Major League Soccer’s audience on Apple TV and other broadcast outlets surged 29% for regular-season weekend matches in 2025, marking a notable early success for the league’s growing digital footprint. In some of the first viewership data released publicly, MLS reported to Sports Business Journal that it drew 3.7 million global aggregate viewers across a full slate of weekend games — typically between 12 and 15 matches per weekend — most of which aired in primetime windows.
The audience figure includes games streamed on Apple TV, broadcast on Fox and FS1 in the U.S., and covered by Canadian networks TSN and RDS.
It also accounts for in-game simulcasts via platforms like EA FC Mobile. Both English- and Spanish-language telecasts are included, though the number does not reflect midweek MLS matches or Leagues Cup games, which generally attract smaller audiences.
“We’re bullish on this number. We’re happy with what we’re seeing,” said MLS Senior Vice President of Media Seth Bacon to SBJ, speaking publicly for the first time about the Apple TV viewership figures.
MLS credits the boost to international soccer stars like Argentine World Cup champion Lionel Messi and South Korean star Son Heung-min, who joined Los Angeles FC in August. Both players also finished atop the MLS jersey sales list in 2025, and the league believes their participation in the league drove interest and viewership.
The announcement of the viewership increases comes at the start of 2025 MLS Cup playoffs this week. Messi and Inter Miami will kick off the first round at home against Nashville SC on Friday. The Chicago Fire and Portland Timbers won wildcard matches on Wednesday to advance to the first round.
The league’s strong performance underscores growing consumer interest in digital streaming of sports, a trend that has accelerated across major leagues in recent years. MLS entered a 10-year, $2.5 billion media rights deal with Apple TV in 2023, which brought all games to the platform behind two paywalls – an Apple TV subscription and an additional MLS Season Pass subscription.
However, both sides have been unable to disclose viewership transparently due to varying metrics to distinguish between TV and streaming data.
The growth also comes amid broader expansion efforts by MLS, including new team additions, enhanced media rights deals, and increased international exposure. With more high-profile players joining the league and the 2026 World Cup on the horizon, MLS appears well-positioned to continue its momentum in both the domestic and global markets.
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The NBA was rocked Thursday by an FBI indictment charging 31 people — including Portland Trail Blazers coach Chauncey Billups, Miami Heat guard Terry Rozier, and former player Damon Jones — in an explosive gambling scandal with alleged ties to organized crime. Yet, while the sports world tried to process the scope of the investigation, ESPN’s Stephen A. Smith had a very different takeaway on First Take: the timing of the announcement, he argued, had political fingerprints all over it.
During the second segment of the program while an FBI press conference was underway announcing the charges, Smith connected the revelation of the indictments to President Donald Trump, warning that what happened Thursday “is more about Trump than the allegations presented.”
“We’re sitting here on a sports show, doing First Take,” Smith said. “We all know what other stuff that I do. You know what world that I live in, in terms of politics — how many times for one incident after another have I said Trump is coming? He’s coming. We’ll say it on national television.”
The FBI’s findings included accusations that Rozier intentionally altered his play in a 2023 game to benefit illegal bets, while Billups and Jones were linked to a Mafia-connected poker operation. FBI Director Kash Patel led a rare, nationally televised news conference to announce the charges — something Smith said immediately caught his attention.
“I’m watching a press conference with the director of the FBI,” Smith said. “Tell me when we’ve seen that. You don’t see the director of the FBI having a press conference. It’s not coincidental, it’s not an accident. It’s a statement, and it’s a warning that more is coming.”
Smith argued the event’s timing — hours after NBA rookie sensation Victor Wembanyama’s stellar season debut — wasn’t accidental either.
“Big night for the NBA, Victor Wembanyama put on a show that has now been smeared because we’re talking about this story,” Smith said. “Trump has a long history connected to the world of sports because he had those casinos. Where do you think folks will come in half the time? I’m not talking about individuals. I’m talking about the culture. When people want to go to a casino, when people want to gamble, when people want to party, or whatever the case may be, this was his kind of connection to that.”
While Smith repeatedly acknowledged that the legitimacy of the allegations remains unclear, he framed the moment as part of a broader pattern of Trump inserting himself into the sports world.
“Don’t be surprised that the WNBA is next on his list,” he warned. “Anybody that has seen his reactions from the sports leagues and the positions that people have taken — they are not surprised at what’s going on.”
Smith closed his monologue by suggesting this might only be the beginning.
“He’s coming because in his eyes, folks try to throw him in jail,” Smith said. “They think this is like the tip of the iceberg… Everybody better brace themselves, because he’s coming.”
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Nielsen and Edison Research have released the results of their third-quarter study from The Record, which shows that AM/FM radio still earns the lion’s share of daily time spent listening.
