Green Day is expanding its reach into satellite radio with the launch of a new, artist-driven channel on SiriusXM. Beginning Monday, April 20, Green Day’s Idiot Nation will debut on the platform. The channel is curated by band members Billie Joe Armstrong, Mike Dirnt, and Tré Cool. It will showcase the music and influences that shaped their decades-long career.
The band said the channel reflects their passion for punk rock and the songs that inspired them early on. In a statement, Green Day noted they are eager to share tracks that pushed them to start playing, touring, and building their identity as artists.
“We’re absolutely stoked to have our very own channel on SiriusXM to share all the songs we love. The ones that made us pick up guitars, pile into vans, and chase something loud and real,” Green Day shared. “We’re digging into everything, including bands we love, old Green Day demos, live tracks, deep cuts, and telling the stories behind it all. Come hang with us and let it rip!”
Moreover, the channel is designed to go beyond music. Between songs, the band will offer personal stories from their time on the road and in the studio. They will also provide context on the artists and records that influenced their sound.
The move continues a growing trend of artist-branded channels on SiriusXM. However, this project leans heavily into Green Day’s hands-on involvement. Each member plays a role in shaping the programming and storytelling approach.
As part of the launch, Tré Cool will headline a new monthly show titled Ground Support. The program will highlight bands that have toured with Green Day over the years. It will also include music selections and behind-the-scenes insights from those shared experiences.
Ultimately, the channel aims to connect fans with both the band’s history and the broader punk landscape. By blending curated playlists with firsthand commentary, Green Day offers listeners a deeper look into its creative journey.
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Cumulus Media announced that Ron Slay has agreed to a multi-year extension to remain on 3HL, the station’s afternoon drive program on 104.5 The Zone. Slay will continue alongside co-hosts Brent Dougherty and Dawn Davenport.
The move keeps one of the market’s most recognizable voices in place as the station leans further into its local identity. Slay joined the show in 2021 and quickly became a defining presence. His mix of analysis and personality helped the program grow across multiple platforms.
“This city raised me. This station believed in me. And the people who listen every day keep pushing me to be better,” said Slay. “‘3HL’ is home and we’re just getting warmed up. I’m grateful and excited for what’s next.”
“3HL” airs weekdays from 3 to 7 p.m. and extends beyond terrestrial radio. The show streams on the station’s video platform and is distributed through its podcast network, giving it a wider digital footprint.
At the same time, Slay’s national profile continues to rise. He works as a college basketball analyst for ESPN and the SEC Network. Over the past few seasons, he has become a regular presence on game broadcasts and studio coverage.
Even with that growth, Slay has maintained strong ties to Nashville. He remains active in the community and supports several local initiatives, including youth sports programs. That local connection played a role in the station’s decision to secure him long term.
Slay, a former standout at University of Tennessee, has seen his media career mirror his playing days. He earned SEC Player of the Year honors before spending more than a decade playing professionally overseas.
Allison Warren, vice president and market manager for Cumulus Nashville, called Slay a foundational voice for the brand. She pointed to his authenticity and connection with listeners as key drivers of his success.
“Locking in Ron long‑term sends a clear message – there’s still so much more ahead, and we’re just getting started,” said Warren.
Program operations manager Paul Mason echoed that sentiment. He said Slay’s energy and ability to connect with both guests and audiences continue to elevate the show.
“His ceiling truly doesn’t exist, and we’re excited to see what this next chapter brings,” said Mason.
BREAKING: Vol for Life @TheRonSlay Remains in the Building as Afternoon Drive Host✍️@CumulusMedia's 104-5 The Zone announces that #VFL Ron Slay, one of Nashville’s most iconic sports personalities and on-air host of @3HL1045, has signed a multi-year agreement to continue as a… pic.twitter.com/FIdMmObIoD
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So, have you watched your favorite podcast on Netflix yet? It’s been several months since the streaming giant began housing exclusive video presentations for more than 40 podcasts across all genres. The company has yet to reveal any viewership data on the titles it secured from companies such as The Ringer, iHeartMedia, and Barstool Sports.
However, thanks to television data and analytics company Samba TV, we now have some numbers to examine. In a first-quarter analysis of what Samba TV calls the inaugural Netflix Podcast Ranker, the company estimated that 13% of U.S. Netflix-viewing households watched at least one Netflix podcast during the first three months of 2026.
