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How Damon Johnson Returned to His Roots With Brother Cane

Terrie Carr
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How Damon Johnson Returned to His Roots With Brother Cane

Damon Johnson may not be immediately top of mind when it comes to legendary guitarists, but he is rock royalty. A master player, singer, and songwriter. I first met Johnson in 1993, when he came into my midday show on WDHA with his guitar as the leader of Brother Cane to play live on the air.

The band’s incredible self-titled debut had just come out and launched multiple radio singles. These included Got No Shame, Hard Act To Follow, and That Don’t Satisfy Me. It was an organic, guitar-driven rock sound that dominated rock radio at a time when grunge ruled. Their second release, 1995’s Seeds, gave them another number one with And Fools Shine On,. Then a third #1 followed on their third album, Wishpool, with I Lie In The Bed I Make.

Brother Cane eventually disbanded, and Damon went on to play guitar with Alice Cooper, Thin Lizzy, and John Waite. He was also in the band Black Star Riders, released solo material, and in 2021 joined Lynyrd Skynyrd as a temporary fill-in for legendary guitarist Gary Rossington. He has retained his role to this day following Gary’s death in 2023.

Both Johnny Van Zant and Rickey Medlocke credit Damon with being integral in keeping the classic Skynyrd guitar sound alive. So what does this super-busy guitar hero do to kick off 2026?

He decides to get the band back together and release the first new Brother Cane full album in 28 years, called Magnolia Medicine, which comes out April 17.

I recently caught up with Damon for my Carr Stereo podcast to discuss working again with writer, producer, and friend Marti Frederiksen. He was the one who worked on the first three Brother Cane records, capturing the band’s authentic sound.

We also talked about when he felt like he was truly a Lynyrd Skynyrd member, his first meeting with his idol Eddie Van Halen, and what Magnolia Medicine means.

*Editor’s Note: Answers have been edited for clarity and length.*

Terrie Carr – We spoke in 2023 and there was some new music, but not a full new record. What got the Brother Cane machine back on the trail?

Damon Johnson – When you and I spoke in 2023, myself and Glenn Maxey, and then Jared and Tony, and the guys that I’ve been making music with here in Nashville for over 10 years. We had just kind of dipped our toe back in the water of, hey, we wrote a couple of new songs, we put them up on the streaming sites. Let’s book a few shows, and that’s what we did.

We played probably 18-20 shows. We had a lot of fun and everybody went back to their other commitments. A lot of credit goes to my manager, Kevin Lee. He’s wonderful, and he called me out of the blue one day.

He said, ‘If you were to roll up your sleeves and make a full length new record. It would be the optimum thing to do to move the band forward.’

We were all really kind of blown away and very pleased with the reaction we got to those two songs back in 2023. If we were going to do it right and not mess around, Marti Frederiksen to be involved.

Marti was my main co-writer, collaborator on all the radio hits that Brother Cane had. Got No Shame, Hard Act To Follow, And Fools Shine On, Breadmaker, I Lie In The Bed I Make, Machete. All written by myself and the very talented Marti Frederiksen.

I took Marti to breakfast here in Nashville. I told him I want to do the work. Start swinging a hammer. I already had a bunch of ideas, some really good songs. I promised him I wasn’t going to waste his time, and I got a ton of great ideas to get started with.

He goes, ‘“’Damon, you’re my brother. I would love to be involved. Let’s do another Brother Cane record.’”’

It was like riding in a car, cruising down the Pacific Coast Highway in a convertible at about 55 miles an hour. No traffic. Easy, easy. The songs just flowed like water. Proud of myself that I had a lot of stuff to say.

TC– The title has a very special meaning to you as well. Talk to me about the Magnolia Medicine that was in your life.

DJ– The Magnolia tree is very specific to the South. I’ve had Magnolia trees in my yard. Both ,y grandmothers had them and I had them at my home as a kid. My wife, Linda, and I moved to Nashville in 2013. We bought this single, small Magnolia tree. We planted it in our backyard. We don’t have a big yard, but it’s cool.

