Dan Le Batard is doubling down on his criticism of modern insider reporting, this time taking direct aim at a high-profile NBA story and the forces he believes are driving it. During Tuesday’s edition of The Dan Le Batard Show with Stugotz, Dan Le Batard reacted to a recent in-depth report from ESPN NBA insider Shams Charania detailing the fractured relationship between the Milwaukee Bucks and Giannis Antetokounmpo.
The ESPN report painted a bleak picture of Milwaukee’s 2025-26 season. According to Charania, dysfunction stretched across the organization. Locker room frustration spilled into the open, with veteran Bobby Portis criticizing the team. One source described the environment as “like a funeral.”
Charania also reported that Antetokounmpo and his representatives approached the Bucks at least twice about parting ways. Those conversations reportedly occurred early in the season and again before the trade deadline. Antetokounmpo chose not to go public, believing the matter could be handled privately.
Le Batard did not hold back in his response to what he believes was a “press release” from Antetokounmpo’s camp instead of an in-depth investigative article.
“The information guys are compromised,” he said. “Shams is telling a story here on behalf of this entire agency. This might as well be a press release. What I’m telling you is this is an orchestrated thing. Giannis still has the commercials. Let’s go protect all this. Shams, go write this story”
Trade discussions failed to produce a deal. Several teams expressed interest, but talks stalled due to delayed responses and high asking prices. A potential package from the Miami Heat, including Tyler Herro and Kel’el Ware, was ultimately declined. Tension extended to the sideline. Head coach Doc Rivers reportedly struggled to connect with players, highlighting what sources described as a season-long disconnect.
While Charania’s reporting offered a comprehensive look at the situation, Le Batard argued the framing served a specific purpose.
“Giannis just got his guy to do the story,” he said. “Giannis is at the height of the fight with the union and the league’s going to investigate. Giannis is getting out. This is what it looks like at the beginning. When you go get your gatekeeper, you tell him the story. You put Shams [Charania] to work to tell my story to protect my family’s economy. Like the machine is kicked to work here and Shams passes as journalist.”
Le Batard acknowledged Charania’s stature in the industry. He compared his rise to that of former ESPN insider Adrian Wojnarowski, noting the relentless approach required to build that level of access.
“He’s got all the contacts, all the sources,” Le Batard said. “I didn’t think anybody could do that job like Woj, but this guy is that. This guy learned at that tree, and I didn’t think anybody can do that. He writes the stories.”
Still, Le Batard believes that same access creates vulnerability. He argued that insiders can become conduits for carefully constructed narratives, especially during high-stakes situations. According to Le Batard, Antetokounmpo’s camp is preparing for a broader public relations battle as uncertainty around his future grows.
“The team of Giannis is in the mode right now, preparing for a public relations fight that they don’t have the apparatus to execute themselves,” he said. “They have to summon somebody who wants the story and then give it to the person who’s going to disseminate the story. To give it more reach than it would have under any other circumstances.”
Le Batard emphasized he was not accusing Charania of inaccurate reporting. Instead, he framed the issue as one of influence and intent in a media environment driven by access.
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ESPN is extending its global footprint through a major distribution expansion with Disney+, bringing its sports programming to new audiences across Europe and parts of the Asia-Pacific region.
The company announced Tuesday that ESPN content is now available on Disney+ in 53 additional countries and territories. As a result, the sports brand now reaches viewers through the streaming platform in roughly 100 markets worldwide.
The rollout strengthens Disney+’s growing sports portfolio in Europe. Meanwhile, select Asia-Pacific territories — including Japan, South Korea, Singapore, Taiwan and Hong Kong — will receive an initial slate of English-language ESPN programming. Executives say the offering will expand over time.
“This launch builds on the strong engagement we’ve already seen from sports fans on Disney+,” said Alisa Bowen in a statement. She added that live events continue to play a central role in the platform’s broader content strategy.
For subscribers, the integration places live sports, studio programming and original content alongside Disney+’s existing entertainment and family offerings. That unified experience remains a key selling point as streaming platforms compete for audience attention.
From ESPN’s perspective, the move represents a continued push to deepen its international presence. Freddy Rolón said expanding on Disney+ allows the network to “extend our reach and provide greater access” to fans globally.
Programming will vary by region at launch, but the long-term plan includes a significant increase in live events. That includes coverage from major U.S. leagues such as the NBA and NHL beginning with the 2026-27 seasons.
Additionally, the package will feature a strong lineup of college athletics. Viewers can expect events tied to the NCAA March Madness, along with regular-season college basketball, football and postseason bowl games. Other programming includes the Little League World Series and exhibitions from the Savannah Bananas.