Is that impressive? To some, maybe. To others, not so much. What caught my attention, however, was the viewership of key sports titles that arrived as part of Team Netflix. While you don’t want to judge a book by its cover—or its first three months of service—the early results don’t prove that sports titles resonate with a Netflix audience.
It’s hard to break habits. In the podcast industry, you build your audience not just through content, but also through distribution. That’s why, as Pat McAfee climbed from podcaster to ESPN personality, it remained vital for his program to stay on YouTube. That audience was essential to his brand’s growth and success.
In two years, we’ll see where that concept goes, as Netflix and potentially other streamers look to lure McAfee’s brand to their platforms.
Still, when The Ringer, Barstool Sports, and iHeartMedia announced their agreements with Netflix, I was curious to see how their shows would rank among the other titles making the transition.
Now, thanks to Samba TV, we have some answers.
The first quarter of 2026 featured a massive slate of sports headlines. The Super Bowl, College Football Playoff, and Winter Olympics were just a few of the major events. We also saw significant viewership increases across the NBA, NHL, and even the World Baseball Classic. Needless to say, January, February, and March of 2026 delivered a level of sports volume most years simply don’t match.
According to Samba, three sports-specific podcasts cracked the top 20 most-viewed podcasts on Netflix. The Bill Simmons Podcast finished eighth, Pardon My Take placed 10th, and The White House with Michael Irvin came in 17th. Granted, The White House was a Netflix original, but I digress.
That means, of the 18 total podcasts from The Ringer and Barstool Sports, only two sports podcasts landed in the top 20 among 46 total podcasts on the platform.
Is that impressive?
You never want to overreact to early data, and I’ll admit these figures come from a third party, not Netflix itself. However, anyone who follows sports media knows that when major events occur, viewership, listenership, downloads, social engagement, and nearly every measurable metric increase.
Seeing these early results after such a sports-heavy quarter should raise some concern within the walls of both The Ringer and Barstool Sports.
Financial stability aside—because Netflix is clearly providing that—it’s fair to question the performance.
For example, The Pete Davidson Show, which debuted on January 30, outperformed anything from Barstool Sports or The Ringer. Meanwhile, The Bill Simmons Podcast trailed One Piece: Into the Grand Line, which launched March 13.
Breaking: I’m proud to announce in our continuing 20 plus year evolution we are now partnering with @netflix for exclusive video podcasts. pic.twitter.com/BHGbzJvB37
That raises an important question: Are sports podcasts—by nature timely and topical—not a natural fit for a Netflix audience? This early data may offer insight for other sports podcast brands that have thrived in the free and accessible era. Could shows like Nightcap, The Pivot, and others be reconsidering meetings or calls with Netflix executives?
Money is always the goal. It fuels the ability to create and sustain content. However, in this case, it appears sports podcasts may not attract audiences on Netflix the way they do on free platforms like YouTube and Twitch.
If this trend continues, could there be opt-out options and a return to those platforms?
Could that explain why Pardon My Take continues to produce non-podcast content on YouTube? They may be ensuring they still serve that audience while struggling to find comparable traction behind a paywall.
That’s a smart strategy—and one others should consider if they haven’t already.
First impressions matter. If sports podcasts continue to lag in viewership during the biggest moments on the sports calendar, that should serve as a major warning sign for creators. While chasing the check is always part of the equation, not every check is worth the audience you risk losing.
The bigger question isn’t whether Netflix can afford sports podcasts—it’s whether sports podcasts can afford to lose the habits that built them. Accessibility, immediacy, and community weren’t just features of the YouTube era; they were its foundation.
Remove those elements, place content behind a paywall, and suddenly you’re asking a different audience to engage with a different product in a different way.
That doesn’t mean the Netflix experiment is doomed. It does mean it remains unproven. And for an industry built on daily relevance and real-time reaction, “wait and see” isn’t always a comfortable position.
If the early data is any indication, the future of sports podcasting may not be about chasing the biggest check—but about staying where the audience already is.
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There’s been a lot of change in how Major League Baseball has been consumed since the pandemic year of 2020. Today, MLB games are more accessible on more platforms than ever before. The league’s move to streaming began when MLB signed an exclusive deal with Apple TV to stream a Friday night doubleheader. That’s when MLB reporter Tricia Whitaker got the call that changed the trajectory of her budding sports media career.
“They called me and they had an opening for a sideline reporter role for Apple. It’s a national package and I’d be going around the country covering every single team. I was like, sold,” said Whitaker. “Growing up, I was one of those weirdos that wanted to be a sideline reporter… I did it.”
