Home Blog Page 377

How Scott ‘Lazlo’ Geiger Built His Church as an Open Book to His Radio and Personal Life

0

It’s easy to complain about the state of the radio industry. Managers and owners are facing many challenges and are being forced to make tough decisions. That, in turn, sometimes frustrates longtime radio people who remember the way things used to be and what they consider to be “the good old days.” With more than twenty years hosting a prime-time show in Kansas City, Scott “Lazlo” Geiger certainly could fall into that category.

His show has gone through several high-profile changes. He’s moved from afternoons at Alternative KRBZ to the same slot at sister The Rock 98.9. Most recently, a shift to mornings on The Rock, replacing the legendary Johnny Dare. You’ll get no complaints from him because he still gets to do the one thing that matters most. The show.

“When I get to go in the studio and close that door, that’s when everything else disappears,” said Lazlo. “Life disappears and I get to really be me. I get to act, talk, and say the things that I really think. I wish everybody had that.”

As for the rest of the radio industry’s machinations, he tries not to concern himself with them. Instead he chooses to focus on how to execute a program that entertains his devoted following. For an industry that’s changing rapidly, it’s easier to just ignore.

“Who’s in charge and who’s not in charge. One company or seventeen different companies,” explained Lazlo. “Whatever it is. When you close that door those four hours are still the same. I’ve never really concerned myself with the outside noise.”

@thechurchoflazlo

Lazlo Advice ! Listen to the Church of Lalzlo from 6 AM – 10 AM on 98.9, The Rock 🎸 Or, watch us live on twitch.tv/churchoflazlo If you miss us, you can also catch the podcast 😁 Stream The Church of Lazlo on Apple Podcast, Spotify, or wherever you get your podcasts! #churchoflazlo #kansascity #job #radio #fypシ

♬ original sound – TheChurchOfLazlo

His show, co-hosted with Slimfast, is called The Church of Lazlo, a name that even he admits is a bit much. The name of the program came from a listener commenting on how Lazlo would go off on rants about different topics through his program.

“I never would have called it that. It seems pompous,” says Lazlo. “We had a guy who kept calling in and saying, ‘preach man, preach.’ Other people would message us and say the show is like ‘going to the church of Lazlo.’ It just sort of stuck.”

Like so many ‘preachers’ before him, Lazlo uses his personal experiences as fuel for the show. His show is like an open book, and one that builds a unique connection with the audience.

“I share everything. Whether that’s my marriage, divorce, my kids, all of it,” explained Lazlo. “I’ve kind of lived by this rule. If somebody was going to tell a story about me to someone else, good or bad, I have to share it first. People go through divorce; people have challenges with kids; they have money problems. That’s always the connection.”

However, being that open about your life comes with challenges. With listeners, it frequently puts him at a disadvantage when the opportunity presents itself in person to connect.

“When you meet someone for the first time and they already know you, but you don’t know anything about them. Quite often they already have an opinion,” said Lazlo. “Maybe they want to argue with me, agree, or maybe they liked my ex-wife better than me. It starts from a different perspective than two people meeting each other for the first time.”

Sometimes the impact goes beyond Lazlo himself. He recalled a time when his kids were younger and he took his son to a gymnastics play space. His son was playing with another child when the child’s mother approached him and asked if he was Lazlo. When he said yes, she immediately pulled her child away.

“She grabbed her kid and said, ‘we don’t talk to them,’ and took her kid away. My son was like, ‘wait, no, why did that happen,’” he explained. “Just the other day my oldest texted me and asked, ‘are you talking about killing hookers in the metaverse?’ When I said yes, he replied, ‘my friends are listening.’”

For Lazlo, it’s all part of being a talent. It’s not an easy take and has it’s challenges, but it is part of the job. Lazlo also is very open about sharing his political views, which lean liberal in a conservative area. He knows that can narrow his potential audience, but Lazlo views it as a math problem.

