instagram and TikTok. To learn more about his work on SiriusXM click here.
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.
AI hysteria hasn’t peaked. It’s only getting louder. It’ll eventually hit Turnstile-at-full-volume with no ear plugs levels soon. And that’s OK.
Even though AI is not new, it’s finally touching everyone and everything. When people are legit using it for therapy, it’s not just a fad. When my 82-year-old mother is talking about it daily, it’s here to stay.
In our space, there’s understandable fear about job loss. Complaints are common over AI DJs, AI music scheduling, and AI-made artists like Breaking Rust with its song “Walk My Walk” hitting #1 on Billboard’s Country Digital Song Sales Chart. Note, “sales chart.”
You may have seen news earlier this week that I started a new venture, Black Box Group. Less than a few hours after the announcement, I already had notes in my inbox from companies touting their AI resources and how they could benefit me and my clients.
For those of us in RockTernative, it could be worse. Try being a production company that built buildings and was founded on hiring crews, securing lots and permits, hauling out scaffolding and lights, and hiring actors like Sydney Sweeney to shoot blockbuster commercials. These days, teenagers make Super Bowl quality commercials from the basement while playing Madden and Fortnite in the background.
Try being an accountant who spent years buried in Excel, studying numbers and tax laws when he could have been out at the bars with a lampshade on his head. Now those jobs can be done in seconds by ChatGPT.
The world is just different. Technology is getting stronger and growing, and it’s not going to stop evolving just because we’re uncomfortable. Fighting AI it isn’t worth your human brain cells unless you have access to Washington and can pass legislation regulating its use.
Reminder from above — “sales chart.”
That means despite all the hate, music fans aren’t running from AI, they’re enjoying it.
So, let’s …
Accept it.
Embrace it.
And use it.
The Pros and Cons
I don’t want machines writing this column or running the world, but don’t let fear of being replaced paralyze your vision for the future.
AI can’t go meet listeners at a show.
AI won’t take a client to lunch and get to know them better.
AI can’t listen to your market and decide which move you should make next.
And AI won’t steal your girlfriend. Well, maybe it will, that type of thing exists.
What AI can do is help all of us.
It can sharpen copy.
Recommend one-liners for your show tomorrow.
Do artist or client research so you can spend more time talking to listeners or clients.
Create a Metallica meets Muse brand deck that looks like a Pixar creation.
It can recommend research design or give a take on the latest ratings.
It can even help you make music decisions.
The Turnstile Effect
Turnstile invaded my TikTok algorithm recently, so I ran a test specifically for this column by asking AI a very simple question. Keep in mind that my AI knows what I do for a living and I’ve taught it what “RockTernative” means.
Q: “I’m thinking of putting Turnstile’s ‘Birds’ into rotation. Give me the pros and cons.”
Here is the verbatim — no editing — response I got.
Pros of Adding “Birds” by Turnstile to Rotation
• Momentum & Credibility Turnstile is one of the few modern rock bands with genuine cross-format heat. Adding “Birds” signals your station is paying attention and not stuck in a nostalgia loop.
• Youth Injection Without Chasing Trends It brings a younger energy but still fits your texture — modern attitude layered on familiar RockTernative DNA.
• Sonic Freshness “Birds” has bright, hooky edges that break up the mid-tempo sameness clogging most active/alt playlists right now. It gives the station a lift.
• Social & Sync Upside Their tracks pop in sports, socials, reels, and gaming culture — you get some ambient brand heat for free.
Cons of Adding “Birds”
• Familiarity Curve It’s not an automatic “know it on first spin” record. You’ll need patience to grow it unless you’ve conditioned your audience for new music.
• Polarization Risk Legacy rock P1s may see Turnstile as “too alt” or “too new-school hardcore adjacent,” depending on market composition.
• Rotation Headroom If your gold/current balance is tight, something’s getting benched. Is this the record you want to make room for?
• Market Fit Variability Great band… but not equally great in all markets. If your market leans older, “Birds” might fly lower.
Net-Net (The AI Answer)
“Birds” is a high-upside add if your strategy includes fresh energy, cultural relevance, and younger audience reinforcement. It’s not the safest pick, but it’s a smart one if you’re trying to sound like tomorrow instead of last Tuesday.
The Bottom Line
You won’t get answers like that from Shazam, Mediabase or a label rep. And AI isn’t sitting in the background, monitoring your world, wondering whether to consider Turnstile.