Now entering her fifth season with Apple, Whitaker said she is happy with the partnership. She has welcomed baseball fans every Friday evening, providing inside stories from the dugout while bringing viewers closer to the game and its players.
When Whitaker accepted the role with Apple, she was in her fourth season as the team reporter for Tampa Bay Rays broadcasts on Bally Sports. While the added workload presented a new challenge, she noted clear differences between working for a regional sports network and a global company like Apple.
“The biggest difference [between the two] was the regional sports network was owned by Bally. That business model was a mess, and you weren’t treated very well by the people that ran that company,” explains Whitaker. “From an Apple perspective, it is a wonderful company to work with and a wonderful group of humans.”
Whitaker spent six seasons covering the Tampa Bay Rays through several ownership changes at the local RSN. Although she enjoyed covering the team, she said the stress tied to the company’s instability was always present.
“You would go in every year, no matter who owned it, worried about your job. And nobody communicated with talent a lot. It wasn’t a good feeling year to year when the company was so in flux,” notes Whitaker. “The employees of the regional sports networks don’t deserve that uncertainty, but it comes with the territory of working with the RSNs.”
MLB in a Streaming World
Because of her relationship with the Rays organization, Whitaker remained with the club for three seasons while also working Friday nights with Apple. Over the last two seasons, the Indiana graduate has focused solely on her work with Apple amid the league’s continued media rights shuffle.
After ESPN and MLB agreed to a mutual opt-out of their media deal in the spring of 2025, speculation grew about how the league would redistribute its properties among streaming platforms. During that time, various reports questioned whether Apple TV would retain the rights to the Friday night package heading into the 2026 season.
Whitaker said that despite the speculation, she remained confident the games would stay on Apple.
“Those reports weren’t accurate, and we knew that. I know the industry could change, but we all knew that wasn’t happening,” said Whitaker. “We have really good bosses, and we’re communicating with us through all that. That didn’t happen with Ballys or FanDuel. They didn’t know, and no employees knew. It was really disappointing because those employees at RSNs deserved more communication. I have not experienced that with Apple at all.”
MLB’s presence on streaming services is not new. In fact, MLB.TV, which launched in 2002, is widely considered the league’s first streaming platform.
Still, baseball fans tend to be traditional, reflecting how deeply tradition is embedded in the sport. That’s why Whitaker believes some resistance remains among a group of fans she describes as “purists”—those who expect the game to be presented as it always has been.
“I understand there’s narratives about where to watch the game, but that’s the industry right now whether people like it or not,” said Whitaker. “The streaming services offer a unique advantage. It offers a different perspective and the quality of the visual is better… You have a lot of purists in baseball, which isn’t a bad thing.”
That criticism intensified when the league opened its season this year on Netflix. The broadcast marked the platform’s first live MLB event and blended entertainment elements with the game itself. Afterward, critics pointed to everything from cross-promotion to personalities overshadowing the action on the field.
Despite the backlash, Whitaker understands why some fans did not appreciate the approach. However, she believes the bigger picture matters more as MLB expands its reach on platforms like Netflix.
“Truly, I believe that expanding and growing the game on streaming services is good for the game,” says Whitaker. “Regardless of what you thought about the Netflix product, you watched. Other people watched. It was kind of a spectacle. That’s not going to be the everyday game broadcast, that was literally one game.”
Online Criticism
BRB going to go touch grass and log off Twitter arguments for a minute and float in a pool shaped like the great state of Texas.
I love you all 🫶🏼I just want both diehard and casual baseball fans to take a breath before the knee-jerk reactions.
In the aftermath of the broadcast, sports media outlets shared critiques across digital and social platforms. Whitaker, who also serves as a lecturer at Indiana University’s media school, took issue with some of the tone and approach.
“Everybody hates everything at first. It’s also the thing to do on social media. Negative things get clicks. Positive things don’t get as many clicks. I don’t like that narrative,” explains Whitaker. “Is this really how we want to live? In a constant bubble of negativity because it gets clicks? You can have a critical eye without being rage bait. Sometimes baseball fans have a tendency to act that way, and I don’t think it helps people.”
Whitaker engaged with some of that criticism online following the Netflix broadcast. While she admits she rarely responds, she also acknowledges that generating a response is often the goal.
