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Nexstar Media Group/TEGNA Merger Blocked By Federal Judge

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A federal judge has approved a temporary injunction blocking the merger of Nexstar Media Group and TEGNA.

On Friday evening, U.S. District Judge Troy Nunley sided with DirecTV, Newsmax, and a coalition of state attorney generals that argued the move was likely to harm the satellite company and consumers who lived in the challenging states.

Earlier this year, Nexstar Media Group and TEGNA received FCC approval to merge, putting Nexstar in control of 228 local TV stations. That figure would grant it access to approximately 80% of U.S. TV households, well surpassing the legal cap of 39%.

After the challenge from the satellite company and the state attorneys general, Nunley last month issued a similar ruling in the California court.

The Friday ruling does not undo the acquisition. However, it does stop Nexstar from operating TEGNA‘s stations. It also prevents the business operations from being consolidated. It also prevents the sharing of business-related information between the two organizations until a more concrete ruling is determined.

In a statement, Nexstar Media Group said it plans to appeal the decision.

“This transaction closed more than four weeks ago following receipt of all required regulatory approvals
from the Federal Communications Commission and the U.S. Department of Justice,” the statement reads. “Nexstar Media Group now owns TEGNA and has taken steps consistent with the Court order that has been in effect.

“For nearly thirty years, Nexstar has provided free over-the-air access to all its broadcast stations — local
news, weather, and community-focused programming alongside major network programming,” it continued. “This pro-competitive transaction will make local stations stronger and support continued investment in local journalism and fact-based news. We will appeal today’s decision and look forward to presenting our case on its merits before the Ninth Circuit Court of Appeals.”

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Smart Space Strategies for Growing Media Teams

Media teams often grow quickly as projects increase and production scales up. Cameras, lights, props, and assets stack up and it becomes difficult to find an organized place to work. If there’s no plan at play then creative environments of all kinds become cluttered, slowing down production and making it harder to get the required tools on hand. Smart space management helps media teams continue to be effective now and help with future growth. By separating production gear from seldom-used items, organizing gear, and using flexible storage, teams are able to keep their working environments manageable. This guide covers some of the best ways to manage creative environments so that production can flow smoothly, even as teams increase in size.

Deciding Which Equipment Must Remain In Daily Production

As media teams grow, the amount of gear and production materials can quickly exceed the capacity of the workspace. The first step toward maintaining an efficient environment is identifying which equipment is essential for daily production. Cameras, primary lighting setups, editing stations, and frequently used props should remain within immediate reach so teams can move quickly between tasks. These items support active projects and need to be accessible without delays. Equipment used less often—such as backup cameras, specialty lighting, archived props, or extra production tools—can be stored separately to prevent clutter and maintain clear working areas. This separation helps protect valuable equipment while keeping the production space focused and functional. Some teams choose nearby options like modern storage spaces Phoenix to store overflow gear while preserving an organized studio environment. Once essential equipment is identified, the next step is organizing it so production workflows remain efficient.

Organizing Gear, Files, And Props For Efficient Workflows

A structured system helps media teams manage both physical equipment and creative materials. Clear organization reduces setup time and supports consistent production quality.

Essential Principles to Follow:

  1. Group Equipment By Function Store cameras, lighting, audio gear, and props in separate labeled areas so teams can locate them quickly.
  2. Maintain Clear Work Zones Keep filming, editing, and storage areas distinct to prevent overlap and confusion.
  3. Use Labeled Storage Systems Shelves, cases, and digital folders should clearly indicate what belongs in each location.

Common Pitfalls to Avoid:

  • Mixing equipment from different production stages in the same space.
  • Storing props and gear without clear labeling.
  • Allowing unused equipment to remain in active production areas.
  • Ignoring regular organization, leading to clutter buildup over time.

Creating Flexible Systems For Managing Production Overflow

Step 1: Chunk gear is sorted by how frequently it is used, building out a Production zone that includes always-on cameras, lighting, audio gear and props required on a daily basis for projects. A Support Production zone holds gear used occasionally: backup camera, lenses, an extras kit-two lights for shooting scenes. A Reserve Production zone can hold props archived “for project” use, older gear, and gear used in planning for projects in the future. Labeling and dedicated areas makes it easy for your teammate to find things.