Beyond live competition, Disney+ subscribers will gain access to ESPN’s 30 for 30 documentary series and select studio shows, including ESPN FC. The soccer-focused program continues to serve as a global touchpoint for the network’s international coverage.
The expansion also builds on existing sports rights already available on Disney+ in Europe. Those include competitions such as the UEFA Women’s Champions League and LALIGA in certain markets. Additional offerings in Nordic countries feature tournaments like the UEFA Europa League and DFB Pokal.
In Asia-Pacific regions, the service will also include esports events, highlighted by KeSPA competitions scheduled for 2026.
ESPN’s broader distribution remains extensive, with 50 linear networks spanning more than 130 countries. The brand also leads the digital sports space, averaging more than 500 million unique users monthly.
ESPN via Disney+ (Courtesy of ESPN Press)
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Late last month, President Donald Trump made it clear he wasn’t a fan of Jessica Tarlov during his appearance on The Five. He’s continuing to make that known.
In a post on Truth Social on Monday evening, Trump sent a message directly to Fox News leadership: he doesn’t want to see Jessica Tarlov anymore.
“For Fox executives only, take Jessica Tarlov off the air,” wrote Trump. “She is, from her voice, to her lies, and everything else about her, one of the worst ‘personalities’ on television, a real loser! People cannot stand watching her. Thank you for your attention to this matter!”
His criticism comes after his appearance on The Five, where Tarlov serves as a panelist. During that appearance, when Tarlov was absent, he was asked about how he feels about the liberal cast member. “I’m not a fan,” President Donald Trump said during the March 26th appearance. He also added that “I’m sure I’d like her. I’m sure she’s a lovely person.”
The Five routinely finishes as the most-watched program in cable news. It averaged 4 million viewers per day during 2026’s first quarter.
He also added criticism of Fox News Sunday host Shannon Bream, and her interview with Rep. Jake Auchincloss (D-MA) from this past week’s episode.
“Tell Shannon Bream of Fox News that it’s not the Save Act, it’s the Save America Act, a big difference!” President Donald Trump wrote. “Also, when she insists on having lightweight Democrat Congressmen, such as Jake Auchincloss, on her not very hard hitting show, she should correct them when they spew out Democrat propaganda and lies. She never does! I always close deals, unlike the Dems, and did great with China in every way, also, unlike the Dems!”
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Warner Bros. Discovery may be out of the weekly NBA game business on TNT, but the company is still investing in basketball — just with a different spin. The media giant is teaming with Shaquille O’Neal and Authentic Brands Group to launch Dunkman, a new professional dunking league set to debut in summer 2026.
The venture will feature 24 athletes competing across four live events, culminating in a championship round with a $500,000 prize. Eli Lilly and Company has signed on as a founding partner on the new league.
O’Neal, who will serve as commissioner, believes the timing is right to elevate dunking into its own standalone sport.
“The dunk contest hasn’t been great for a while,” O’Neal toldVariety. “There are too many talented dunkers out there for it to feel stale.”
The concept builds on a six-episode test run produced last year. However, executives now see a larger opportunity to turn viral highlights into a structured competition. Craig Barry, chief content officer for TNT Sports, believes the league fills a gap between social media popularity and organized competition.
Appearing on last night’s coverage of the college basketball national championship broadcast, O’Neal expressed his appreciation for the creation of the new venture.
“We did a show about eight years ago that got over 200 million hits. So, I took that show over and called it the Dunkman show. Then I said, ‘You know what? We need a Dunkman League.’ Since the NBA guys don’t have enough pride to give us, the fans, what we want in the dunk contest, all of these professional dunkers have been created.”
The launch reflects a broader shift across the media industry. As rights fees for leagues like the National Football League and National Basketball Association continue to climb, companies are looking to create and control their own sports properties.
The Dunkman League is just the latest effort by Warner Bros. Discovery has attempted at that strategy. The company has ties to the Unrivaled women’s 3-on-3 basketball league and produces The Match, a series of made-for-TV golf events. Dunkman will receive a wide distribution push. Live events are expected to air across TNT, TBS, truTV and HBO Max. Additional content will live on digital platforms, including Bleacher Report, House of Highlights and YouTube.
O’Neal added that fans should expect new faces, not just familiar names. He pointed to early participants, including an international competitor with a full-time medical career, as an example of the untapped talent pool.
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Another round of layoffs is expected at ESPN, as the network continues to navigate shifting financial pressures tied to distribution and revenue performance.
According to Puck’s John Ourand, roughly 30 positions could be eliminated in the coming weeks. The cuts are expected to impact primarily off-camera roles, signaling a continued focus on streamlining internal operations rather than making on-air changes.