“I don’t need one hundred percent of the people to be successful. I need seven percent,” he explained. “If I get between seven and ten percent of the possible audience, I’m killing it, so why not be that voice.”

While politics are part of the show, he notes they are not his focus. Lazlo believes that presenting balance during the conversation often helps conservatives continue to listen to the show. However, he does receive harsh feedback from listeners who don’t agree with him. Unlike some talent who struggle with criticism, Lazlo takes it in stride.

“When I was in the fourth grade, I got handed me a letter signed by the entire class that said they hated me. Everyone in the fourth grade hated me,” Lazlo explained. “When somebody sends me a mean message on Facebook, I think, ‘if you wanted to hurt me you had to get me in the third grade because I already dealt with that in the fourth.’”

That same pragmatism applies to navigating changes in the radio industry, including being moved to KQRC when Audacy changed Alternative station KRBZ to a sports format. Also a move to mornings when the company parted ways with morning host Johnny Dare.

“They didn’t really ask me. They just said, ‘we’re making these changes.’ But I’ve been doing this long enough to know there are train tracks and you can see the train coming. You can either get on it or get off it,” said Lazlo holding no ill will towards anyone who chooses to leave the radio industry.

“I understand how getting off the train is an option for some people. But not for me, I love the job and those four hours.”

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.

Why Leaving Radio Is More Difficult Than Anyone Admits

5

I’m not ashamed to admit I’ve been in this crazy, whacky, marvelous radio business since 1978. It didn’t take long to find out that radio isn’t just a job. It literally rewires you. People who grow up on air, in promotions, programming, sales, production, or management/ownership often discover something unsettling when they try to leave.

It’s virtually impossible because nothing else seems to fit. It’s like the scene in Godfather Part 3 when Michael Corleone [Al Pacino] famously said, “Just when I thought I was out, they pull me back in!”

In reality, the hours are often better elsewhere. The pay can be higher. The stress is lower. Yet, so many still drift back, or at least feel like they never fully land anywhere else. The reason is simple but complicated at the same time. Radio really isn’t a career—it’s an identity.

When starting, radio’s rewards were nearly immediate. Everything was always at a frenetic pace. It was as if we learned to think fast, react even faster, and live in multiple 10–20 second moments. Adrenaline was truly baked into every on-air break, remote, or listener call.

Back in the day, I was lucky enough to be on the air on “The Big 610 – KFRC” in San Francisco, owned by RKO. When walking down studio row, the hair would stand up on the back of my neck. In the halls lived talent like Dr. Don Rose, Bobby Ocean, Don Ste John, and so many others. I worked at other great facilities, too, but KFRC was truly “The Amazing AM!”

It was after 9 p.m., and I finished a break but picked up one of the request lines that were always blinking.

“Hi KFRC! Who’s this?”

“Hi, this is Sharon—can you play a song for me?”

“Of course,” I replied. “Where ya calling from?”

Her response blew me away. “Cheyenne!”

Wow! This young woman was calling from 1,200 miles, 17 hours, and three states away! All the FMs in town needed repeaters just to clear the mountainous terrain of the Bay Area, but not KFRC. I’m certain there were good stations in Cheyenne, but for Sharon that night—none like “The Big 610.”

Honestly, my pulse increases just regaling that story. For many, that constant sense of awe becomes normal, and you settle into it as more comforting than anything else.

Other industries move slower, plan longer, and require patience that radio never trained us to have. As some have told me, when they try something else, they often feel like they’ve been dropped into slow motion.

There is also the public validation received as well. Being “the person on the radio” still comes with recognition. People know your voice, and your job is visible in a way most careers aren’t. Walking away from that can bring a sense of anonymity overnight. It can be a difficult adjustment for people who’ve spent years being recognized for doing their job.

Let’s not forget that radio talent are the original content creators and initial influencers. In fact, their love and passion still make radio far more valuable than Instagram, Facebook, or TikTok. Connections we make are seeded and rooted much deeper than those on social media.