According to the results, daily audio consumption hit just shy of four hours. 64% of all listening took place with ad-supported audio, according to Nielsen.
Of that total time, 62% was spent with AM/FM radio. An additional 20% was spent listening to podcasts, with 15% listening to streaming music, and 3% listening to satellite radio.
Nielsen notes for advertisers that the results show that more than 80% of all time spent listening is spent with either terrestrial radio or podcasts, while only 15% is spent listening on platforms like Spotify and Pandora.
When broken down by age, AM/FM Radio receives its largest share with those aged 35 and above. 69% of all audio time from that demographic is spent with the medium. Meanwhile, podcast listening drops to 16% in that range.
For those aged 25-54, podcast listening rises to 24%, while radio sits at 59%.
Meanwhile, in the 18-34 demographic, podcasts and streaming music both see a significant rise. In that demographic, 31% of daily audio time is spent listening to podcasts, while 24% is with ad-supported streaming music. AM/FM radio falls to 43% in that sector.
Additionally, the data shows which are the most popular radio formats based on demographics.
News/Talk — both commercial and non-commercial stations — is overwhelmingly the most popular format of the 35+ demographic. It earns a 12 share in the data compiled by Nielsen and Edison Research.
The next closest format in that category is Adult Contemporary, which sees a 7 share. News/Talk is also the most popular format in the 18+ category.
For those aged 18-34, Adult Contemporary is just shy of an 8 share, making it the top format. Pop Contemporary isn’t far behind, finishing with a 7 share.
Adult Contemporary is also the top format for the 25-54 demographic, the results show.
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Our time is defined by challenges and novelties. Over recent decades, society has experienced and adapted to innovations like smart TVs, the internet, smartphones, contactless payment, cryptocurrencies, and advanced verification systems, like biometrics.
Where once unsolved crimes dominated headlines, surveillance now increases public safety. Communication and money transfers have become nearly instantaneous, even over long distances — advances unimaginable to previous generations. Convenient platforms like Polskie kasyno online Blik are now commonplace.
Despite this rapid digital evolution, society still straddles the line between tradition and modernity. This article examines how contemporary Poland embodies this duality, highlighting examples where traditional practices merge seamlessly with digital innovation.
Entertainment: Old Stories in Brand New Packages
There is hardly anything more traditional than fun. Even in the darkest and grimmest of times, people somehow managed to enjoy festivals, games, and ceremonies. This section will delve into some of the ancient types of entertainment that have gained modern refurbishment and are still dominating the field.
Online Gambling Platforms
Gambling is an ancient activity dating back to civilizations long gone. Its most iconic embodiment, the casino, might not be that ancient, but it is certainly old enough. Online gambling platforms are a perfect example of how a type of entertainment associated with atmosphere, company, and a physical location may still prosper in the virtual realm. Thanks to innovative technology that provides convenience, accessibility, diverse payment options, and an overall user-centric experience, online casinos have thrived as an industry regardless of their obvious shortcomings.
Polish players have particularly gravitated towards the brands that were willing to integrate the Blik payment system. Innovation-oriented options attracted Polish gamblers due to the ability to instantly transfer money and a robust security system, alongside other advantages like rich game portfolios, effective customer support agents, and an active online gambling community.
Smartphones and Streaming
Significant advances in mobile technology have made smartphones more available to Poles, resulting in them completely conquering the country. Poles are drawn to mobile financial solutions, applications, and are using their phones to perform multiple tasks. Be it streaming a movie or a TV show while traveling by train or playing an online game while in the doctor’s waiting room, people are definitely utilizing contemporary technology as much as possible.
Tradition vs. Contemporary Technology: Challenges and Innovations
Although people sometimes like extreme oppositions, the truth lies somewhere in the middle. In other words, things are rarely black and white. What follows will summarize the key advantages and disadvantages of traditional and digital options, highlighting our precarious positioning somewhere down the line.
Contemporary technology allows us to reach a high level of personalization by providing us with content that is tailored to our tastes and can be consumed anytime. On the other side of the spectrum, traditional consumption offers a sense of community through shared experience as well as anticipation, since not everything is available at once.
“If used moderately and properly, digital tools can help us avoid delays, assure continuity of communication, or enable money transfers to family members on the other side of the globe. However, they can be highly addictive and end up stealing our time rather than saving it,” explains Kuba Nowakovski, author and gambling expert at KasynaOnlinePolskie.com.
Between Two Worlds
Just like in other parts of the world, the digital skills of Poles are generationally conditioned. Older individuals are less likely to rely on the internet and generally possess lower digital skills compared to the younger ones, which is to be expected. Still, internet and social media usage in Poland is high, as a result of a yearly increase in household web access. Internet connectivity has become normalized compared to the previous years.