“Organic negativity, I teach that phrase in my social media strategy class. I don’t think it’s cool for us to create negativity, but I do think there’s such a thing called organic negativity,” notes Whitaker. “The people talking about something the next day about an error is organic negativity. The type of negativity that’s created without reaching for understanding before using your critical eye for rage bait, that’s the negativity that I don’t like.”
Guiding the Next Generation
Since stepping away from balancing duties with the Rays and Apple, Whitaker has become a full-time instructor at her alma mater. She said she never expected to return to school as an educator but has found a strong work-life balance in the role.
Her experience provides valuable insight for students pursuing careers in media. Despite the challenges of entering the industry, Whitaker said she finds fulfillment in helping shape the next generation.
“They have that spark that the rest of us jaded in the industry lost. They remind me of it everyday,” explained Whitaker. “Don’t’ ever lose that spark and get jaded, but I think we have to cultivate it differently… People get jaded because of bad people, but also because we take things in this industry so seriously that was supposed to be fun.”
Whitaker said she now values quality over quantity as she balances teaching with her work at Apple TV. While she occasionally misses the daily grind of covering a single team, she does not miss it entirely.
Still, she does not rule out a return to a role similar to the one she held with the Rays. However, she noted any future opportunity would need to avoid the demands of a full 162-game schedule.
For Whitaker, the evolution of baseball on streaming platforms is more than an industry trend—it has shaped her own career. She has navigated instability at regional sports networks and found a more sustainable role on a global stage.
Her journey mirrors the transformation in how the game reaches fans.
While platforms, production styles, and distribution models continue to evolve, the core of her job remains the same. It is still about being in the dugout, telling stories, and bringing viewers closer to the game.
“I never want to move away from baseball, because I love it so much,” said Whitaker. “Change is the only constant in this industry… But as long as Apple TV has baseball, you’re stuck with me.”
In an era defined by disruption, that constant—the human connection to the game—may be the one thing that never changes.
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Ask anyone in the radio industry what separates their medium from the competition, and you’ll hear the same answer almost every time: “We’re local.”
It’s the rallying cry, the differentiator, the reason broadcasters argue radio remains relevant in a world drowning in streaming options and on-demand content.
But a closer look at new data from Pew Research raises an uncomfortable question — are radio stations actually delivering on that promise, especially when it comes to local news?
The numbers don’t lie, and right now, they’re not flattering.
In February 2016, 37% of Americans said they followed local news very closely. By December 2025, that figure had dropped to 21%. That’s a 16-point freefall over less than a decade. Radio didn’t cause that decline entirely on its own, but the industry also hasn’t done much to stop it.
Consider where radio stands in the platform preference conversation. Only 8% of Americans say they prefer radio for getting local news and information. That’s the same as print newspapers — a format the industry has spent years calling obsolete. How many people under 55 do you personally know who still subscribe to a physical newspaper? Does being on par with that number give you confidence about where radio stands?
It shouldn’t.
Television still leads at 34%, followed by news websites or apps at 28%, and social media at 20%. Radio sits at 8%, flat from 2024, and essentially unchanged since 2018. The industry has had years to close that gap. It hasn’t.
Here’s what makes this especially difficult to accept: the audience radio needs isn’t going anywhere. The Pew data shows that 81% of Americans consider local news outlets either extremely important, very important, or somewhat important to the well-being of their community. People still care about what’s happening in their towns. They still want someone to cover it.
They also don’t want to pay for it. According to Pew, 88% of U.S. adults didn’t pay for local news in the past year. That should be radio’s greatest competitive weapon. The information people value is available for free — on a medium that’s already in their car, their kitchen, and their workplace.
Radio doesn’t need to convince anyone to download an app, create an account, or enter a credit card number. The barrier to entry is essentially zero.
And yet, radio still isn’t winning. In 2018, 56% of Americans said they often or sometimes got local news from radio. Today, that figure sits at 52%. That’s the same percentage as Facebook Groups and the Nextdoor app.
Think about that for a moment. Neighborhood social platforms, many of which are little more than digital complaint boards, are keeping pace with an industry that has been broadcasting local content for over a century.
That’s a crisis.
The path forward exists, but it requires honesty about how the industry got here. Years of consolidation gutted local newsrooms. Syndicated programming replaced hometown voices. Cost-cutting decisions, individually defensible, collectively stripped radio of the very thing it claimed to offer. Local became a marketing tagline more than an operational reality.