Step 2: Create modular systems that allow systems to adapt as projects change. Mobile racks, labeled cases, and adjustable shelves allow teams to relocate gear without losing the rhythm.

Step 3: Review placement and move assets between zones as productions change. A flexible system keeps active gear at your fingertips while keeping your workspace clear of clutter.

What Changes For Remote Teams And Hybrid Production Setups

How Do Remote Teams Affect Equipment Storage?

Remote teams often reduce the need for large centralized studios, but they still require organized storage for shared equipment. Centralized storage hubs help ensure gear remains accessible when needed for projects.

How Do Hybrid Production Setups Influence Organization?

Hybrid setups combine in-studio and remote work, requiring flexible storage solutions. Equipment must be easy to transport and store so teams can move between locations without disrupting production.

What Helps Teams Maintain Organization As They Grow?

Consistent labeling, shared inventory tracking, and clear storage rules help maintain order as teams expand. When everyone follows the same system, production environments remain efficient and adaptable.

A Routine Checklist For Keeping Media Spaces Organized

Media workspaces stay efficient when organization is part of the daily habitat of production. Put the cameras, lighting equipment, and props in their assigned areas after every shoot so that everyone who follows has everything ready for the next project. Keep editing stations uncluttered, and put files and equipment in their proper places. Set aside some time weekly to check whether active, support, and reserve production zones are still clean, and unused gear hasn’t found its way back to the utilitarian workspace. Simple routines keep workflows flowing and productions on schedule.

Set a weekly reset day to organize gear, clear work zones, and prepare for upcoming shoots.

Frequently Asked Questions About Managing Creative Workspaces

How often should media teams organize their equipment?

A quick reset after each production session keeps equipment in order. A more detailed weekly review helps maintain long-term organization.

What is the best way to store production gear safely?

Using labeled cases, racks, and designated storage zones helps protect equipment and makes it easier to locate when needed.

How can teams manage both physical and digital assets?

Organizing digital files with clear folder structures and maintaining consistent naming conventions helps complement physical storage systems.

Why is organization important for production efficiency?

An organized workspace reduces setup time and prevents delays. When equipment is easy to find and properly stored, teams can focus on creative work rather than logistics.

myTalk 107.1 Adds Colleen Lindstrom to Morning Drive

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myTalk 107.1 has announced the return of Colleen Lindstrom to the station. This time, she’ll host morning drive.

Lindstrom will be paired with Jason Matheson from 6-9 AM for The Jason Matheson Show with Colleen Lindstrom on the Twin Cities talk station.

Previously, Lindstrom hosted middays on the station alongside Bradley Traynor from 2012 to 2022 before she departed the outlet. She originally joined myTalk 107.1 in 2002 as a weekend host.

Colleen Lindstrom will step into the role left vacant by Alexis Thompson’s February exit. She spent more than 20 years with the Hubbard Radio station.

Additionally, the station has announced it has promoted Holly Roberts to Assistant Program Director. Roberts has been with the station since 2014. Most recently, she worked as the Executive Producer of the morning show.

Roberts worked as the producer of Lindstrom’s show with Traynor for seven years before her work in morning drive.

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ESPN Programming Executive Ilan Ben-Hanan Announces Departure

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Ilan Ben-Hanan is out at ESPN after a 24-year run. The SVP of Programming and Content Strategy was among roughly 30 layoffs Tuesday. John Ourand of Puck reported Ben-Hanan was the most senior executive impacted.

Ben-Hanan built a strong reputation inside ESPN. Many viewed him as one of the company’s rising stars.

“After almost 24 years, I can boil my experience here down to one word – gratitude,” said Ben-Hanan in a social media post. “Where else could I pitch the idea for Jimmy V Week, and have it turn into an annual initiative that’s raised over $100M for cancer research? Where else would I get the chance to lead multi-billion dollar rights negotiations for myriad college conferences, NCAA Championships, the College Football Playoff, the NHL, and the chance to run the SEC Network and ACC Network, along with so much more.”

Most recently, he oversaw all sports on ABC. Earlier in his career, he managed key relationships with college conferences.

He also played a major role in rights deals for the CFP, NCAA, and NHL. His fingerprints are across several of ESPN’s biggest properties. He helped shape long-term strategy during a period of aggressive rights spending.