E-commerce and Mobile Payment
Many Poles rely on online and mobile banking. The e-commerce market took off following the COVID-19 lockdown. Although digital tools had existed for a while, the integration was slow, as most brands and customers responded gradually to the potential changes. The pandemic pushed many to accelerate the adaptation pace, establishing digital as the new normal.
Social Media Sharing
Many traditional customs of sharing are currently enjoying a new life on social media. This allows people to communicate outside of their direct environment, helping them gain self-confidence and build identity.
Many businesses and creatives use social media channels to gain feedback and potential audience, and most ordinary users rely on them to keep in touch with friends and family, especially those who no longer live in the vicinity.
Despite being a virtual space, social media embodies a traditional role of building community and sharing thoughts, as well as policing and controlling behaviors. Although similar enough, virtual activity comes with its own unique issues that we are still figuring out how to solve as we go.
Poland as a Digital Force
Several factors transformed Poland from a traditional country to a digital force. Due to a combination of highly effective STEM education, government policies regarding digitalization, and seamless adoption of new technologies, the country has gone through a technological revolution.
Despite effective technological integration, many traditional institutions still play a significant role in Poland, like the Catholic Church. Its unique historical and cultural positioning has resulted in a country divided between conservatism and the adoption of digital tools and habits.
Conclusion
Poland has undoubtedly become a digital wonder, successfully blending its rich traditions with technological advancements. While government policies and educational support have propelled the adoption of digital tools, a generational divide persists, with younger people showing a higher reliance on technology and elders favoring traditional methods.
As Poland continues to navigate this dual reality, fostering intergenerational learning and open dialogue will be crucial in harnessing the benefits of both worlds. The ongoing conversation about the consequences and proper usage of digital tools remains essential. Achieving a harmonious balance between modern innovation and tradition will shape a resilient and inclusive future for Poland.
Cumulus Media is hoping to fast-track the evidence discovery in its lawsuit against Nielsen, alleging that its imperative to operate the company.
In a letter to U.S. District Court Judge Jeannette Vargas, the company says it needs to quicken the pace due to operational challenges.
“Many advertising and content contracts are signed in late 2025,” the company said in its filing. “So, Cumulus needs an injunction before the end of this year to be able to continue operating without irreparable harm to its business and to continue providing an important public service to our communities.”
Cumulus and Nielsen appear to be in agreement on the preliminary injunction hearing date — projected to be in mid-December — but differ on how much discovery should take place and be allowed before that initial hearing.
The radio giant has asked for the discovery to be completed by late November, with the preliminary hearing happening either Monday, December 8th, or Monday, December 15th.
In a lawsuit filed last week, Cumulus accused Nielsen of forcing media companies to buy expensive local audience data they may not need in order to gain access to the national ratings that networks, like its subsidiary Westwood One, rely on.
In response, Nielsen has labeled the lawsuit “entirely without merit.”
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It may have been on a new network, but everything about Inside the NBA felt comfortingly familiar on Wednesday night. The iconic studio show made its long-anticipated debut on ESPN after decades on TNT. However since the move was announced earlier this year, there has been a wave of commentary and concern from fans, and the personalities themselves in some cases, worried that the network switch might tamper with the chemistry, humor, and spontaneity that made Inside one of the best studio shows in sports television history.
Those fears were quickly erased on Wednesday night.
From the opening montage to the final sign-off, Inside the NBA looked and sounded exactly the same — only the logo on the desk had changed. ESPN’s branding was visible, but the soul of the show remained untouched. The jokes, laughter, and camaraderie were as sharp and effortless as ever.
ESPN management made clear over the summer break that the network was not interested in taking over content direction of the program where it could potentially affect the quality of what Inside the NBA has delivered. Moreover, the debut last night filled with moments making jokes of the network, ESPN embraced the first program and all it’s hilarity to show it stands by it’s stance made all summer.
Sports media weighed in last night sharing their thoughts on the debut episode.
"I was nervous today. … Every person that's ever touched a ball wanted to be on ESPN."
“Inside the NBA” has been the same exact show it’s always been. First 8 minutes were hysterical. With TNT losing the NBA this was the best possible outcome for the show.
Biggest mistake ESPN is making is just not canceling NBA COUNTDOWN and just replacing it with Inside the NBA in 7 mins it’s been better than ESPN has had in 10 years
We all asked ESPN to just leave these guys alone and let them cook and so far it looks like the world wide leader is going to do just that. https://t.co/Ern0YynWZr
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FOX Sports hit a home run Monday night as more than 9 million viewers tuned in to watch the Toronto Blue Jays punch their ticket to the World Series. Across FOX, FS1, FOX Deportes, and FOX Sports streaming platforms, Game 7 of the American League Championship Series averaged 9,028,000 viewers, marking a massive audience win for the network.