Reversing that trend won’t happen overnight, and it won’t be cheap. Rebuilding local news infrastructure takes investment, commitment, and a willingness to accept that short-term margins may suffer in pursuit of long-term relevance. But the alternative is worse — continuing to cede ground to Facebook neighborhood groups and hyperlocal apps while insisting radio is still the community’s trusted source.
Whether you’re in New York City or New Bern, North Carolina, being outperformed by whatever the local “(Insert Town Name Here) Bitch Page” is posting on Facebook should be considered unacceptable. Radio has the reach, the credibility, and the infrastructure to own local news. It just has to decide that owning it actually matters.
The audience is still out there. They still care about their communities. It’s time radio started acting like it does, too.
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I find lessons from sports are valuable life lessons. A friend sent me a clip from Kara Lawson’s press conference during the NCAA tournament, and her words rang so true, especially with the kind of headlines we’re reading about the radio industry these days.
In case you don’t follow women’s basketball and know who Kara Lawson is, here’s the short resume. She was a player on the gold medal-winning U.S. team at the 2008 Beijing Olympics and began her coaching career as an assistant coach for the Boston Celtics in 2019. She currently coaches the Duke and U.S. women’s national teams.
She says that we are in a season of prosperity or a season of adversity. She claims that when you’re in a season of adversity, it’s important to know what’s real and true. For her, in basketball, one of the things that is real and true are analytics. Same for us in media. What’s the size of the audience — is it growing or shrinking? How are we monetizing that audience? Are the advertisers getting results from their campaigns?
Instead of listening to the naysayers who claim that our medium is over, focus on what we see and experience every single day. From the millions of dollars we raise every year for hospitals and charities around the country, to the phone calls, texts, and social media from listeners who use us every single day to elevate their lives.
Radio works. I know that because of the emails I get every day in my job. How about 15.2 million social media views in a month for content from a morning show in a large market? They’re working hard doing compelling, creative content every day they’re on the air. They’ve created audience engagement at a very high level. Their listeners want to hear the content again on their own schedule and share it with their friends. What they’re doing is not easy — it’s a major task to be that creative. They never just call it in.
How about this email from a New York salesperson? I asked him how his business was, and he told me he’s written $1.7 million in direct dollars so far this year. He’s going to hit his budget. But I know this man — he was always the first one in every morning. He would always stop by my office for ideas and thoughts on the future of our business. Every day for the past 20 years, he busted his ass for revenue and succeeded.
There’s even the station that got almost 2,000 people signed up for a Bingo night in 15 minutes. Yup — Bingo!
And yes, the analytics work well for the radio industry in seeing specific trends. In New York, we have enough information from PPM that we can see listeners flock to 1010 WINS when there is a snowstorm or airport tragedy. We can see the audience growth of WFAN when opening day of baseball season hits. We can see audience growth when we market a radio station and offer listeners compelling reasons to tune in. We know radio has a large, healthy audience.
If you’re in a season of adversity on your own show with poor Nielsen ratings, what do you know to be true? Kara Lawson talks about film as well as analytics in her job as a basketball coach. Your “film” is an aircheck of the show you just finished. Are you being authentic? What’s in it for the listener? Are you treating a topic in a unique manner that makes it compelling for the audience? Did your show today create the feeling that if someone didn’t listen tomorrow, they would be missing something?
As a programmer and talent coach, I’ve learned that our Nielsen analytics system sometimes takes longer to show what I find apparent in listening. I’ve said to shows, “You don’t have a content problem — you have a Nielsen problem.” A specific show I work with started the year several ranks below their norm, thinking they were in a season of adversity. But what I heard told me otherwise.
Now in March, Nielsen says they’re a success. In those cases, you remain mentally in your season of adversity because immediate ratings gains are out of your control. But if what you and your coaches hear coming out of the speakers is on target, stay focused and avoid distractions.
Quoting Kara Lawson: “The fastest way to get from a season of adversity to a season of prosperity is to lock in on what’s real and true. Figure out where you need to work and get better, and then it will turn at some point.” When adversity hits, the only thing you can control is how you handle it. Don’t let negative industry stories or a bad Nielsen month be a distraction. Keep focused on your goal, and success will come.
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The NFL Draft has become a 12-month odyssey, and one of the more unheralded productions on that journey is CBS Sports’With the First Pick.