The anticipated layoffs reportedly come on the heels of a revenue shortfall tied to a high-profile carriage dispute with YouTube TV last fall. Historically, ESPN has leveraged its must-have sports portfolio to maintain favorable terms in such negotiations. Backed by its parent company Google, YouTube TV entered negotiations with increased leverage. That dynamic shifted the balance in a way ESPN had not encountered in previous disputes with distributors.
Ultimately, the two sides reached an agreement that favored YouTube TV’s position. In the aftermath, Disney acknowledged a significant financial hit tied to the deal. Reports have pegged that loss at approximately $100 million, creating a ripple effect across ESPN’s business operations.
Ourand indicates the upcoming layoffs are, in part, a response to that financial gap. While the number of affected employees is modest compared to prior rounds, the move underscores the continued economic challenges facing even the most established sports media brands.
The reporting indicates that there was push back on any connection between the layoffs and ESPN’s recent agreement with the National Football League. Earlier this year, ESPN reached a broader strategic arrangement with the league that included the NFL acquiring a 10% equity stake in the network. As part of that deal, ESPN also assumed full control of NFL Network operations.
Layoffs have become a recurring part of ESPN’s recent history. The most recent high-profile cuts came in fall 2024. That’s when ESPN parted ways with Samantha Ponder, Robert Griffin III and Zach Lowe among others. A year earlier, in the summer of 2023, ESPN executed a broader round of layoffs. That group included longtime host Suzy Kolber and veteran NBA analyst Jeff Van Gundy, among others.
While earlier layoffs often featured recognizable on-air personalities, this latest round appears more focused on behind-the-scenes roles. With cord-cutting accelerating and streaming platforms gaining power, ESPN continues to adjust its strategy. Cost management and operational efficiency remain central as the network balances its traditional television business with a growing direct-to-consumer future.
Exclusive: ESPN is planning a new round of layoffs—roughly 30 cuts expected in off-camera departments within weeks. Sources tell @Ourand_Puck the $100M YouTube TV standoff is partly to blame. Full story: https://t.co/FDDSRnFDWA
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MS NOW has announced the addition of Retired Admiral John Kirby as a national security analyst for the cable network.
Kirby previously served as the White House National Security Communications Advisor during the Biden Administration. He also worked as the Pentagon Press Secretary and as Spokesperson for the United States Department of State during the Obama administration.
John Kirby was promoted to rear admiral in May 2012.
It is not his first foray into the media space. From 2017 to 2021, Kirby served as a military and foreign policy analyst for CNN.
His first appearance on MS NOW came on Tuesday morning. He appeared on Morning Joe to discuss President Donald Trump setting a deadline for Iran to open the Strait of Hormuz.
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Professional wrestling is sports entertainment. It is a scripted physical performance with predetermined outcomes and massive global influence. Professional athletes around the world mimic the moves and celebrations of their favorite performers. At the same time, sports leagues want to tap into the buzz surrounding professional wrestling. The business has never been more profitable, better attended, or more widely sold than it is today.
Professional wrestling is also content. It delivers weekly episodic stories through the lens of the performers themselves. Those outcomes and storylines fuel debate across podcasts and national talk shows. They also drive engagement on social media, both positive and negative. For professional wrestling, all buzz is good buzz when it comes to what appears on television.
Then there’s Pat McAfee. On Friday, WWE inserted McAfee into one of its biggest storylines heading into WrestleMania 42. With less than two weeks until the opening bell, his involvement will test whether all buzz is truly good buzz—not just for McAfee, but also for WWE and ESPN.
For those who missed it, here are the cliff notes.
The story goes that McAfee served as a “secret voice,” speaking to WWE wrestler Randy Orton and keeping him focused on what he needs to do to win his 15th WWE championship. He then revealed himself, kicked Cody Rhodes (the current WWE Undisputed Champion) in the groin, and launched into a rant that made little sense.
A reminder: this is scripted entertainment.
McAfee called the WWE product “absolute s**t” and said he was disgusted watching wrestlers “circle***k” each other on Netflix. He also claimed he was “stunned” that tickets remain available for WrestleMania 42. Additionally, he said last week’s WWE SmackDown on USA Network was the lowest-rated episode of all time.
WWE is no stranger to criticizing its own product. However, McAfee went much further, taking aim across multiple fronts. Even setting aside his words—because this is scripted—his involvement creates an interesting dilemma for both his show and ESPN.
The timing matters.
This week is Masters week, a huge week for sports fans and ESPN with the signature golf major airing on the network this weekend. Also, the NBA and NHL seasons are winding down toward the postseason the next two weeks. ESPN has media rights to both leagues and should receive a high amount of attention that’s warranted.
However, this same window leads directly into WrestleMania 42 in Las Vegas.