According to Nielsen data, 8.91 million viewers watched the game on FOX and FS1 alone. The most-watched ALCS game on any network since 2017, when the New York Yankees and Houston Astros drew 9.96 million for their own decisive Game 7. The broadcast also delivered FOX’s best Monday night performance since last year’s World Series Game 3. Underscoring the strong appetite for postseason baseball.
The matchup between Toronto and Seattle represented a dramatic ratings rebound for Major League Baseball’s championship round. Compared to last year’s ALCS Game 7 between the Texas Rangers and Astros, which averaged 6.77 million viewers. This year’s finale was up 32 percent. That kind of year-over-year growth is a welcome sign for FOX executives who have been looking to capitalize on competitive series.
The audience surge was fueled in part by high stakes and high drama. The Blue Jays, appearing in their first ALCS since 1993, battled a Mariners squad chasing its first pennant in franchise history. That intrigue translated into big numbers during the game’s final innings. Viewership peaked at 12.35 million between 10:45 and 11:00 p.m. ET, when Toronto secured the victory.
More historic figures, however, were posted north of the border. Canada’s Sportsnet averaged 6 million viewers for the Blue Jays’ clinching Game 7 win on Monday. The figure marked the network’s largest telecast of the team ever. It surpassed a record that had stood since the 2015 ALCS.
That audience represented about 15% of the entire Canadian population. When combining the two countries, the blended average of 9.39 million viewers of the ALCS beat last year’s figure by 60%. Even though the Blue Jays were not involved then.
The World Series on FOX Sports begins Friday night as the Los Angeles Dodgers defend their championship against the Toronto Blue Jays.
As the @BlueJays punched their ticket to the World Series, FOX Sports posted the most-watched #ALCS game on any network since 2017 – and @MLBONFOX's most-streamed Championship Series game ever. 📈 pic.twitter.com/ZL5GSAcYA7
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The NBA on NBC is back. For the first time in over two decades, the network delivered a smashing debut, leaning into nostalgia while presenting a new look for a new generation of basketball fans. Instead of Marv Albert, Mike Fratello, and Ahmad Rashad, we had Mike Tirico, Reggie Miller, and Jamal Crawford—a mix of call-backs, call-outs, and even a Michael Jordan appearance.
The biggest buzz, of course, was the return of the greatest player to ever play the game. For those who remember the days when NBC Sports dominated NBA coverage, it was all about Jordan. His greatness demanded attention, the audience watched, and memories lasting a lifetime were made.
Yet NBC remained remarkably quiet all summer about Jordan’s role in the coverage. Many speculated—including myself—about what could be a home run for a network eager to hold viewers’ attention beyond opening night. Jordan could have been that. After the inaugural broadcast, I have my doubts.
At NBC Sports’ upfront earlier this year, the biggest headline wasn’t the return of Roundball Rock or the assembled broadcast team. It was Jordan appearing in a short clip announcing his role as a special contributor. It was the cherry on top of a “back to the future”–style presentation of what viewers could expect from NBA on NBC.
Michael Snore-Dan
But Jordan’s under-four-minute debut at halftime of the Oklahoma City Thunder–Houston Rockets game left me confused. Sitting across from Tirico at his home, Jordan didn’t speak about the current NBA. He didn’t discuss NBC’s return to broadcasting. He didn’t even mention a single current player.
Instead, the Hall of Famer spoke about spending time with family, shooting a free throw, and “paying it forward” as a way to give back to the game he loves. He still loves the sport—and wishes he could still play.
And scene.
What NBC delivered on opening night, despite all the hype, was little more than a teaser clip for a podcast. The conversation had nothing to do with the current NBA, nor with what NBC was presenting throughout the evening.
Now, questions need answers. Was this the plan all along? Will Jordan’s appearances on NBC Sports (and Peacock) consist only of general reflections about his career, offering a 30,000-foot view of the NBA rather than insight into the season or current players?
Moving Forward With The G.O.A.T.
There was debate leading up to the launch about whether NBC was leaning too heavily on nostalgia. The network played John Tesh, highlighted Jordan’s Bulls, Kobe’s Lakers, and other legends like Patrick Ewing and Magic Johnson. Jordan, however, was the centerpiece—supposedly the star who would set NBC apart from Inside the NBA on ESPN.
As well as the broadcast went otherwise, Jordan’s segment was a dud. It was a dead spot that killed momentum heading into a double-overtime thriller, and a busy night that switched from cable to Peacock for the second game.