AI doesn’t have to be the enemy. It can be your friend.
AI itself is not plotting our demise — maybe some of its creators are, but that’s an argument for another day.
If you’re worried your job is in jeopardy, remember, you’re human. You don’t need a prompt or wall jack to run.
Some jobs will be replaced. We don’t have elevator operators anymore either. The solution is tapping your humantalent, instincts, and judgement in ways AI can’t replicate.
And in the meantime, try enjoying it. Start with Pantera’s “Walk” as a soul record. If you can’t appreciate this AI creation on some human level, the machines have already won.
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.
If Stephen A. Smith appeared on any more ESPN shows, the remote would need a restraining order. Morning? He’s there. Midday? Yup. Night? Still shouting. Podcasts and short clips? Everywhere. Politics? Why not?
Now he’s stepped away from NBA Countdown. Whether you believe his polished version (his choice, negotiated, nothing to see here) or the more realistic version (someone finally realized the NBA pregame show shouldn’t sound like First Take After Dark), the outcome is the same:
This is good. For ESPN. For the NBA. And yes, for Stephen A. too.
Before anyone thinks I’m ripping him, let me take you back. Early in my sports radio days in Portland, we ran a pregame segment called “Behind Enemy Lines.” If the Portland Trail Blazers were playing the Philadelphia Sixers, I’d call Smith, then at the Philadelphia Inquirer. He always answered. Always. Five minutes of smart, calm, informed basketball talk. No theatrics. No shouting. Just hoops.
That guy? Outstanding. This guy? Not worse — just everywhere.
He’s like reaching for the salt at a restaurant, and the cap falls off. A little adds flavor. Too much takes over the whole meal.
The Right Call for All
To hear him tell it: “I wouldn’t be doing NBA Countdown anymore because I didn’t want to… I got a whole bunch of other stuff I gotta do and didn’t want to be stuck in studio until midnight.” And: “It was always my intent to come off… this story is a non-story.”
Fine. Let’s take that at face value. But let’s also talk about why this needed to happen.
Nobody can be credible on everything. Stephen A. covers so much ground he should get frequent-flier miles for it — NBA, NFL, politics, culture, daytime debate, podcasts, red carpets. It’s impossible to be everywhere and still be an authority anywhere.
He’s an elite sports entertainer. For better or worse, he changed media the way Stephen Curry changed the three-point shot. But just like Curry, who can act, golf, and build brands but is ultimately defined by one thing, Stephen A. is at his best behind his own mic, driving his own show.
That doesn’t translate as cleanly to team-oriented pregame and postgame formats.
By stepping aside, he becomes more valuable where he truly moves the needle. And Countdown finally gets the chance to sound like an NBA show instead of a First Take spinoff.
Earned Value
Here’s the real story. For decades, ESPN operated like Jerry Jones: the brand is the star, the logo is the star, and nobody competes with it. Jimmy Johnson? Too big. Gone. Bill Parcells? Too much control. Gone. Jones has always believed the Cowboys brand is the real star.
ESPN lived by the same philosophy. Big personalities cycled through — Dan Patrick, Keith Olbermann, Bill Simmons, Michelle Beadle. All stars. But ESPN always sent the same message: “The brand is bigger than you.”
Until Stephen A. Smith.
He became the first talent ESPN allowed to grow bigger than the brand itself. Not because they planned it — but because he outworked, out-yelled, and out-viral’d every boundary they thought existed. They created a monster. A successful one, but a monster nonetheless.
When one person becomes the sun in your media universe, everyone else ends up orbiting them. New voices don’t get oxygen. Rising talent stalls. Shows start sounding the same because one voice sets the tone for all of them. Before long, everybody is trying to out–Stephen A. each other.
Back to Basketball
Removing him from Countdown unintentionally did something ESPN has needed for a long time — it opened the windows. Fresh air. New voices. A chance to talk basketball at a decibel level below a jet engine. This wasn’t subtraction. It was recalibration.
Stephen A. leaving NBA Countdown isn’t a demotion or a scandal. It’s a long-overdue reset. ESPN can stop propping up every show with the same personality. The NBA gets a pregame show that might develop actual new stars instead of leaning on a single monologue machine. And Stephen A. gets to stop racing from studio to studio like he’s a media Uber driver trying to maximize surge pricing.