Radio is immediate, live, local, and far more authentic. That talent means more to clients than anything else. Just like The Godfather—“Making an offer they can’t refuse.”

Radio also creates a true sense of belonging. We have all worked in places that are small ecosystems with shared stress, inside jokes, and battle scars. You survive the crumby remotes for which no one showed up, the brutal schedules that include holidays and weekends, format flips, and management changes that impacted everyone.

That kind of bonding is intense. When radio people move into corporate or traditional office environments, the emotional temperature can feel sterile. Fewer shared risks, and even fewer shared wins. I remember when Ed Christian offered me VP of Programming at Saga Communications, one thing stood out. We didn’t have a radio station in the corporate office. It could just as easily have been the inside of an insurance company.

Despite the hours, the stress, and all the issues, the old adage is true. It’s a calling, and if you love it, “you’ll never work a day in your life.”

It’s why leaving can feel like betrayal. Many radio pros feel if they quit, they’re somehow quitting on themselves. Even through change, shrinking budgets, and narrowed opportunities, the love of the game remains.

Something else that works against changing careers is that while we are highly adaptive, creative, and resilient. We’re not always great at shifting into corporate language that matters in other industries.

Doing mornings during a market downturn doesn’t neatly fit into a LinkedIn profile. Hiring managers across other industries don’t necessarily understand the value of our experience. It reinforces the feeling of “being stuck.”

Radio has taught most of us to endure long hours, modest pay, and constant change. We learn to push through it all because that’s just what we do. Ironically, though, that endurance is exactly what can keep some in the business long after they’ve outgrown it.

Leaving radio isn’t really about finding another job. It requires a redefining of who you are when the mic or the station logo isn’t synonymous with your name anymore. That’s why, for so many radio diehards, the most difficult part of doing anything else isn’t the work.

It’s letting go of the version of ourselves we created inside that little radio.

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 informed right in your inbox.

Was Joe Rogan Too Cool or Too Afraid to Try to Win the Golden Globes’ Best Podcast Award?

1

Joe Rogan doesn’t lack confidence, and he made that clear again when he explained why he didn’t apply for the Golden Globe Best Podcast Award.

Rogan said he didn’t need to. In his mind, he already knows he has the best podcast. That belief has been consistent throughout his career, and frankly, it’s part of what helped build The Joe Rogan Experience into the biggest show in the medium.

Still, the explanation invites a deeper look. Did Rogan skip the application because he views the process as a sham, or because he was afraid of what might happen if he didn’t win? Those two motivations aren’t mutually exclusive. They can exist side by side, even for someone operating at Rogan’s level.

On one hand, Rogan pointed to the $500 application fee and the paperwork required. He didn’t like it, and he said so plainly. He’s right to question it. I’m on the record saying the process, as described publicly by Megyn Kelly, is a farce. It feels more like a pay-to-play exercise than a meaningful measure of excellence. If that’s the basis for Rogan’s objection, it’s hard to argue against him.

The podcast industry has spent years trying to distance itself from old media gatekeeping. Charging creators hundreds of dollars just to be considered doesn’t help that cause. It reinforces the idea that prestige is something you buy, not something you earn. From that perspective, Rogan’s refusal makes sense and even feels principled.

But confidence complicates the story. Rogan didn’t just say the process was flawed. He said he didn’t need the award because he already knows he’s the best. That’s where the logic gets shaky. If you’re truly convinced you’re going to win, why not apply and take the trophy anyway? Validation may be overrated, but it’s also human.

Everyone wants recognition, even when they pretend they don’t. Awards exist because acknowledgment still matters. It matters to audiences, peers, advertisers, and platforms. Rogan has already achieved more than most podcasters ever will, but that doesn’t mean external affirmation suddenly stops carrying weight.

There’s also the uncomfortable question of risk. If Rogan applied and didn’t win, he would be forced to confront an idea he’s never had to entertain publicly. Maybe he doesn’t have the best podcast in the eyes of that institution. For someone who speaks often about intellectual honesty, that could be an interesting moment.