NBC cannot move forward by leaning on its past. Appearances by network legends must serve a purpose: to showcase the stars of today. The league, its platform, and its audience exist to market current players—even with a touch of retro flair.
If NBC plans to play clips of Jordan moving forward, that would be a waste of time. The Last Dance succeeded because it offered everything NBA fans wanted to know about the behind-the-scenes story. If Jordan truly wants to “pay it back,” he should do so by highlighting today’s stars—not recounting luxury golf trips.
NBC can be selective with Jordan. He doesn’t need a weekly segment. But his insights on current topics are far more valuable than a fireside chat about the old days, with Tirico and himself wearing near-matching shoes.
Learn From Your Teammates
The best way NBC Sports can collaborate with Michael Jordan is modeled after what his former colleagues have already done. Inside the NBA features three former players who were never able to beat Jordan to a title when he reigned in Chicago. All three have a head start on knowing where NBA fans would like Jordan to go in his “contributions” to NBC Sports.
The question is: will he? Or will this simply be “whatever Mike wants, Mike gets”?
NBC Sports’ return to the NBA is a promising step forward, but nostalgia alone cannot carry it. The network has the platform, the audience, and the stars of today to capture attention. Jordan should enhance that, not distract from it.
If NBC truly wants to reclaim its place in basketball broadcasting, it needs contributions that inform, excite, and connect with the current game. Legends belong—but only if their presence elevates what’s happening now.
Otherwise, even the greatest of all time risks being little more than a halftime footnote.
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There are two things about Curtis Sliwa that I think are undeniably true: he’s a news/talk radio legend in New York, and he’s not going to win the city’s election for mayor.
The longtime radio personality and one of the city’s most recognizable voices declared he will never return to 77 WABC after owner John Catsimatidis and several station hosts suggested he step aside from the mayoral race.
For a figure who has spent more than 30 years dominating multiple dayparts across several stations, this is a seismic shift.
Sliwa has long been a news/talk radio legend in New York, a rare talent capable of filling late-night, midday, and morning slots while drawing large, loyal audiences. His style — a mix of outspoken opinions, controversial takes, and raw energy — resonated with listeners because it felt genuine.
At WABC, he thrived in an environment where local ownership allowed him to speak freely without the looming threat of shareholder pressure or advertiser boycotts. That freedom made 77 WABC feel like home for Sliwa, a station where his voice could remain unfiltered and unafraid.
The question now becomes what comes next for Curtis Sliwa if he truly stays away from WABC. His name alone carries weight in New York radio, but the politics of his mayoral candidacy could complicate his return.
If his decision to stay in the race indirectly helps Zohran Mamdani, the Democratic Socialist candidate, capture the election, there may be serious consequences for Sliwa’s audience base. Many of the listeners who have followed him for decades are politically conservative. They may see Sliwa’s refusal to step aside as a betrayal of their values, potentially turning their backs on him, even if they still respect his radio career.
This isn’t just hypothetical. News/talk radio in New York has always been unforgiving. The market is brutally competitive, and audiences have short memories when it comes to political controversy. A single misstep — or the perception of one — can cost ratings, advertiser support, and ultimately, a show’s longevity. Sliwa’s decades of success could be tested by the very race he insisted on pursuing, no matter how principled his reasons for running.
Yet it’s important to note that if Mamdani wins, Curtis Sliwa is hardly the sole reason. The mayoral field itself has been underwhelming. Candidates like Eric Adams and Andrew Cuomo, for all their experience and name recognition, failed to excite or unite voters due to their various scandals.
In a race dominated by underperforming frontrunners, Sliwa’s candidacy became an unexpected variable, but not the only one. Political outcomes rarely hinge on a single individual. Still, the public tends to look for someone to blame when things go wrong, and in a city like New York, scapegoats are often made of high-profile figures like Sliwa.
That reality creates a difficult landscape for any return to radio. Curtis Sliwa has built a career on authenticity and courage, yet those same traits could now make him a liability in the eyes of listeners and advertisers alike. Returning to WABC — or any other station, like 710 WOR or AM 970 The Answer — may require rebuilding trust with an audience that could feel betrayed.
And even if he finds a home on another platform, the shadow of the mayoral race will loom large over every show he hosts.
In the end, Sliwa’s situation highlights the harsh truths of New York news/talk radio. It’s a cutthroat business where audience loyalty is earned daily and easily lost, and where public perception often matters more than years of proven success. Curtis Sliwa has spent more than three decades on the air in multiple dayparts across multiple stations. His experience is undeniable, and his talent is unquestioned.
But even legends are not immune to the consequences of their choices.