He’ll still own daytime and go viral ten times a week. He’ll still be unavoidable on every gym TV in America. But nobody — not even him — needs to be everywhere about everything.
This isn’t about silencing Stephen A. It’s about putting him where he fits best — and letting other shows breathe.
Maybe ESPN finally figured out what everyone else learned a long time ago: Stephen A. is excellent in moderation, overwhelming in excess, and exhausting when sprinkled on everything, whether the recipe calls for it or not.
So good for him. Good for ESPN. Great for fans. And best of all? NBA Countdown finally gets to be a show about the NBA — not a satellite campus for First Take.
If Stephen A. wants to unload while you’re brewing your morning mud, let him cook. But when the lights come on before a big game? It’s time for someone else to talk, analyze, and develop — and it’s time for Stephen A. to finally take a breath.
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.
In the end, Rob Manfred got exactly what he wanted. He took what ESPN was paying for and spread the content to new parties while making more money on it. Genius, some would say, while others feel nauseous at the concept of giving MLB’s commissioner the credit. He took all the elements ESPN once called their own to make half of what was lost on the deal. Then he turned around and got the reported same amount of money from ESPN for a different package of baseball content.
Does MLB make more money in the short term? Yes. Will it cost more for fans to watch baseball? Yes. Did MLB have to give up assets it probably preferred not to? Of course, but did they?
Did Rob Manfred do the right thing? Yes. Tick tock, can you hear that? The clock is now beginning to tick for his tenure at Major League Baseball.
When the original news was announced that MLB and ESPN would be opting out of their contract, it was puzzling. How could a network that depends on rights agreements be willing to walk away from a major player? Also, how could MLB be okay walking away from the dominant sports network in the country?
There were a lot of words and postures by both sides. In the end, both parties knew they needed each other.
ESPN wasn’t happy paying $550 million a season for what they had. Sunday Night Baseball, the Wild Card Round, and Home Run Derby, along with ESPN Radio as the destination for all of it—including the postseason—wasn’t enough. That’s ESPN’s call.
Manfred even said he believed ESPN was a “shrinking network” and that it was in MLB’s best interest to accept a smaller deal from ESPN.
Here we are. ESPN still pays $550 million with a different package that MLB arranged. MLB sticks with ESPN under the baseball umbrella.
ESPN as an RSN?
ESPN Chairman Jimmy Pitaro on how ESPN's new agreement with @MLB will super-serve baseball fans in more ways than ever
Some would say ESPN is getting a win here with the new exclusive rights to MLB.tv and exclusive, local in-market rights to six MLB clubs. It’s more content for the network and more content that they can add to their app. Every dollar that fans in those markets spend to watch baseball now comes to ESPN. Every subscriber to the service can watch their product through the ESPN app. More money, more eyeballs, more downloads.
Who needs Sunday Night Baseball or postseason games? Forget about the Home Run Derby. Wait! What will Chris Berman do this summer?
This was a play for ESPN to become what it has never been: a regional sports network for MLB clubs. It’s a three-year experiment that could have lasting impacts for the network and the future of what drives subscribers to the ESPN app for generations.
They’ve always been an evolving company. This is just the latest step.
Manfred’s Playing Chess
From Manfred’s perspective, he got exactly the situation he wanted. All MLB media rights deals with ESPN, FOX Sports, TNT Sports, Netflix, and NBC Sports expire following the 2028 season. The goal: place MLB in a position to leap the NBA in media rights revenue with the next round of agreements.
Where to watch NBA action this season ⬇️
Season-long national games: ▪️ Mon: Peacock ▪️ Tue: NBC/Peacock ▪️ Wed: ESPN ▪️ Fri: Prime Video
Additional weekly national games starting midseason: ▪️ Thu: Prime Video ▪️ Sat: ABC | ESPN | Prime Video ▪️ Sun: ABC | ESPN | NBC/Peacock pic.twitter.com/eZgo8viuEX
The NBA just began its 11-year, $77 billion national media rights deals this year. ESPN/Disney, Amazon Prime Video, and NBCUniversal have swallowed up how fans across the country consume NBA television. MLB’s goal is to set up something similar while increasing the dollar amount as more players enter the running for media rights.
That’s why Manfred’s move announced on Wednesday was genius. Instead of keeping MLB on Apple and Roku, he elevated the playing field to NBC Sports and Netflix—all while keeping ESPN under the umbrella.