Last year, as we’re working on this Brother Cane record, I was working in my yard and I noticed that this little Magnolia tree looks completely dead. All the trees are starting to sprout, blooms, not that one though. I’m not Mr. Horticulture guy, but I was like, that tree looks dead.

So there’s a little mom-and-pop plant store down the street. I took a picture, snapped off a little twig of this thing, and took it to this old guy. I asked his thoughts on the tree, and asked if we were out of luck.

Then he picked up this little bottle about the size of my AirPod case here. He shook it and told me to pour a capful of this in a five-gallon bucket of water. Pour it on the root, and wished me luck.

I did exactly what he said once a week for like two or three weeks. I’m back outside. Linda’s in the front yard working on her flowers. I look out there at that tree, and there’s this one gorgeous white bloom that has sprouted on the top of it. I kind of trotted back up to the front yard and told Linda. You could see a couple of other small bulbs coming.

That old man, he sold me some Magnolia Medicine. Linda then took her gloves off, and dropped them on the ground and says, ‘That’s the name of your album.’

Brother Cane’s first single from Magnolia Medicine, If This Means War, is out streaming everywhere. It is a heavy guitar adventure combined with the band’s signature classic, driving bass sound and impactful lyrics. April 17th can’t come soon enough.

For the full interview, which also discusses Lynyrd Skynyrd, Van Halen, and a possible Brother Cane tour, check out my Carr Stereo Podcast.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

What ESPN Gets Wrong — and Almost Gets Right — With Streaming Ads

Dr. Ed Cohen
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What ESPN Gets Wrong — and Almost Gets Right — With Streaming Ads

Over one year ago, I conducted a (very) small research study for this column about the spots ESPN inserts in games available on what was then ESPN+. This column is a 2026 version of that study and, appropriately enough, appears in Barrett Media on Groundhog Day.

I’m a Washington Capitals fan and was a season ticket holder for a number of years when I lived in the DC area. Living out of market now, I can get nearly all of the Caps games on the ESPN platform and, even better, I can choose which version to watch — the Caps version or the opponent’s telecast. The only exception is nationally televised games, and I have “traditional” ESPN as well as TBS and TNT, so I’m covered.

ESPN “covers” the local spots with their own when you watch a game on their platform. The amount of repetition of spots was so bad that I tracked all the spots from one game and reported the results in my column of February 3, 2025. One year later, I repeated the “study” using last Tuesday’s Caps-Kraken game. For a Caps fan, the game was terrible, perhaps the worst game the Caps have played all year, losing 5-1 at Climate Pledge Arena.

The study results were mixed. There was some improvement, but three advertisers were allowed to pummel me with frequencies beyond what any normal viewer should endure. And because this is a digital operation, the targeting should be better than linear television.

If the digital world really knows more about me, I’ll need to visit my doctor very soon. Apparently, I have one of the following: Crohn’s Disease, ulcerative colitis, or psoriatic arthritis. How do I know this? I counted 15 spots for Tremfya and, according to Johnson & Johnson, it works on all of those diseases.

Also, the digital systems know something about my history that I never knew. There were ten spots for TikTok, all of which informed me that they have systems in place to protect teens. I don’t have children and have no teens in my household, but TikTok assures me that they’re watching out. And I don’t even have a TikTok account!

Next came Kalshi. In fact, the betting — I mean “trading” — platform showed me nine times that the odds for David against Goliath were pretty long. And with Kalshi, I can bet — I mean “trade” — on anything!

No other advertiser appeared more than three times in the game broadcast, which is reasonable. The only one with three spots was Navy Federal, and each spot was a different execution.

On to the ESPN promos. By my count, there were 31 ESPN promos, with the biggest number for a logical event — the NHL Stadium Series game in Tampa, held on Saturday. Here’s a table for you:

ESPN PromoNumber of Spots
NHL Stadium Series6
NFL Pro Bowl (Flag Football)4
La Liga4
Inside the NBA3
NBA on ESPN and ABC3
Australian Open Tennis on ESPN3
ESPN Golf Coverage3
Women’s Volleyball on ESPN3
WWE Royal Rumble on ESPN2

One other improvement over last year was a major reduction in the number of spots that started but were cut by the return to the game coverage. I saw only one this year, and it would have been the fourth promo for the Australian Open.