If Mamdani wins, it won’t be solely Curtis Sliwa’s fault. It will be as much about the lackluster candidates on the ballot as it is about Sliwa’s decision to remain in the race. Yet in a world that craves scapegoats, Sliwa could still bear the brunt of the fallout. And in the cutthroat world of New York news/talk radio, scapegoats don’t often enjoy a long, bright future.
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Meet The Leaders is a special 8-week series created in partnership with Point to Point Marketing. Our third feature is on the Chief Executive Officer at Red Seat Ventures, Chris Balfe. Follow along with the series and revisit former conversations by checking out the entire category.
With over 23 years of experience working with creators in the digital media space, Chris Balfe has helped pioneer the direct-to-consumer model for talent looking to make immediate impact. He co-founded Red Seat Ventures in 2015 alongside his brother, Kevin. Chris has worked with some of the most influential creators in the world across all formats, helping them launch, grow, and monetize their independent media businesses.
In this edition of “Meet The Leaders,” we dive into the strategy of Red Seat Ventures as a partner, including the decision to never be involved in editorial with creators. We touch on the success of building the Red Seat Ventures talent roster, Fox acquiring the company earlier this year, and the company’s push into the sports content space partnering with Craig Carton, Robert Griffin III, and others.
Balfe spoke with Barrett Media from his office in New York City.
*Editor’s Note: Answers have been edited for clarity and length.*
John Mamola: The business model of Red Seat Ventures is interesting because it’s built around serving the creator as opposed to focusing on content. Let’s start with the decision to stray away from the actual content creation side and prioritize everything in the background. Why do you believe in that approach?
Chris Balfe: At scale, that’s the only way we can do it. If you’re working closely with one talent, being engaged in every aspect of it from content to editorial strategy is the only way to do it. You really need to be engaged on every level.
When you switch hats and become a little bit more focused on the network side, that’s when you must take a step back from the editorial and say, ‘I’m not living this every day’.
I’m not driving to work, sitting in the prep meetings or sitting at the dinner table with this talent. That’s what it takes to be able to provide useful content strategy and editorial-type suggestions. You have to live and breathe the content.
From our perch, doing 20 shows and hopefully doing 200 shows, we could never have that level of connectivity to each of the shows. It’s better for us to say, you’ve got your content, you’ve got your editorial. Our job is to help you grow it and monetize it.
John Mamola: When it comes to working with or scouting creators you want to work with, are there minimum guidelines that you look for as far as metrics? Or is the preferred method for business that the creator approaches you?
Chris Balfe: Most come to us through word of mouth. Either they’ve talked to an existing client, and they’ve referred them. We’ve been so fortunate to have so many of our clients send us other folks, which is awesome. It’s always the best way to do it.
We’re sitting here in a time period where the barrier to entry on podcasting and YouTube is zero. Your computer comes with a microphone and a webcam. To me, it’s less I have this idea; it’s more, here’s what we are doing. Here’s what the viewership or download numbers are like. Do you think you can help us get it to the next level or improve monetization, strategy, distribution, or whatever?
There are obviously things that we can do, given our role in the industry, that are helpful. But we can’t help you turn the camera on. I guess we can, but they don’t need our help with that.
It’s much more interesting to us to look at people who are doing—saying, wow! They’ve taken the initiative, and they’ve found an audience. We can help them take it to the next level instead of someone who says, I’d like to start a podcast. Then why haven’t you?
John Mamola: Looking at your roster of creators, there’s a mix of high profile personalities across all genres. Sports appears to be a key part of your business plan, but there’s an intersection with news talk programming too. Is the business strategy to lean on the success model from high profile creators to attract new creators? Are there any challenges with creators not wanting to explore relationships due to talent being involved with opposite political leanings?
Chris Balfe: We want to be in business with great creators. Politics is not the driving factor. Particularly now, as we look to expand aggressively across all genres, including sports, comedy, and lifestyle. We’re not sitting here saying we’re only interested in folks who are one persuasion or another.
To the second part of your question: certainly, it will take some guts for someone who’s looking at our roster and saying, do I want to be the first, second, or third one in the boat that’s not fully aligned with the existing roster?
We’re getting those folks. Robert Griffin III, Craig Carton are both with us. So, I think people are starting to realize these guys are serious about broadening their client list. They’ve obviously been successful up till now, so let’s take that risk.
I don’t think it’s much of a risk, to be honest. Ultimately, we’re part of a big company. We’re part of the Tubi media group, which deals with everybody on all sides. We’re part of Fox, which has Fox Sports and Fox Entertainment.
Realistically, I don’t think it’s a huge risk. I do appreciate any brave folks who are willing to be among the first to come to us in that regard.