It’s a limited-time window for Manfred, but the chess pieces are lined up perfectly. To achieve the goal, you need to be talking to the best players in the game. Netflix will never run out of money and has made deals with the WWE, NFL, and several other sports franchises. They also acquired the rights to broadcast the World Baseball Classic in Japan, with all 47 games available live or on-demand.
Smells like a World Series might be headed there soon.
Manfred also got into the pie with NBCUniversal, which owns the property for the most-watched television show every fall: Sunday Night Football. The company also just re-launched NBA coverage on the network and has agreements with many other signature sports events each year. NBC Sports is a major player for the Sunday night audience, and placing Sunday Night Baseball on the map during the summer makes sense.
As much as I would hate it, could we see NBC broadcast a Super Bowl and World Series in the same year down the road?
The Business of Baseball
This is the business of baseball. The owners don’t care about the cost and hassle for fans to watch baseball from home. Neither does Manfred. He represents the ownership group of baseball, and with time, everything becomes more expensive.
Just like media rights in professional sports. If baseball isn’t making ten billion per season from whatever collection of networks buys the rights for 2029 and beyond, it’s a swing and a miss. Honestly, he should step down if that happens.
The next three years will define Manfred’s legacy as commissioner of baseball. If he’s able to secure a deal where baseball leapfrogs the NBA in media rights value, put him in the hall.
For today, give a tip of the cap to Manfred. The business of baseball is booming under his leadership, and these short-term media rights deals are the latest example. It’s a modern-day big business grand slam.
Now, Manfred’s fate is on the clock to do it again.
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If you spend any time on social media, you’ve probably noticed the NFL is doing something interesting. Not on the field. Not in a draft room. On TikTok, YouTube Shorts, and Instagram Reels. Teams across the league have quietly added to their content strategy, and it’s paying off in a massive way.
Open almost any team account and you’ll see the same pattern. There’s a huge spike in behind-the-scenes content. Equipment managers show how helmet decals get applied. Another video walks through how a player’s locker is prepped for gameday. Logistics staff explain what it takes to feed a traveling party of 150 people. Sometimes it’s setting up 90 hotel rooms. Sometimes it’s loading hundreds of bags onto a plane. It’s simple stuff. But fans love it.
Scroll the comments and you’ll see the enthusiasm.
“I love this stuff. Please post more.”
“This is so cool.”
“Give us a full series!”
The videos aren’t complicated. They aren’t expensive. They aren’t created for awards or to impress the rest of the industry. They’re created for fans. And fans feel like they’re seeing something special.
So how does that relate to news media? Much more than you think.
Whether you run a news/talk radio station or a major cable news network, your audience is still a group of fans. They enjoy your product. They trust your brand. They follow your personalities because they’re invested in them. And very often, they want to feel closer to the process. They want to know how the machine works.
But news outlets rarely show it.
Most stations and networks are still stuck in a strategy that treats the audience like outsiders. They post show clips. They post graphics. They post promos. Nothing is wrong with that. But it’s not enough anymore. Not in a world where fans want access. Not when the NFL, a famously protective league, is opening the doors and letting people walk through the building virtually.
Other brands figured this out years ago. Barstool Sports turned it into a business model. They talk about their office drama more than sports on some days. It works because the audience is invested in the personalities. Every emotion becomes content. Every argument becomes something fans follow. And every behind-the-scenes moment deepens the connection.
News media already has personalities people care about. You have characters. You have stories. And you simply choose not to share them.
Why not show how a morning show actually gets on the air? Why not show what a producer looks for when screening calls? Show how a newsroom handles breaking stories. There’s real interest in that world. The audience already imagines what it’s like. They’d watch the real version.
People want to see how the sausage is made. Let them.
This doesn’t require a budget, or if it does, it’s a small one. It doesn’t require a strategy meeting. Hand someone a phone. Tell them to capture what they already do. Authenticity wins on social media. Not polish. Not perfection. Access.
The NFL teams didn’t overthink this. Teams simply started posting moments the public usually never sees. And guess what? Fans rewarded them with attention, engagement, and loyalty. It’s the same outcome news media wants. The same outcome news media needs.
Your audience is telling you exactly what they want. They want to feel included. They want to feel connected. They want to feel like part of the team. You can keep giving them the same clips and promos you always have. Or you can open the doors and invite them in.
The NFL chose access. And the results speak for themselves.
It’s time news media did the same.
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.