There is one other issue when one watches a game on ESPN, and that’s the fill. Sometimes it’s a few seconds, and other times it can last for a minute or more. When the system apparently does not have a spot to fill or knows that only a few seconds are left in the break, it puts up a shot of an ESPN building — likely fictitious, but I’ve never visited Bristol — which has windows that highlight various ESPN programs, mostly 30 for 30 episodes. Meanwhile, you see clouds pass in the sky, and the sound is outdoor noise — wind with a few bird chirps. Some words on the screen inform the viewer that the program is in a commercial break, as if we couldn’t figure that out.

Here’s my suggestion to ESPN. What does ESPN do extraordinarily well? Scores and highlights of just about any sporting event in the entire world. Rather than the same boring video, why not put up scores? If I were watching linear ESPN, I’d see scores and headlines continuously at the bottom of the screen. But when I’m on the ESPN platform watching an NHL game — and I assume it’s the same for any other event — I see the same building, the same clouds going by, and hear the same sound.

Monumental Sports, which runs the Caps games as well as Ted Leonsis’ other teams in Washington, doesn’t seem to think that any other NHL games are played whenever the Caps play. There may be a mention of other scores by the announce team, but don’t count on it. ESPN could put up the scores during the break. Perhaps one less promo here and there, replaced with the latest NHL scores and some sports headlines?

Last year, I suggested that ESPN should “eat their own dog food” and have an exec watch a local game on their platform. Perhaps someone did, as this year was marginally better than last year’s review. But much as I love the option to view games of a favorite team, I’m the viewer. I can deal with spots, but can’t the company cap the frequencies? And would it be possible to offer something ESPN excels at — scores and headlines? In the meantime, I’ll talk to my doctor about Tremfya.

Let’s meet again next week.

What 80s Music Still Teaches Us About Programming Today

Mike Stern
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What 80s Music Still Teaches Us About Programming Today

When you endeavor to write a weekly column, you eventually end up finding inspiration in a lot of strange places. This week, my inspiration comes from a book about, well, inspiration. It started when I read Sean Ross’ column titled “When I Stopped Feeling Self-Conscious About Music.” In it, he shares an essay he wrote for a book called Life Goes On: The Lessons We Learned from Eighties Music, edited by Eric J. Shoars. The book is a compilation of essays like Sean’s that do exactly that — recount the personal meaning, or inspiration, a group of Generation Xers got from the music of their youth, especially 80s Music. It’s a neat project.

I won’t spoil what Ross wrote, other than to say the song he chose for his inspiration was “Mickey” by Toni Basil. If that doesn’t get you to check it out, nothing will.

But it also got me thinking about what professional lessons can be learned from 80s Music, and I have a few thoughts spurred on by certain songs:

ZZ Top “Legs”: The lesson I learned from this song is that Top 40 airplay really makes a difference in the impact a song has on your programming. ZZ Top wasn’t a new band when the Eliminator album came out, but when “Legs” crossed to Top 40, the little band from Texas was exposed to a whole new audience who probably had never heard “LaGrange” and certainly didn’t know “Jesus Just Left Chicago.”

Today, it’s songs like “Gimme All Your Lovin’,” “Don’t Stop Believin’,” and other eighties rock songs that crossed to Top 40 that expand your station’s cume appeal. At times, I’ve heard Classic Rock programmers decry those songs as “cheesy hits” and not want to play them. But the fact is, there is more value in a spin for those titles than there is for “Cheap Sunglasses” or “Wheel in the Sky.”

Metallica “Master of Puppets”: When Metallica released the Master of Puppets album in 1986, it was too scary for most rock radio. But as former Coleman Insights research guru Chris Ackerman used to tell me, “Time dampens all tempo.”

Today, the title song is not only a staple at Rock and played on some Classic Rock stations, but it was also used in a climactic scene in the TV show Stranger Things, exposing it to a whole new, younger audience. Eventually, it turns out that if they are good, a lot of the scary songs aren’t so bad after all.