John Mamola: Going back to not being involved in the editorial or the creation process. Is there a risk with that potentially? Certain creators may go a little bit too far on certain topics regardless of format. How do you balance that with Red Seat Ventures?
Chris Balfe: Red Seat Ventures is a service provider. You must really start thinking about these associations that people create in their own minds around service providers.
If someone I don’t like uses Verizon, is that Verizon’s fault? The content is representative of the people who are producing the content. We’re a partner, a network, and a business associate for these folks. It’s our job to do the best that we can for them from the perspective of growth, marketing, and all the other services that they may choose to use us for.
I’m very much not in the censorship business.
John Mamola: From a sports perspective, Red Seat Ventures recently paired up with Craig Carton. How did the idea come about to work with Carton on a sports podcast?
Chris Balfe: It’s sort of our re-entry into the sports space more than anything. We were anxious to work with Craig Carton. I’ve lived in New York since 2006. One of my great friends is maybe the biggest WFAN fan in the world. WFAN is a core part of my growing up listening to the [Don] Imus in the morning.
Radio is certainly in my blood, and Craig is the ultimate sports radio host. The opportunity to work with Craig [Carton] was easy. I couldn’t say yes fast enough.
John Mamola: You’re a long-time FAN guy. Were you stunned that the success that he had on WFAN didn’t necessarily translate to television?
Chris Balfe: Not really, because linear TV is so regimented. It’s so different from what we do. It’s completely the opposite in a lot of ways.
We’re all about talent control. We work for them. They don’t work for us. They wake up in the morning and do the show they want to do. Then that show’s success either succeeds or fails based on its own merits.
In TV, it’s almost the opposite in many cases. Here’s the format, the co-hosts, and what time it’s on. All these other things that are the world that you have to live in in order to make this show.
Craig is a radio guy. They want to do the show they want to do. That’s what we’re able to do with the new show. This is Craig Unfiltered. I don’t get into the editorial, and that’s true in news and it’s true in sports too. We let him pick every component of this show, and we’re here to help it grow, distribute it, and monetize it.
John Mamola: How has the response been so far?
Chris Balfe: Really strong. We’re starting off great out of the gate again. Whenever you have somebody that’s got proven success as Craig has had, you’re kind of starting with an unfair advantage versus an unknown that may be incredibly talented.
Our sales team is on the phone with advertisers saying, you got to buy The Joe Blow Show, and they’re like, who’s Joe Blow? Craig has demonstrated success to audiences. He’s demonstrated success to advertisers. One of the advantages that we have in working with radio people versus people from TV is radio people know that part of their job is to sell product. Craig totally gets that.
John Mamola: Is the plan to use Carton’s example to lure other sports creators?
Chris Balfe: Sports is an area where Fox gives us a huge leg up in partnering with FOX Sports on FS1, also in partnering with the broader Fox broadcast network and the rights that they have for college games, car racing, and these sports rights that they have on the network itself.
There’s an opportunity for us to work with creators who are experts in that space, but then to turn around and allow them access to the biggest platform in the world, which is broadcast television. That’s another place where we have an unfair advantage in partnering with Fox. Ultimately, you’re going to see us becoming a very big player in the sports space.
John Mamola: In February, Fox Corporation acquired Red Seat Ventures. That is a huge success for you and the company. How did the acquisition come about?
Chris Balfe: There’s a senior executive with Fox named Paul Cheesbrough. He reached out to me on Twitter.
We had been talking to Piers Morgan, who had a long relationship with News Corp. Piers was thinking about going independently and sharing that view internally. That piqued the kind of curiosity of folks there, but also they had already been monitoring the space—thinking about how does Fox make a bigger play in the creator economy. I think those two things aligned, and Paul reached out.
We had an amazing first conversation, and several conversations after that. Fox demonstrated who they are and how aggressive they can be. From the first moment we spoke to the deal being closed was two months or something.
It was an insanely fast process, and both sides kind of knew that there was an amazing match here. An opportunity to do something together that’s much bigger.
John Mamola: With the acquisition by Fox, how does that help your role of going out and collaborating with or attracting creators to work with Red Seat Ventures?
Chris Balfe: I think there’s a real opportunity for us here because I think the creator economy is thriving. Podcasting is thriving. The role that we can play in thinking about the next steps from here.
Great creators have had an amazing run. YouTube is on fire, but now let’s think about monetization across other platforms. Let’s think about distribution so that maybe we’re not completely dependent just on YouTube and podcasting.
In those ways, being part of Fox and having access to our friends at Tubi and Fox One, all of the resources of the various Fox networks including FOX Sports, there’s just a lot of potential synergy for us to bring to the table for talent to say to them, do you want to play a bigger role in some of these platforms that might be giving you additional visibility, eyeballs, monetization, and other things that you couldn’t otherwise get?