“Where else would I get the chance to work with the most talented, passionate, and committed colleagues, across both ESPN and The Walt Disney Company? If you had told me in 2002 that I’d get to do all that, I’d sign up over and over again,” said Ben-Hanan.

96.3 KKOB’s Brandon Vogt Announces Bid for New Mexico GOP Chairman

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96.3 KKOB host Brandon Vogt has announced he’s seeking the top job for the New Mexico Republican Party.

Vogt has announced he is running for Chairman of the New Mexico Republican Party. He has worked at the Cumulus Media Albuquerque news/talk station since 2008.

In a post on social media, Brandon Vogt announced his intention to run for the position.

“Announcement: I am running for New Mexico GOP Chairman at the State Central Committee Meeting April 18 in Belen,” he shared.

“SCC Members, please attend. Let’s get a quorum and turn the Republican Party of New Mexico around,” Vogt concluded.

The current chair of the New Mexico Republican Party is Amy Barela. She was elected to that position in November 2024.

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Netflix Co-CEO Desires Expanded Relationship With the NFL

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Netflix stayed aggressive in Q1 despite major changes to its business strategy. One priority hasn’t changed. Netflix continues to chase live sports, with the National Football League (NFL) leading the list.

Netflix co-CEO Ted Sarandos confirmed discussions are ongoing with the league with talks centering on a potentially expanded rights deal. The NFL is reportedly selling a five-game package currently with a decision is expected in the coming weeks.

“The NFL is a great property, and it delivers value as part of our total offering,” Sarandos said via a conference call. “We are in discussions right now, because we think there’s an opportunity to expand the relationship. We’ve learned a lot about what works, and how to value the NFL and live [content] generally over the last couple of years.”

Sarandos didn’t elaborate on what Netflix has in mind. However, Bloomberg reported earlier this week that the NFL is trying to get Netflix to sign up for a game on the eve of Thanksgiving. Netflix is also reportedly interested in securing the NFL season opener, currently with NBC.

“Events like this are super important because they drive outsized business impact, and they’re kind of a proof point that all engagement is not created equal,” Sarandos said.

Netflix’s ad business continues to grow around live events. The company expects that segment to reach $3 billion in 2026. Financially, Netflix posted $12.25 billion in revenue, up 16%. Net income rose 83% to $5.3 billion. Both topped Wall Street expectations.

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World News Tonight with David Muir Extends Network News Lead to Largest Margin in 31 Years

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World News Tonight with David Muir widened its lead in the nightly newscast ratings, topping NBC Nightly News with Tom Llamas and CBS Evening News with Tony Dokoupil.

The ABC newscast topped NBC in Total Viewers by 31%, drawing 8.417 million to NBC’s 6.434 million for the week. It also led in Adults 25-54 by 17% and Adults 18-49 by 22%.

Those margins widened versus the prior week. In Adults 25-54, World News Tonight extended its edge over NBC Nightly News by 532% — 158,000 viewers vs. 25,000. That gap marks the largest key adult news demo lead for the ABC program in nearly four months, since the week of December 15, 2025.

Season to date, World News Tonight ranks No. 1 in Total Viewers for the 10th consecutive year, averaging 8.400 million. It leads NBC Nightly News by 1.812 million — the largest Total Viewer gap between the two programs in 31 years, since the 1994-1995 season.

Additionally, the program holds its largest Total Viewer season lead over CBS Evening News with Tony Dokoupil in at least 34 years, dating to the 1991-1992 season.

CBS Evening News drew 3.807 million Total Viewers for the week, putting it more than 4.6 million behind World News Tonight. The ABC program also more than doubled CBS in Adults 25-54 and Adults 18-49.

Year over year, World News Tonight has grown for six straight weeks across all three measures. This week, it added 646,000 Total Viewers compared to the same frame a year ago.

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The Herd w/Colin Cowherd Reaches Record High in Q1 Edison Research Podcast Ranker

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Edison Research’s latest podcast rankings offer a familiar top tier, but one sports show is making real noise. The Herd with Colin Cowherd delivered one of the biggest headlines in Edison Podcast Metrics for Q1 2026. The show reached a record high among weekly podcast listeners ages 13+.

That climb comes amid heightened attention around Colin Cowherd, who recently faced some criticism after launching an AI version of himself. Despite the noise, audience interest clearly hasn’t dipped.