Of course, it was always unlikely that Rogan was going to win. The Golden Globes were never going to crown an outsider over a Hollywood favorite. Amy Poehler was the eventual winner, and that outcome felt inevitable from the start. That reality fuels the self-fulfilling prophecy. You won’t win, so you don’t apply. You don’t apply, so you definitely won’t win.

That dynamic lets everyone stay comfortable. Rogan avoids the possibility of losing. The awards body avoids a disruptive winner. Nobody has to test their assumptions. The system stays intact.

Yet if Rogan is as confident in his show as he claims, and he has every reason to be, the smarter move would be to apply and see what happens. The fee is trivial to him. The paperwork is an annoyance, not a barrier. The upside is symbolic, but symbols still matter.

What does he really have to lose?

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.

NBC Sports Reportedly Close To Signing Clayton Kershaw, Joey Votto, Anthony Rizzo for MLB Coverage

0

NBC Sports is reportedly wasting little time signaling its intent as it prepares for a high-profile return to Major League Baseball coverage, and the network appears ready to do so with star power that carries instant credibility both on and off the field.

According to a report by Front Office Sports, NBC is finalizing agreements that would bring Joey Votto, Clayton Kershaw, and Anthony Rizzo into its MLB coverage beginning this season.

MLB and NBCUniversal announced a three-year media rights agreement in November. The deal brings a revamped package of exclusive regular season and Postseason coverage to NBC, the newly launched NBCSN, and Peacock starting this season.

Votto, long regarded as one of the game’s most engaging personalities, emerged as the top target among multiple media companies. During his 17-year career with the Cincinnati Reds, the former National League MVP built a reputation as both an elite hitter and a thoughtful communicator, qualities that have only enhanced his appeal to television executives.

Kershaw, who recently retired after helping the Los Angeles Dodgers secure another World Series title, is reported to contribute in a more limited capacity. Even so, his resume and reputation command respect, and his presence would add gravitas to NBC’s studio coverage during marquee moments of the season and postseason.

Rizzo, meanwhile, has been the most vocal about pursuing a broadcasting career following his playing days. The former New York Yankees standout earned praise for his accessibility and poise while navigating one of the most demanding media markets in professional sports.

Earlier this month, NBC released its broadcast schedule, which runs from March 26 through the end of the regular season. Blending primetime broadcasts, special holiday events, and exclusive Peacock streaming.

The network’s slate includes 27 primetime games, featuring Sunday Night Baseball and marquee holiday matchups on NBC and Peacock, plus 34 afternoon broadcasts. Highlighting the afternoons are 18 MLB Sunday Leadoff games on Peacock, most starting at noon locally. A dedicated whip-around show follows the Leadoff contests to check live action across the league.

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 Bad Bunny and the Super Bowl Halftime Show Teaches Rock Radio About Cume Building

0

The Super Bowl is the world’s biggest live experiment of cume vs. core, wrapped around two teams playing football.

Remember when Bad Bunny was announced as the halftime headliner? You’d think the world was going to end for some rock fans and NFL diehards.

I wanted the NFL to book Metallica for the halftime show. That’s the rock and NFL P1 in me. Just like the RockTernative P1 that wants to hear Track 3 on Side D on LP 2 from Metallica’s 1986 live Japanese import.

I’ve studied the NFL for years. Their infrastructure is second to none, and the league is arguably the most lethal marketing and promotion force the world has ever seen.

From the outside looking in, of course it made sense to have Metallica headline the halftime show. They’re local, big with NFL fans, and the biggest rock brand on earth. They sold out that same stadium twice last summer, and the energy would be undeniable.

But if you’re the NFL — where’s the win in that?

This is likely what the NFL was thinking when deciding who to invite for the halftime show: 127 million watched last year. How do we get 150 million this year?