Eurythmics “Sweet Dreams (Are Made of This)”: Back in the eighties, Annie Lennox, with her short cut and bright red hair, was Alternative. People paid attention to Eurythmics because of MTV, not because the band fit into the mainstream.

But in 2025, “Sweet Dreams” was the most played song at Adult Hits, number three at Classic Hits, and it’s just outside the Top 500 at Classic Rock. It’s a good reminder that, especially in a world where streaming is ubiquitous and consumers have access to every song ever recorded, the genre lines we once used to define ourselves and our friend groups are blurring. And with that, the expectation of what can be played on your radio station is changing, too.

If you are intrigued by the book, Life Goes On: The Lessons We Learned From Eighties Music, you can learn more about it here. If you have a lesson, personal or professional, that ties back to an eighties song or artist, share it with me at mike@jacobsmedia.com. Maybe you can be the inspiration for my next column.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Cheering Arrest of Don Lemon Feels Like a Dangerous Game

Garrett Searight
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Cheering Arrest of Don Lemon Feels Like a Dangerous Game

Don Lemon being arrested after the Minnesota church protest was catnip for conservative media, and many couldn’t resist taking the bait.

The former CNN anchor has been a frequent punching bag on the right for years, so the reaction wasn’t surprising. Clips were dunked. Jokes were made. Victory laps were run. To some, it felt like karma finally showing up on time.

Others pushed back hard, arguing the arrest went against the First Amendment. They weren’t wrong to raise that concern. Over the last several years, a loud segment of conservative media has branded itself as First Amendment absolutists. Free speech, free press, and free expression became rallying cries. Those principles weren’t supposed to depend on whether the speaker was liked.

That’s where this whole thing gets uncomfortable. If you really believe in the First Amendment, you don’t only defend it when your people are involved. You defend it when it protects people you can’t stand. Otherwise, it’s not a principle. It’s just a preference.

There isn’t a less principled take than “I’m glad that guy got arrested. I don’t like him.” That reaction is more about vibes and settling scores than it is about law, rights, or consistency. And it’s exactly the mindset many in conservative media say they’re fighting against.

I’m not qualified to determine whether Don Lemon truly ran afoul of the FACE Act. I haven’t seen every angle, read every report, or studied every charge. Courts exist for a reason, and they’ll sort that out. What I do know is this: I don’t know that there’s a situation where someone in media gets arrested while working, and I’d cheer it on, regardless of politics.

That doesn’t mean journalists should get a free pass. If someone breaks the law, they can be charged. Having a microphone doesn’t create immunity. Most serious people agree on that. The problem is the glee, not the process. It’s the celebration of state power being used against a disliked figure.

Conservative media has spent years warning about weaponized law enforcement. They’ve talked endlessly about selective prosecution. They’ve argued that vague statutes can be used to chill speech. And don’t get me started about how often the words “cancel culture run amok” have been spoken in recent years. Those concerns don’t magically disappear because the person in cuffs is Don Lemon.

This is where the absolutist talk meets its stress test. Do you still care when the precedent might be used against you later? Or does your commitment fade when the target wears the wrong jersey? It’s easy to defend speech when it flatters you. It’s harder when it annoys you.

As they say, it ain’t no fun when the rabbit’s got the gun. That saying exists for a reason. Power doesn’t stay neatly confined to your enemies. It travels. It mutates. And it eventually comes looking for new hosts.

Today it’s Lemon. Tomorrow, it’s someone else who crossed an invisible line. Maybe it’s a conservative reporter covering a protest. Maybe it’s someone you actually like.

The smarter move is to slow down and lower the volume. Ask whether cheering an arrest aligns with the values you claim to hold. Decide if your defense of the First Amendment is situational or sincere. Those choices matter more than a viral clip.

You don’t have to like Don Lemon. You don’t have to defend his opinions. And you don’t even have to feel bad for him. But if you care about free expression, you should care about the rules being applied evenly.