Remember, ESPN has no creative control over The Pat McAfee Show, which airs for two hours every weekday on the network. However, ESPN is also a WWE partner, with exclusive rights to stream premium live events, including WrestleMania, on its app.
That relationship has worked. McAfee’s show has regularly featured WWE content. His role as a commentator gives WWE a built-in promotional vehicle. WrestleMania is WWE’s Super Bowl, and McAfee provides a massive platform to amplify it both on social media and ESPN.
But now the stakes are different.
With McAfee positioned inside a co-main event storyline, the question becomes unavoidable: how far is too far? Two weeks of elevated WWE cross-promotion mixed with scripted storytelling inside a sports talk show is a different equation. Even with ESPN’s partnership, that balance matters.
Reports from wrestling media indicate WrestleMania 42 ticket sales have lagged. The two-night event still shows significant availability, even at far reduced prices than originally released.
Imagine if the Super Bowl were only 70% sold out. Consider the reaction.
Then there’s the fan response to McAfee’s involvement. WWE operates under TKO Holdings, led by CEO and executive chair Ari Emanuel—who also serves as McAfee’s agent. Reports suggest Emanuel pushed for McAfee’s inclusion in the storyline to drive up interest and potentially ticket sales.
Whether that is true or not, the audience reaction has been clear. It has not been good.
A quick look across social media shows widespread criticism. WWE often highlights its engagement metrics, but this time, the response tells a different story. Instead of intrigue, the angle appears to have created disengagement.
Which brings us back to the central question. Is all buzz still good buzz?
Right now, the answer appears to be no. That reality should give both McAfee and ESPN pause.
The business relationships make sense. The cross-promotion is logical. However, this particular execution feels forced. The reaction was overly negative, and continuing to amplify a poorly received moment in hopes of a different result is a risky strategy.
WWE and TKO likely hope McAfee’s involvement drives interest and ticket sales. ESPN likely hopes it boosts viewership and subscriptions, especially with the network airing the first hour of each WrestleMania night on cable for the first time. But hope is not strategy.
And right now, the buzz is not helping.
ESPN has been a strong partner for WWE. The network consistently features WWE talent across its daily programming to promote premium live events. It has dedicated website coverage and adjusted its editorial approach to better align with WWE content. It has also opened one-hour broadcast windows on both nights of WrestleMania to build interest.
However, good partnerships still require boundaries. At some point, synergy stops being smart business and starts becoming overexposure. That is the tightrope ESPN must walk over the next two weeks.
Because this is no longer just about promotion. It is about credibility.
It is about understanding the difference between enhancing a product and forcing it into spaces where it does not naturally belong. The audience can tell the difference—and in this case, it already has.
If The Pat McAfee Show leans too heavily into WWE storytelling, it risks blurring the line between what is real and what is manufactured. That line still matters in sports media. Sports talk programs thrive on authenticity. Wrestling thrives on illusion.
When those worlds collide too aggressively, one loses. And it is usually the one built on trust.
That does not mean WWE should disappear from the conversation. It should not. It remains as culturally relevant as ever. But there is a difference between covering wrestling and becoming part of it.
Right now, McAfee is not just a bridge between ESPN and WWE—he is part of the show. That changes expectations. It changes perception. Most importantly, it changes how the audience interprets everything he says.
So ESPN now has a decision to make. Lean all the way in and risk alienating part of its audience. Or show restraint—and protect the integrity of the platform that made this partnership valuable in the first place.
Because in sports media, just like in professional wrestling, timing is everything.
And knowing when to pull back matters just as much as knowing when to lean in.
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It’s been just over four months since Sal Licatasigned off the airwaves of WFAN in New York City. The Audacy sports radio flagship announced a significant lineup change as Craig Carton prepared to make his return to the station. Carton’s return ultimately led station management to decide that Licata’s midday program with Brandon Tierney would be the casualty.
While time does eventually heal old wounds, Licata is still processing his exit from his beloved sports radio home. It’s a station he grew up listening to and where he began his career as an intern in 2003. The dream of a long-term future there suddenly faded.
“My whole life was WFAN, and my whole goal was to get to afternoon drive on WFAN. For the first time since I had that dream in 1995, I knew that dream was no longer a reality,” said Licata.
When The Athleticfirst reported that Carton would return for another stint at WFAN, the news broke while Licata and Tierney were live on the air. As the report became public, many speculated whether the duo knew what was coming and what it meant for their future.
At that moment, Licata and Tierney did not comment on the report despite growing chatter among listeners.
“Most people won’t have to handle situations like that. It was unfortunate. We were put in an impossible spot, but I think we handled it perfectly,” said Licata.
Leaving WFAN
Licata said he learned the night before The Athletic’s report that his show with Tierney would come to an end. He added that he had been part of conversations months earlier about potential other opportunities at WFAN.