Hosted by CBS senior draft expert Ryan Wilson and former NFL GM Ran Carthon, the podcast and YouTube show offer a comprehensive, detailed look at the draft, with projections, analysis, rankings, and debate. With the draft approaching quickly on April 23,
With the First Pick is heating up the hot takes. I caught a new episode of the show that aired this week on CBS Sports Network.
While much of the show features a split screen with the two hosts, With the First Pick is also heavy on statistics and graphics.
Wilson and Carthon do everything but the Triple Lindy as they take a deep dive into prospects and positioning. Their perspectives are unique. The combination of a media draftnik and an ex-GM works in an entertaining way.
CBS Sports Network has a knack for approaching mainstream topics from a different angle. This is evident in many of its shows, including We Need to Talk, a roundtable featuring female media personalities debating sports issues, and the daily CBS Sports HQ program, which covers the day’s news as well as upcoming storylines.
CBS employs heretofore unheralded talent—not the same faces and voices seen ad nauseam. In that light, CBS Sports Network remains a crucial part of the sports media landscape, giving national exposure to talented commentators.
On this particular program, Wilson and Carthon presented their final list of the top linebackers in the 2026 draft. The vocal contrast between the two is fun to watch. Wilson is a bundle of enthusiasm, jumping into the show with a boisterous voice and genuine excitement. Meanwhile, Carthon is the Barry White of NFL draft experts, with a deep voice and a cool, laid-back vibe. Personality and tone aside, both men know what they are talking about—a key ingredient in any NFL Draft program.
With a wealth of information available across multimedia platforms, fans watching a show like With the First Pick are nearly as informed as the hosts themselves. More than ever, draft experts need to be at the top of their game. You cannot fool the audience. Years ago, when the NFL Draft was a much smaller entity, a factual mistake might have gone unnoticed. That is no longer the case.
Thankfully, misinformation is not part of Wilson’s or Carthon’s repertoire. They are clearly prepared and packed with intel.
With the First Pick does not waste a second of airtime. Before diving into analysis, a clean graphic displayed each host’s top five linebacker rankings. Both included Ohio State’s Arvell Reese and Sonny Styles, Georgia’s CJ Allen, and Texas Tech’s Jacob Rodriguez. Wilson added Missouri’s Josiah Trotter, while Carthon rounded out his list with Texas linebacker Anthony Hill Jr.
In addition to discussion and graphics, With the First Pick incorporates video and sound from prospective draftees, courtesy of other networks and programs. This adds variety and breaks up the two-shot format of Wilson and Carthon. The show’s rhythm stands out, often moving from discussion to graphics to video and back to analysis. For many podcasts adapted for television, visual variety is limited.
With the First Pick maximizes its resources, prioritizing substance over flash.
The data accompanying the discussion is especially effective. For example, when Wilson and Carthon discussed Rodriguez, a graphic highlighted his 2025 stats: 12 tackles, 9 tackles for loss, 1 sack, 4 interceptions, and 7 forced fumbles. These numbers help paint a complete picture of the player.
If you are a serious draft enthusiast, With the First Pick should rank high on your list of pre-draft programming.
When I first started watching this episode, I assumed the entire show would focus on linebackers. It did not. After a break, the hosts shifted to their favorite offensive sleepers in the 2026 draft. Carthon selected Dametrius Crownover, an offensive tackle from Texas A&M. Much of the offensive draft conversation centers on quarterbacks, running backs, and wide receivers, so his focus on the offensive line was refreshing. Wilson chose Rutgers quarterback Athan Kaliakmanis, a name I had not previously encountered, even as a sleeper.
Carthon revealed that he had already texted several NFL scouts and quarterback coaches for insight on Kaliakmanis. He believes the young signal-caller could make an NFL roster as a backup or third quarterback.
This is one of the most enjoyable aspects of With the First Pick. In nearly every episode leading up to the draft, Wilson and Carthon introduce new names for fans to explore.
Following another break, Carthon identified a defensive sleeper in Chris McClellan, a defensive tackle from Missouri. Both hosts possess top-tier draft knowledge, but Wilson often serves as the play-by-play voice while Carthon fills the analyst role. Wilson sets the stage, allowing Carthon to expand using his front-office experience and sources.
Carthon is also candid, admitting he has “no clue” where McClellan will be selected or how teams will ultimately value him. For his defensive sleeper, Wilson turned to SE Louisiana University edge rusher Kaleb Proctor. Carthon quickly added insight, noting Proctor’s strength, power, and relentless motor. It is unclear whether NFL scouts and general managers watch With the First Pick, but they likely should. Wilson and Carthon go well beyond surface-level analysis.