Otherwise, don’t be shocked when the applause dies down and the spotlight turns your way.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

102.3 KRMG Names Skyler Cooper as New Morning Host and APD

BNM Staff
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102.3 KRMG Names Skyler Cooper as New Morning Host and APD

After nearly five years in afternoon drive, Skyler Cooper is taking over mornings on 102.3 KRMG in Tulsa.

In a post on social media, Cooper shared that he’ll begin his stint hosting the daypart on Monday, February 2nd.

“I’m thrilled to announce that starting Monday, I will step into a new role as Host of the KRMG Morning News! I’m also taking on additional responsibilities as Assistant Program Director,” Cooper shared. “Can’t wait to wake up with Tulsa every weekday from 5 am to 9 am! My thanks to everyone here at Zoellner Media Group for this incredible opportunity!”

Cooper originally joined the station in 2012 as a board operator before rising to the role of reporter. In April 2021, he was elevated to anchoring the afternoon news block, which has since expanded to the 4-6 PM timeslot.

He steps into the daypart previously occupied by Dan Potter. Potter departed the station in November 2025 after 17 years helming morning drive at the Tulsa news/talk station.

102.3 KRMG has yet to announce plans on who will replace Skyler Cooper in the 4-6 PM window.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

The Biggest Games Coming in 2026

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The Biggest Games Coming in 2026

2026 is shaping up to be one of the most exciting years in gaming history. After years of anticipation and delayed launches, players on every platform are finally getting the releases they’ve been waiting for, from massive AAA titles to fresh new online casino experiences that are redefining what digital gaming can offer.

On the traditional gaming front, 2026 is stacked with standout titles that any fan of immersive worlds and high-end graphics should mark on their calendar. Perhaps the most hyped by far is Grand Theft Auto VI, set to hit consoles in late November. After more than a decade, Rockstar is bringing players back to Vice City with a sprawling open world, dual protagonists and next-level interactivity that promises to outdo anything the franchise has done before.

But GTA isn’t alone at the top. Survival horror fans will be thrilled by Resident Evil: Requiem. It takes players back into the heart of Raccoon City with a heavier emphasis on terror and gritty storytelling. In the action-RPG space, Crimson Desert delivers an expansive open world filled with quests, monster battles and deep lore for adventurers looking for a fresh fantasy experience. Alongside these blockbusters, Nioh 3 offers another round of exhilarating samurai action for fans of skill-based combat, while Tides of Tomorrow introduces cooperative ocean exploration into the adventure genre later in the year.

Console exclusives also get their moment. Arknights: Endfield brings a rich action-RPG Taiwan-developed experience to PS5 and PC early in the year, and indie highlights like Reanimal are also generating buzz for their blend of horror, platforming and storytelling.

This year is no different with any online casino game from major studios breaking new ground in terms of features, graphics and overall gameplay, and 2026 is no exception. The online casino scene is booming with fresh releases that mix classic mechanics, bold visuals, and innovative bonus systems that appeal to both seasoned players and newcomers alike. Among the list of upcoming slots, titles like Smoking Dragon from Hacksaw Gaming and Revolver from Red Tiger Gaming are drawing attention for their dynamic spins and high potential rewards.

Pragmatic Play continues to be a powerhouse, with new entries such as Wheel of Happiness blending cultural themes and lucrative tumble features that keep each spin unpredictable. Meanwhile, classic brands are also reimagining their hits, and a variety of high-volatility games like Pan’s Arcadia and Joker’s Jewels Hold & Spin bring fresh bonus rounds and bigger max wins to online lobbies worldwide.

Across consoles, PCs and casino hubs, 2026 is stacking its lineup with games that aim to entertain, challenge and innovate. Whether you’re stroking your controller through Vice City’s neon streets or watching those reels tumble toward a jackpot, this year is a celebration of how vibrant and diverse interactive entertainment has become. Expect new stories, fresh mechanics and unforgettable digital worlds, and get ready to play.

Megyn Kelly: Don Lemon Doesn’t Deserve 1st Amendment Protection in Minnesota Church Case

BNM Staff
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Megyn Kelly: Don Lemon Doesn’t Deserve 1st Amendment Protection in Minnesota Church Case

Megyn Kelly is forcefully rejecting claims that the arrest of Don Lemon tied to a disrupted church service amounts to the criminalization of journalism, arguing instead that the case is about trespassing and interference — not press freedom.