Although BT & Sal lasted just over two years, the show’s approach in its final days remained professional. WFAN management allowed Tierney and Licata to close out their midday run on their own terms, a rare occurrence in sports radio.
“The final two weeks of our show is the work that I’m most proud of,” said Licata. “I appreciate WFAN for not yanking us off the air, but I’m also extremely proud of what BT [Tierney] and I did as a team in handling that under the most impossible of circumstances. We were as professional as can be although we were both hurting. But we knew we had a job to complete, and we did that.”
The end of Licata’s tenure at WFAN hit hard. He admits he no longer listens to the station. Not because he believes the product has declined, but because of the emotions it brings back. Licata compared leaving WFAN to moving on from an ex-girlfriend.
Going Independent
He launched his own podcast in mid-January, about a month after his departure. During that gap, he focused on next steps while working through the emotional toll of losing his job.
“I was sulking,” explained Licata. “There was a lot of re-evaluating and self-assessing. Trying to figure out what the hell just happened. I was in no space to go out there and do content, and needed time off. Honestly probably needed more time off. I knew I had to launch because I couldn’t wait much longer. But I still was not mentally one hundred percent ready. My heart wasn’t one hundred percent into it. I was still hurt, and I’m still going through those emotions.”
An independent podcast had always been on Licata’s mind, even while working at WFAN and SNY. In hindsight, he believes every media personality should consider building an independent platform.
However, Licata said he has no regrets about not starting sooner because his focus was fully on advancing at WFAN.
“It’s something that I thought about for a while but didn’t have a reason to do it. I was going to do it, but I never had to do it,” explained Licata. “It’s almost a blessing in disguise that in this case I was forced to do it. I still think it’s early in the game with podcasting where I’m not far behind.”
Licata stated that if he had launched the podcast while at WFAN, it likely would have fallen under the Audacy umbrella. Meaning he may not have retained ownership of his intellectual property after his departure in December.
He says the best part of going independent is controlling both the content and his future. The freedom to shape his show and decide when to go live has been liberating. Licata added that his content will remain heavily New York-centric, with occasional national topics.
A Potential Return To Sports Radio
Rather than casting a wide net, Licata wants to stay true to the approach that fueled his success.
“I haven’t lost my passion for sports radio. I still love it,” said Licata. “Truly, I don’t care if it’s a national opportunity, a local opportunity. I plan on getting back in radio at some point soon.”
Licata revealed that WFAN presented him with opportunities to stay in a different role before his exit. However, none of them felt like the right fit at the time. Still, he remains open to a return.
“I would be surprised if that was the last time I was behind the microphone at WFAN. I believe I have a good relationship with everybody there. It’s nothing that is imminent, but it was my understanding that we were trying to work on something to eventually have me back in some capacity,” said Licata. “I just don’t know if that’s going to be possible…. but I would be surprised if I never do a show on WFAN again.”
Following his departure, other outlets reached out about potential opportunities. Licata said he appreciated the interest, but none resulted in a full offer. He added that the best option at the time was to remain at WFAN, though not in a role he was willing to accept.
As he continues to process his exit, Licata still views WFAN as a major force in sports radio. He disagrees with former co-host Brandon Tierney’s recent claim that the station is “less relevant than it ever has been in his lifetime.” Instead, Licata believes the industry has evolved without losing its impact.
“I don’t think WFAN or anything else is the same as it was twenty or thirty years ago. That doesn’t mean it’s a bad thing,” says Licata. “Everywhere I go, people say to me, ‘Miss you on WFAN.’ That’s the power of WFAN. There’s no dispute that the business has changed. When radio was the only game in town, it was a different feel. Now, there’s a million ways to get things. That’s what’s changed. It doesn’t mean WFAN is any less powerful.”
Today, Licata is focused on growing his podcast into a sustainable business. In the early months, his biggest challenge has been finding time to consistently produce content while balancing schedules with his producer, “Badaboom.”
Despite those hurdles, Licata is optimistic as the baseball season ramps up and the NFL season approaches. While discussions about a potential WFAN return linger, his focus remains on building what’s next.
Sal Licata is carving out a new lane—one that exists outside WFAN, but not far from it. The platform is different. The control is his. However, the voice, passion, and connection to the audience remain unchanged.
And while he’s focused on the future, the door to WFAN doesn’t appear fully closed.
So maybe this isn’t goodbye. It’s a pause, with the possibility that one day Licata’s voice finds its way back to where it all started.
Licata is no longer behind the microphone at WFAN—at least not today. However, if his story proves anything, it’s that in sports radio, as in sports itself, endings often turn into returns when you least expect them.