Sports audio also showed strength across the board. Edison reports seven sports-specific podcasts landed inside the Top 50, reinforcing the category’s continued growth and relevance. The category was led by New Heights w/Jason & Travis Kelce ranking at number ten.

Other notable sports podcasts include Club Shay Shay (#33), Pardon My Take (#41), The Bill Simmons Podcast (#42), Millon Dollaz Worth of Game (#47), and Nightcap (#48).

At the top of the chart, little changed.

The Joe Rogan Experience, Crime Junkie, and The Daily held the top three spots. The top six shows remained unchanged from Q4 2025. Movement did occur just below that tier. Dateline NBC climbed two spots, while MrBallen Podcast: Strange, Dark & Mysterious Stories jumped eight positions.

One of the biggest quarter-to-quarter surges came from Good Hang with Amy Poehler. The show vaulted from 38th to 13th after winning the Golden Globe for Best Podcast. It marks the second straight quarter the show has reached a new peak.

Additional gains came from The Mel Robbins Podcast, Up First, and Armchair Expert.

Other notable developments included The Giggly Squad entering the Top 50 for the first time. The Dan Bongino Show also returned after a brief hiatus.

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Scott Zolak Explains Hesitation in Discussing Mike Vrabel, Dianna Russini: “I Like My Jobs”

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98.5 The Sports Hub midday host Scott Zolak drew a firm line Thursday. Speaking on Zolak and Bertrand, Zolak explained why he has avoided a developing story. The situation involves Mike Vrabel and Dianna Russini.

Zolak made clear his professional ties shape his decision.

“I like my jobs. I like working here. I like working with the Patriots. I like doing games. I like doing TV with them. I like being with the team,” explained Zolak. “For me to sit there and cast stones at this guy would not do me great things. So there’s your answer. In a nutshell.”

Zolak serves as a game analyst for the New England Patriots radio network. He also works closely with team personnel throughout the year. That access, he said, comes with responsibility.

“I’m not going to comment on it,” Zolak said. “I work with Mike [Vrabel] during the football season and multiple times in the offseason, I do things with Mike. I know Mike. Mike and I have a good back and forth working relationship.”

Zolak continued by outlining personal connections to Vrabel and Russini.

“I know Mike’s wife. She’s been in some of the meetings. I know Mike’s two sons. I’ve met them. I’ve hung out with them during the football season. I know Dianna Russini. I know the people involved, and I’m in no position to comment on anything that happened between these two. It does me no good.”

Zolak emphasized he will not speculate. He believes speaking on the matter creates unnecessary risk. For now, he is staying focused on football.

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Disney Reportedly Receiving Pushback on $10 Million Super Bowl Ad Price Tag

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The Walt Disney Company is pushing the market with a bold Super Bowl sales strategy. But advertisers aren’t buying in—yet. The company is reportedly seeking $10 million for a 30-second spot in Super Bowl LXI, according to Variety.

That price has created hesitation from advertisers. Four sources familiar with negotiations tell Variety deals have lagged early expectations. Recent Super Bowl sellers like FOX and NBCUniversal moved 40% to 60% of inventory before upfronts.

Disney has not matched that pace.

“The original ask was $10 million,” said one source to Variety. “There is a big delta from where they started to where advertisers want to be.”

Disney reportedly also wants advertisers to match that spend across its broader portfolio. That includes assets tied to Monday Night Football and MLB.TV. Those bundled deals add complexity to negotiations. A source close to Disney told Variety the company is in “active conversations” and added there are “more requests than inventory to sell.”

The challenge is converting interest into signed deals.

Pricing pressure is real. Super Bowl ads cost roughly $5 million in 2016. Prices have climbed steadily since then. Still, networks typically open negotiations closer to $7 million. That approach worked for NBC this year. Demand surged late, pushing select units past $10 million. Most inventory sold between $7 million and $8 million.

Disney’s broadcast will air on ABC and ESPN. An alternate telecast featuring Peyton Manning and Eli Manning will stream on ESPN2. The game lands on Valentine’s Day, with Presidents Day following.

Disney is banking on scale. Its early 2027 slate includes the College Football Playoff, Oscars, and Grammys. Still, buyers remain cautious. At $10 million, advertisers aren’t convinced—at least not yet.

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