In a series of posts on X, Kelly said journalists are not exempt from the law simply because they carry a microphone. She pushed back on the notion that invoking journalism shields someone from prosecution when they enter private property without permission and disrupt events already in progress.

Kelly drew pointed hypotheticals to make her case, arguing that if she or commentator Matt Walsh stormed a private church service, frightened children, and caused chaos while claiming journalistic intent, charges would be appropriate.

“There is no First Amendment right — of protest or of the press — to enter a house of worship and shut down a religious service,” Kelly wrote.

She further cited statutory protections for churches under the FACE Act, noting that interfering with access to or conduct of religious services is explicitly criminalized. According to Kelly, claiming content creation or journalism does not override those protections.

Kelly also emphasized long-standing newsroom norms, saying reporters are well aware that private property changes their rights. Staying on public sidewalks or obtaining permission is standard practice, even when it means missing compelling footage. In this case, she argued, that line was crossed.

Kelly said Don Lemon acted more as an activist than a reporter, but added that even pure journalistic intent would not have changed the legal outcome. “He broke the law,” she concluded, predicting not only prosecution but significant civil liability.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

PHLY Phillies Creator Tyler Zulli Among Cuts at ALLCITY Network Philadelphia

BSM Staff
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PHLY Phillies Creator Tyler Zulli Among Cuts at ALLCITY Network Philadelphia

Tyler Zulli and Rich Hofmann are no longer with PHLY, marking the latest round of staffing changes at the Philadelphia-based digital sports outlet as it continues to balance audience growth with evolving business priorities.

Zulli, who most recently hosted the PHLY Phillies podcast, confirmed his exit in a detailed social media post, saying he was informed that his final day with the company had arrived. He acknowledged the decision as part of a results-driven industry, noting that when outcomes fall short of expectations, changes inevitably follow.

“I have so many people to thank for the last 2+ years. Having served in a dual role as host/producer, I’ve gotten the chance to work with some amazing people on both sides of the camera,” wrote Zulli.

His tenure spanned PHLY’s launch through several notable moments, including the Eagles’ Super Bowl victory and the realization of a personal goal: hosting a show centered on the team and sport he loves most.

“For what’s next? I honestly don’t know,” wrote Zulli. “I haven’t been a free agent in a decade. If you’ve got a lead to the next gig, I’m all ears.”

Zulli was part of the original group that formed PHLY after leaving 97.5 The Fanatic to help launch the online brand. That group included familiar Philadelphia voices such as Anthony Gargano, Jamie Lynch, and Devon Givens. Over time, Zulli’s responsibilities shifted as PHLY adjusted its coverage mix and content strategy.

Hofmann’s exit followed a different, though equally telling, path. Formerly of The Athletic, he said parent company ALLCITY Network eliminated newsletters across its portfolio. The move resulted in his position being cut.

“Guess the cat’s out of the bag: All City got out of newsletters, and I got let go,” wrote Hofmann. “2.5 years, not a bad run in this industry! I liked working there, so many great friends at PHLY. And I worked really hard on that newsletter. I leave legitimately proud of that thing.”

The timing of the departures follows positive news that the outlet shared just a few weeks ago. PHLY distributed a press release touting 40 percent year-over-year audience growth and surpassing 50,000 YouTube subscribers. While those metrics signal momentum, they do not always equate to financial security, particularly in a volatile digital advertising environment.

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Lawrence Jones Details Recovery Process From Detached Retina During FOX & Friends Appearance

BNM Staff
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Lawrence Jones Details Recovery Process From Detached Retina During FOX & Friends Appearance

FOX & Friends co-host Lawrence Jones has been absent from the Fox News morning show in recent weeks. He’s shared greater details on why.

Jones appeared by phone on the morning show on Friday to discuss his recent absence from the show.

He detailed a recent eye surgery that has left him off the air due to the unsightly nature of the incision. He added that recovery has been slower than anticipated.