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It’s been six years since we first learned of COVID-19. That era we plowed through seems to have warped time and certainly altered the way we—and everyone—does business. During that time, we held virtual events, perfected Zoom client meetings, and implemented on-site, no-touch contesting.
COVID also changed customer service. With the second survey of 2026 on the horizon, now is a great time to revisit how we treat our listeners through customer service.
Start with, “What can we do that Spotify can’t?” Local radio is the best at connecting with the community. SiriusXM—not so much. You might remind us that budgets have been slashed and our own people effort is vanishing. Our clusters are cash-strapped and time-starved.
However, let’s remind ourselves that local radio is still king at creating goodwill and making listeners “feel” great when executed properly. How about a few easy and affordable ways to make your brand experience stand out—and rise above your competitors?
Station Lobby Experience
This is the initial face-to-face touchpoint for your listeners and clients. Most broadcast lobbies resemble a mortgage or title company. Create a “wow” visual upon entry with industry snapshots and awards.
Radio is show business. Offer visitors a snack or beverage. The auto dealer that advertises on your stations does this—why not you?
Three simple tactics that will leave a lasting impression on in-station visitors.
The first is offer a brief station tour. The vast majority of listeners have never seen a broadcast studio. Have a talent or seller take a break and walk visitors through the hallways. What we do every day feels routine to us, but to a listener, our studios look like a NASA control center.
Secondly, when prize winners—big or small—arrive, surprise and delight them with an unexpected free item. This could be a station-themed product, a sponsor certificate, or even a local high school football schedule.
Lastly, have your talent write a handwritten thank-you note on a logo postcard for being a loyal listener. Include it with prizes. It’s something most people won’t discard. Encourage your sellers to send handwritten thank-you notes to clients when they book or renew a schedule.
On-Site Presence
If you truly want to connect, remove anything that separates you from the listener. Tables create barriers. Staging puts you on an island, away from the people Spotify and SiriusXM can’t reach. Shake hands, take photos with listeners and their kids. Send instant thank-yous through your social platforms. Work the events.
During my decade in Chicago, my night talent was the legendary Dick Biondi. He was a magnetic presence wherever he went.
At on-site promotions and live events, he had the rare ability to turn even the simplest appearance into something unforgettable. What set him apart was his genuine connection with listeners. Dick engaged with each person one-on-one, creating moments that felt personal and authentic. Fans didn’t just listen to Dick Biondi—they experienced him.
His legend was cemented through face-to-face interactions, where his love for radio came alive. He understood that great radio extends well beyond the studio. Dick Biondi made every handshake and every event an extension of his show.
There’s a movie about Dick Biondi. Have your talent study it.
Studio Communication
Think of this as your customer service center. When a listener calls, what happens? At most American radio stations, it’s ringing, waiting, and frustration. In any other business, that’s unacceptable.
When companies like Dell, AT&T, or Spectrum left customers hanging, they paid the price and improved their systems. Yet this still happens daily in radio stations, despite low-cost technology that can fix it.
What’s even more ironic is how often on-air talent complains about poor service elsewhere while mismanaging listener expectations themselves.
I once worked for a company in the pre-voicemail era where every phone had to be answered within three rings—no exceptions. If you walked past a ringing phone, you picked it up. Titles didn’t matter. Everyone, from the CEO to the newest assistant, was responsible for the customer.
That customer service mindset still works. A true customer service culture doesn’t happen by accident—it’s built, reinforced, and led.
In retail, it’s obvious. At Trader Joe’s, you can ample anything (uncooked) on demand. How about Costco, where you can return anything without questions asked. Amazon has made billions because they’re “customer obsessed” according to Jeff Bezos with any lost package gets a next day replacement.
The good news—this is fixable. Start small. Improve one aspect of customer service each week. Begin at the front desk and work your way through the building. Involve your team. Build a culture where everyone owns the listener experience.
Remember these simple actions to improve your customer service.
Return each voicemail, email, and direct message. Have your morning show do free Cameos—perhaps with a sponsor. You can mail prizes to winners when more convenient—creating an easy fulfillment path. Always respond to every social media message quickly. Lastly, form a small circle of fans and reach out regularly for feedback. Every little bit helps.
This short list—though it could be much longer—requires little investment. The emotional equity you build will be significant.
In 2026, listeners have exponentially more choices than even a decade ago. Customer service must be a core part of the brand experience. From streaming platforms that resolve billing issues instantly via live chat to radio clusters engaging listeners in real time on social media, the end user has set the expectation. Fast, human, and frictionless service gets noticed.
Companies that empower their teams with tools to actively listen and respond effectively deepen listener loyalty.
This may serve as a refresher for those already prioritizing audience engagement, or it may introduce new ideas to others.
Know this: when it comes to serving the customer, we endorse what we allow.