With the First Pick will not dazzle viewers with flashy production elements. It is built on substance, not spectacle.
Wilson ranks among the best draft analysts across any network, offering insight, organization, and an easy on-air presence.
Carthon brings an equally strong resume, having worked as an NFL scout, player personnel director, and general manager. He is also the son of former NFL running back Maurice Carthon and a former NFL running back himself. Football is in his blood.
While Wilson and Carthon have built a loyal following, they are not household names like ESPN’s Mel Kiper Jr. or NFL Network’s Louis Riddick. That is not a drawback. It simply reinforces that, in NFL Draft coverage, notoriety has little to do with expertise.
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The dashboard of a new vehicle looks nothing like it did a decade ago. Screens dominate. Apps compete for attention. And radio, despite being present in every single one of the 100 best-selling vehicles in America, is getting harder to find. That’s one of the central findings of Quu’s 2026 In-Vehicle Visuals Report, and company CEO Steve Newberry says the industry needs to take it seriously.
“Radio’s challenge is not availability — it’s discoverability,” Newberry said. “All 100 best-selling new models in the U.S. have AM and FM radio equipped in the dashboard. About 35% have a dedicated radio button or widget, meaning you can go straight to it. Fewer than 10% have a physical button anymore. Streaming and app-style dashboards make radio just one of many competing audio sources. We need to be aware that discoverability is our big challenge that we need to be working on as an industry.”
Now in its third year, the report examines the 100 best-selling vehicles in the United States. Researchers physically sit in each vehicle to gather data. The findings reveal an industry at a crossroads. One where radio remains universal but faces mounting pressure to evolve.
Among the most striking findings is the rapid spread of screens throughout vehicle cabins. According to Newberry, that shift carries major implications for broadcasters.
“68% of the vehicles we surveyed display information on multiple screens,” Newberry said. “The days of it being one center-stack screen are gone. That can be the small station identifier screen located right in the cockpit between your speed gauges. It can be the passenger screen. It can be passenger screens in the back seat. We must recognize that radio can’t be just an audio medium. We have to take advantage of that. Radio is no longer just heard. It is seen. Dashboards are visual environments. And if radio wants to be strong, competitive, and lead in the dashboard, we have to recognize that as well.”
The data backs him up. 100% of the new models in the report displayed text information, while 65% supported image display. HD Radio — which enables richer visual presentation alongside improved audio — appeared in 74% of the top 100 models, up from 67% the previous year.
“Ford expanded its HD Radio from 36 to 80% of its models in the top 100,” Newberry continued. “That’s a big win for the industry. With HD Radio now widely available, broadcasters can use those extra stations, better sound, and on-screen content to strengthen our position in the vehicle. It’s not just better audio quality, it’s not just the visuals of the album art — there are more and more technologies, and it’s helping stations stand above and stand out from the crowd when you’re on the dashboard of a vehicle.”
One of the report’s more nuanced findings centers on what Newberry calls “earning the last touch” — the idea that whichever audio source a listener leaves on when they exit their car will likely be the first thing that plays when they return.
“Most vehicles default to the last source played when the vehicle restarts,” he said. “16% of the models required two presses to return to radio. So if another audio source is the last touch, it may take up to four button presses to find your way back to a radio station. The audio choice of the listener as they exit the car is going to have real impact on the ease of returning to radio when they re-enter. If they don’t leave your station on the drive home, it makes it that much harder for them to find you the next day. Content is the appealing part, but technology is what makes it easy.”
The report also tracks a notable shift in how infotainment systems are designed. Built-in streaming apps — including Spotify, TuneIn, and Apple Music — now appear in 53% of the top 100 models, up from just 20% in 2024. Newberry sees both a threat and a lesson in that trend.
“These are familiar interfaces. And the built-in streaming makes it easier and faster for listeners to switch between audio sources,” the Quu CEO said. “Manufacturers are creating their systems to be more similar to iPads or phones rather than traditional car interfaces. Icons are becoming very similar to phones or tablets. It’s apparent that the manufacturers notice that creating a familiar interface is something they’re making an effort to do. Radio needs to think the same way.”
On the SiriusXM side, the report flagged a significant dip — from 94% penetration in 2025 to 85% in 2026. That was driven largely by Honda removing the service from most of its models. Newberry notes it’s worth watching.