“For my entire life, I’ve had issues with my eyes,” Jones shared. “And I’ve gone to multiple doctors and all that, and it’s just been something that I’ve just lived with. One of my friends took me out for my birthday, and his wife kept nagging me about going to this specialist. I’m like, ‘Whatever.’ Well, since our insurance was rolling over, I said why not. Let me go and see this doctor. Three hours later, they determined that my retina had been detached and it had been that way for a long time. They said it was genetic.

“So I did the surgery. Everything went well with the surgery. And they thought I was going to be back at work that Monday. But the swelling was just too much,” continued Jones. “It was kind of an intense surgery. And they didn’t make the connection that I was on TV. So there’s some swelling. My eyes aren’t quite open. But I’m healing fast, very fast. And I’m hoping to be back soon.”

Lawrence Jones didn’t have a firm timetable for when he would be able to return to FOX & Friends, only that he can’t wait to get back.

“If I had it my way, I would be on the couch,” he admitted. “There’s so much stuff happening in the world that I gotta chime in on. And I gotta keep myself away from social media for putting my thoughts there. But I’m hoping I’m gonna be back soon. I don’t wanna give anybody any dates or anything because I don’t wanna disappoint anyone if something goes wrong, God forbid. But I am ready to be back. Now we need my eye to comply with me so I can be back.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Elle Duncan Reflects on Positive Experience Leaving ESPN for Netflix

BSM Staff
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Elle Duncan Reflects on Positive Experience Leaving ESPN for Netflix

Elle Duncan is not running from ESPN. If anything, she is still defending it. The longtime SportsCenter anchor and current Netflix Sports host offered a measured, reflective explanation of her decision to leave ESPN during a recent appearance on The Right Time with Bomani Jones.

She framed the move less as a breakup and more as a professional evolution that simply reached its natural conclusion. Duncan pushed back on what she described as a recurring misconception about ESPN — the idea that the company operates as a single, coordinated entity with a unified agenda. She said that narrative often emerges when an on-air moment sparks backlash, which led to her decision to defend the network in her parting SportsCenter episode.

“No place is perfect. I got so tired of the entire time I was here, somebody on air would do something or say something, a lot of times it was me. Then there would just sort of be this monolithic approach of criticism,” said Duncan. “Just the absurdity of like we all get together with an agenda of who we should be talking s**t about it’s so weird and it’s wacky.”

While Duncan acknowledged the emotional complexity of leaving a place where she spent much of her career, she made it clear that ESPN played a critical role in her professional growth. She credited the network for taking a chance on her early, despite her limited experience at the time, and for continually expanding her opportunities as she developed.

“I wouldn’t have had the opportunity to go to Netflix without all the things that ESPN gave me,” Duncan said. “They took a risk on me.”

That gratitude remains central to how she views the separation. Rather than framing the exit as contentious, Duncan likened it to a “conscious uncoupling,” borrowing a phrase popularized by celebrities to describe an amicable split.

“You always wish that things could have gone a little bit differently, or you wouldn’t have left the relationship. But this is as close to like a Gwyneth Paltrow, Chris Martin, conscious uncoupling,” joked Duncan. “We’re cool. We’re all good. I think. It’s all good on this side.”

For Duncan, the turning point came from a growing sense of professional repetition. While she enjoyed her work at ESPN, the relentless pace left little room to explore other creative avenues or step back and reassess what she wanted next.

“For me it was just getting to a place in my life where I was like, Man, I feel like in many ways, I’m on a little bit of a treadmill. It was the amount of work to still feel like I was sort of doing the same things that I very much enjoyed by the way. When you do those things at ESPN, there is no opportunity to sort of look around and say is there anything else that might be interesting to me,” she noted.

That contrast became clearer once conversations with Netflix began. According to Duncan, ESPN leadership was supportive and understood why the opportunity was difficult to match.

“They were wonderful about me leaving,” said Duncan. “The ability to go work with a lot of different partners and chase a lot of different avenues, if I want, and then a ton of time at home. Just a chance to be have full autonomy over my schedule. It’s the first time in my professional career I have the ability to work as much or as little as I want, and it’s great.”

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

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