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Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we check in with one of the most decorated talent coaches in radio and television, Randy Lane — someone who’s worked with giants like Ryan Seacrest, Jimmy Kimmel, and Kidd Kraddick.
He was coaching talent before the digital boom, and now in the middle of it, which gives him a rare view of what’s truly changed, what hasn’t, and how to navigate and grow amongst all the noise and competition.
So, let’s dive in.
What Do You Hear First
Keith: New client, your first listen. What do you listen for or what do you just naturally hear first? What tells you quickly you’ve either got a lot of work on your hands, or something different?
Randy: What tone or emotion is coming through each character’s voice? Are they authentic? Likable? Playful and fun? Funny? Edgy?
Overall, I listen for the Characters, the Content, and the Execution.
Does the content hold my attention? Is there an emotional impact? Are their viewpoints clear and strong? Is the content sticky?
Do they execute the content effectively with headline setups, resets, and teasing? How is the cast interacting with one another and with callers?
If the host or hosts aren’t interesting and the content doesn’t grab me, I know there’s a lot of work to get this show to compete.
Today’s Real Timeline
Keith: “Give a new show at least 18-months before you make any decisions based on ratings” — that’s what programmers and consultants tell the higher ups. But in 2026, few have the patience to wait 18 months. What’s a realistic timeline today to determine whether a show is going to work?
Randy: I intuitively know within 90 days, with consistent coaching, whether the show or a player will make it. Conversely, I would give it two years in PPM markets if everyone involved with the show believes in it and it’s getting considerable audience response.
Nielsen now allows meter holders to keep them up to three years! First, the sample is too small to be consistently stable; second, when meters fall within a station’s non-target demographics or metro area, the ratings can be inaccurate for up to 3 years.
It would be foolish to cut a show in less than a year if you believed that it sounded great and was gaining an audience despite wobbly ratings.
The “Good Enough” Era
Keith: There’s a creeping sense that “good enough” wins in many cases because budgets are tighter and expectations are lower. Has the industry quietly lowered its product standards… while still expecting premium revenue?
Randy: None of the NBA teams going into the playoffs think “good enough” is going to win a championship.
Yes, the industry has lowered its standards for attracting top talent and for expecting big returns from average talent. Many stations/corporations simply won’t or can’t pay to get the best talent, even when they’re available in their own market.
The “X-Factor”
Keith: I’ve been a long believer in the “X-Factor” — that human brain or voice-trait that can’t be taught or bought, but that some people have and some just don’t. Give us the names — past or present — that have it. And what specifically makes them different?
Randy: There are gifted personalities like Kidd Kraddick and Bob Rivers who naturally had charisma that attracted mass ratings. Charlamagne tha God and Jamie White (BJ & Jamie) are two of several current personalities who have it too.
I have also seen personalities who have the X-Factor not succeed because they wing it, don’t do the work, or can’t get along with their cast and management. On the contrary, there are talented people who don’t have the X-Factor, but adequately prepare, create compelling content, execute it effectively, develop their character, and hit home runs.
The Pipeline Problem
Keith: The industry talks about talent as its secret sauce, but very few are developing young talent with real intent. Is this an internal development problem… or a recruiting problem? And which one becomes the bigger issue a few years from now?
Randy: It’s a recruitment and internal development problem. It’s a recruitment problem because the talent pool is shallow. It’s especially difficult to find talent for young-targeted formats like Top 40/CHR. Of course, technology has eliminated the training grounds of overnights, weekends, and fill-ins.
One easy way to address the recruitment issue is to extend the geographic pipeline. Allow talent who don’t want to move from Tucson to Louisville to do the show virtually. Now we must look outside radio at podcasters, influencers, and college radio stations.
Developing talent internally is problematic for two reasons: one, programmers generally oversee multiple stations and have little time to devote to talent development. Two, many of them lack the skill set to coach talent effectively.
There are plenty of talent coaches available, and many shows and programmers want it and know they need it, but tight budgets often prevent outside consulting.
The Randy Hiring Filter
Keith: When recruiting for a client, what do you look for first? Humor, point of view, personality traits, work ethic, digital presence? What’s the one trait that matters most, and the one people overvalue?
Randy: The trait that matters most is a tie between authenticity and humor. Authenticity and humor in one performer are the Holy Grail of media talent!
Funny is gold, and it transcends many shortcomings. However, funny personalities are an elite group.
Being real, relatable, and a good storyteller are skills I always look for in talent. If you have those key abilities, you can be fun even if you’re not laugh-out-loud funny. Fun is essential to personality morning and afternoon shows.
Digital presence is important; however, a talent can have a strong online presence and still not attract high ratings. The content, execution, and character development must be there to win.