“It’s an anomaly this year,” he said. “We’ll see if it turns into a trend and what impact that might have. Part of our report is to try to discern things that may be occurring or trending so that radio can react ahead of the game.”
For Newberry, the data ultimately tells an optimistic story. As long as radio is willing to adapt.
“I don’t ever want us — because we’re challenging conventional wisdom — to be seen as anything less than how much we love radio,” said Newberry. “But there are so many opportunities now for radio to add depth, richness, and experience to it. We’re committed to the strength of radio and the opportunities that are there. We won the battle with the ears. Now let’s win the battle for the eyes.”
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PGA Tour CEO Brian Rolapp believes professional golf is in a healthy place, but not one that allows complacency. During an appearance on Trey Wingo’s Straight Facts Homie podcast, Rolapp emphasized that steady growth does not remove the need to evolve.
Instead, he pointed to a crowded sports and media landscape that demands constant adjustment. Fans have more viewing options than ever, and leagues compete daily for attention and relevance. Rolapp said that reality shapes how the PGA Tour approaches its future.
“No one’s coming from a situation where things are overly broken. We’re coming from a situation where the sport is growing,” Rolapp explained. “But it’s a tough landscape out here for sports fans. They have a lot of choices. Media partners have a lot of choices of who they want to promote and who they want to distribute. If there’s anything I learned from the NFL, it’s you innovate or you die.”
Rolapp believes the PGA Tour, he said, aims to stay proactive rather than reactive. At the same time, financial pressure across the sports industry continues to mount.
Media rights deals remain lucrative, but the competition for those dollars has intensified, especially with the NFL beginning discussions with media partners this spring.
Rolapp acknowledged that while the United States leads the global media market, a significant share belongs to his prior employer at the NFL. With the NFL commanding a large portion of the revenue, other leagues must work harder to justify their value.
That includes delivering consistent audiences and maintaining strong relationships with broadcast partners. Rolapp made it clear that the PGA Tour understands that responsibility.
“We have to be really good for our fans and for our partners,” he said.
Encouragingly for the Tour, television numbers remain a strong indicator of interest. Rolapp highlighted that Sunday broadcasts regularly draw between 2.5 and 3 million viewers. Marquee events generate even larger audiences, underscoring the sport’s ability to break through.
The Players Championship, for example, reached a peak audience of roughly 7 million viewers. Meanwhile, The Masters surpassed 20 million at its high point.
“Those are really big numbers in the television world,” explained Rolapp. “It’s hard to do that on television these days, when there’s so many options for your time.”
However, he does not view ratings as the end goal. Instead, they serve as a barometer for fan engagement and satisfaction. Strong viewership suggests the product resonates, but maintaining that connection requires ongoing effort.
“Television ratings or viewership is one of the ways you measure are you making fans happy? Are you bringing more fans to the game? Are they spending more of their precious time with the PGA Tour. That’s what we’re trying to do,” says Rolapp. “Make it more competitive and attractive for current golf fans, but also more sports fans.”
After filing for bankruptcy earlier this year, Cumulus Media has been granted approval for its restructuring.
The company’s plan to remove $660 million in overall debt was approved by US Bankruptcy Judge Alfredo R. Perez. As part of the plan, the company will go private with its debt holders converting that debt into equity in the organization.
Previous documents showed that 83% of those debt holders had shared their approval for the restructuring plan from Cumulus.
As part of the restructuring, a new board of directors will be appointed for the company.
However, CEO/President Mary Berner and CFO Francisco Lopez-Balboa will remain in their roles with Cumulus. Berner’s base salary is set at $1.25 million annually, with a target bonus equal to 100% of her salary and a maximum payout of up to 200% depending on performance. Lopez-Balboa will earn $600,000 annually, with a 75% target bonus and a maximum payout of up to 150%.
“When we initiated this prepackaged restructuring in March, we did so with a clear objective: to right-size our balance sheet to support long-term success,” said Berner. “The court’s prompt approval of our plan keeps us firmly on track to eliminate approximately $600 million in debt and positions us to emerge with a significantly stronger financial foundation.
“We look forward to completing the restructuring and emerging as a well-capitalized company, better equipped to compete in the evolving audio landscape,” she concluded.
With the approval granted by Judge Perez, Cumulus Media is now awaiting FCC approval to emerge from its pre-packaged Chapter 11 bankruptcy. That option will be available after it files a transfer of control application.
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