I think Red Seat really has a chance of being the next-generation network or next-generation provider for A-list talent. That’s certainly our goal.
John Mamola: Since the acquisition, what’s been your personal biggest change to your day-to-day?
Chris Balfe: The biggest change is going from a business that was effectively owned by me and Kevin [Balfe], therefore sort of thinking about things from the perspective of if we make this decision or that decision, how does it impact our personal economics and the economics of the business.
Over the next six months, if we make this hire, are we going to have enough money to do these other things that we might want to do?
The biggest change is the ask from Fox to think big—to say, how do we make this the number one company in the creator economy, not just sort of scale it linearly based on what you and Kevin [Balfe] can afford to do?
That means I wake up every day and start thinking about how do we grow much more quickly than was our previous plan? How do we provide even better service to our current clients, while also being aggressive about our new clients?
We announced that we hired Rena Ayer from SiriusXM, who had been in charge of podcast acquisition for them. She had been one of their premium podcast acquisition people. Now she’s our leading content person.
We’re going to be really aggressive in signing new talent. Rena is going to be a big part of that. That’s a major change. Not that we weren’t thinking about new talent before, but now we’re thinking about it every moment of the day.
John Mamola: FOX Sports struck a partnership recently with Barstool Sports. I don’t know if this applies at all, but does that new partnership between the two brands open up any possibilities for Red Seat to work with Barstool Sports on future projects?
Chris Balfe: We’d love to do more with Barstool [Sports]. We’re big fans of everything they’ve built so far. We haven’t gone down that road. They’ve built such an amazing growth and monetization engine themselves. Certainly, always hopeful that there’s an opportunity for us to work more closely with them.
John Mamola: With FOX One, what possibilities exist for Red Seat Ventures there?
Chris Balfe: Great example. We’ve already operationalized one deal, which is Nancy Grace. Nancy’s our first client, and I love working with Nancy. She’s amazing, and I think that we were able to bring to Fox One an exclusive window. When you watch Crime Stories, the only place to watch Crime Stories for the first 24 hours was on Fox One.
Creative ways for us to be a place for Fox One and for Tubi to go to get top creators and get access to top creators. Also being a place for us to be able to bring top creators those additional distribution opportunities.
That’s something that works both ways to everybody’s advantage. It’s a unique component of the type of business that we can create that I think others can’t.
John Mamola: You manage a lot of high-profile personalities and shows with Red Seat Ventures. How do you continue to expand when you have this massive roster that you’re trying to ensure every one of them is taken care of while attempting to expand?
Chris Balfe: I say it all the time, we’re in the talent business. If we don’t do a good job, they’ll find someone who will. It’s up to them to make that decision on a regular basis to say, is Red Seat Ventures the best place for me? It’s my job to make sure the answer is yes. To me, it doesn’t come down as much to egos as it comes down to doing an amazing job for our clients.
John Mamola: What’s the most fun part of your job as CEO of Red Seat Ventures?
Chris Balfe: I love doing new things. One of the reasons that we’re a good partner for creators is because we’ve done a lot of this a number of times. That’s all fun, and we love doing that.
What’s really fun is somebody who comes to us and says, I want to do something completely different, try something that no one’s ever tried, and we’re negotiating a deal that’s outside the bounds of the things that I’ve been doing for the last 23 years.
In my new job at Fox, I’m doing a lot of that. Doing a lot of deals that are much more cross-medium, including different parts of the company that take advantage of the strengths of Fox overall. These are the types of things that, again, when it’s just me and a few folks, we can’t even dream of doing. New stuff is fun.
John Mamola: Red Seat Ventures was named after the red seat at Fenway Park where Ted Williams hit the longest home run in Fenway Park history. What do you want to see more from Red Seat Ventures in the next six months to a year, as far as expanding into the sports content space?
Chris Balfe: We have an opportunity again to say, how do we improve a creator’s reach and revenue? You’re hiring us to improve your reach and revenue, and we have to be able to do that.
As we look at the whole life cycle of creator monetization and say, what are the other ways that we can help you grow your business—from subscription to social media, sales to live events, and licensing the show to third parties.
I think we look at this holistically and say, reach and revenue, yes.
Ultimately, being the best partner for creators means being able to solve their problems or bring them opportunities across all of the areas where they can be successful. That’s the way. That’s the part that I’m excited about building—being the best partner for these folks.
To learn more about Point-To-Point Marketing’s Podcast and Broadcast Audience Development Marketing strategies, contact Tim Bronsil at tim@ptpmarketing.com or 513-702-5072.