You also want to be sure a talent is coachable and collaborative with their teammates and management, or the show will eventually implode.
Not The First Destination
Keith: Radio used to be the first destination for need-to-know information. News, concert announcements, community buzz, breaking moments. That has changed. How has it shifted the way you coach shows on their purpose and content?
Randy: Listeners come to the radio first for their favorite personalities. People are not coming to music radio stations for information. Info is all at your fingertips.
My coaching partner, Jeff McHugh, coined the content rule we use to coach talent: “Go short on information and long on stories.” Information is forgettable; stories stick with people. We advise shows to either eliminate announcement stories (concert dates, etc.) or keep them brief, followed by a story or strong point of view.
The Consultant Question
Keith: You’ve been on both sides of it. When does a consultant truly help, and when do they just become expensive reassurance?
Randy: Talent coaches truly help when they are players on the team.
We collaborate with the show and management, evaluating talent on their strengths and minimizing their weaknesses. An effective talent coach listens to the show, contributes ideas, best practices, and is always available for counsel.
Consultants who are not involved and contributing players on the team are expensive reassurance.
Digital Mania
Keith: Today’s talent is expected to do everything: radio, podcasting, YouTube, TikTok, all of it. How do you keep them focused on what actually matters?
Randy: If you want ratings and revenue, the radio show must be priority #1. The ROI still favors the show first and digital as an important second.
Ratings are a game of inches, and every tune-in and quarter-hour helps, particularly in condensed PPM markets. It’s crucial for shows to make their content available on demand. That means posting show highlights, benchmarks, and the full show daily (coded for Nielsen credit).
Progressive shows post both audio and video highlights daily. The KVJ Show in West Palm Beach streams its morning show live on YouTube as KVJ TV. They also have a highly downloaded After the Show podcast to expand their brand.
Digital is also an essential vehicle for deepening your personality brand and expanding your audience reach. Unfortunately, there are many solo and team shows with zero extra help. Their real-time online engagement is minimal. We encourage them to have a digital presence, with as much time and help as they can devote to it.
Check This Show Out
Keith: What show should we all listen to right now? What should we listen for to understand what makes them great?
Randy: Way to put me on the spot, Keith! I could list an elite group of shows and why you should listen, but you don’t have the space. So, I’ll mention an up-and-coming show that hits all the marks.
Tino Cochino Radio is a young show that’s up to 100 syndicated affiliates. Tino doesn’t do legacy bits like War of the Roses, prank calls, and 2nd Date Update. The show thrives on real-life content executed in concise form for a young audience.
Tino is a successful touring comedian, so humor is a cornerstone. The cast has distinct, likable characters who consistently share personal stories and sharp viewpoints. They interact throughout the show with listeners on the phone and online. Tino has also mastered the essentials of PPM execution.
Tino has an outstanding online video presence. He’s funny, vulnerable, and real with the short videos he posts primarily on Instagram and TikTok.
2036
Keith: What do radio morning shows sound like 10 years from now? Will “War of the Roses” and “Florida News” still be staples? Is the talent even live… or human?
Randy: The future of radio is talent.
Yes, radio will be human 10 years from now. As futurist John Naisbett predicted in his 1980s book Megatrends, with high-tech, you need hi-touch. We already see that with the shift in appeal of authentic media hosts. It’ll become even more important as technology continues to advance rapidly.
Humanity, captivating storytelling, and vulnerability will continue to win in the future. Technology will be used smartly as a tool to create entertaining content…I hope!
War of the Roses types of features may still be around, with different names, different implementations, and new technology.
Radio content will be on a higher level with more multimedia stars. There will likely be fewer shows on fewer radio stations. There will be a continued expansion of syndicated shows, both nationally and regionally, as well as within companies.
Personality brands build trusted relationships with listeners, fostering long-term loyalty, while music will continue to be even more ubiquitous. North America would be wise to follow the UK and Australia by making personalities the face of their brands in marketing, research, and revenue.
The One That Went Wrong
Keith: Keep names anonymous if needed, but we’ve all had that one encounter with talent that went badly. Give us one you’d want a do-over on?
Randy: I won’t name names to protect the guilty! A host abruptly walked out of a workshop I was leading.
It was in New York many years ago, on a major station with a new host. I was leading a character definition exercise in a workshop. The host refused to allow me and the cast to describe his personality because he thought I was going to psychoanalyze him by running his character traits through a computer program.
He abruptly walked out of the room, his arm being pulled by his high-spirited female program director. She dressed him down and ordered him back in the room to participate in the exercise. He totally opened up and revealed one of the best character descriptions I’ve experienced!
In retrospect, I could have read him better and gotten to know him as a personality type before going into a vulnerable exercise that mirrors group therapy.
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