Metallica isn’t bringing new cume to the Super Bowl. Just like RockTernative won’t grow audience by playing another Linkin Park song for people who already bought the album.

The NFL didn’t forget who their core was. They chose Bad Bunny because their core will be there no matter what. They could resurrect Bob Hope, and the diehards would still tune in.

That’s because the core is really the game itself. Everything else — the halftime show, commercials, celebrities in attendance, and all the surrounding hype — is the cume game. Like yard signs for an open house. Bad Bunny brings people in. The game sells the house.

Real-life perspective: one of my daughters, who doesn’t watch or know a thing about football, said to me the other day, “I can’t wait to watch Bad Bunny at the Super Bowl.” That’s what new cume sounds like when it walks into your living room.

But for most brands, growing cume isn’t simple, and it can be a risky tightrope walk. If not done right — tilt too far toward “new cume” — and the core ends up feeling alienated and wants to burn down the building.

We’ve seen legacy brands like Cracker Barrel and Bud Light run toward audience expansion, only to slam it in reverse to stabilize the fallout. You’ve seen RockTernatives make similar mistakes.

Alternative suddenly playing Nickelback. Rock spinning Elton John. Classic Rock experimenting with ’00s — all in the name of trying to bring in new cume. Those strategies only work in small doses, and only when they don’t totally disrupt the loyalists.

And they usually fail without some good old-fashioned marketing.

But Bad Bunny at the Super Bowl is marketing on several levels. It’s also good for business and a savvy cultural move.

  • His performance will be short, and it will bring new viewers without damaging the core, which means healthy ratings and huge spot and sponsorship rates — good business.
  • Culturally, he’s the hottest artist on the planet. The NFL wants to further grow in other countries. Bad Bunny will draw new attention and demand from parts of the world far, far from Santa Clara, CA.

That’s why it was a brilliant decision.

The takeaways for radio are simple:

  • Mr. Bunny is like a crossover track used at the right time. Stations won’t grow cume by overplaying non-core crossovers. A few strategic records might open a few doors, but putting them in your starting lineup can turn your core into refugees.
  • Marketing will grow cume faster than music ever will.
  • The late addition of Green Day to the opening ceremonies is a smart and NFL-predictable local tie-in — just like making sure to play a super core after Creed.
  • The best move is hiring talent that can expand brand reach without damaging the base that really pays the bills.

History shows the most successful RockTernative brands have had talent, shows, promotions, or events that transcend the station’s core music appeal — bringing in external cume without PDs having to force Hot AC or Classic Hits records down the line every 30 minutes.

The NFL is doing it right. Bad Bunny will be growing cume for the league on Super Bowl Sunday.

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.

Pablo Torre Laments the Latest Layoffs by the Washington Post

0

The American media landscape continues to evolve in increasingly unsettled ways. Few recent developments illustrate that reality more clearly than the ongoing changes at The Washington Post. Anticipated layoffs and structural shifts inside the newsroom have sparked renewed concern across the industry, including by The Athletic’s Pablo Torre.

On a recent episode of Pablo Torre Finds Out, longtime journalist and media analyst Pablo Torre addressed the reported elimination of the Post’s standalone sports department and what it represents for journalism at large. Torre framed the issue not simply as a business decision, but as a meaningful loss of institutional accountability within sports media and beyond.

“What you’re losing is another place where people can get accountability,” said Torre. “Where people can get reporting that is ostensibly uncompromised by the incentives that are otherwise crawling over sports media. And that’s the same of it.”

According to Torre, eliminating a major sports desk at the Post removes a vital layer of independent oversight. He said traditional newspaper sports departments historically operated with fewer conflicts of interest. That independence allowed reporters to scrutinize leagues, owners, and power brokers. He added modern digital platforms face greater commercial pressures that can influence coverage.

In his view, losing that space narrows the avenues through which fans and readers can access reporting that challenges entrenched interests.

“What I mourn is the loss of another newsroom that had infrastructure and collective experience and expertise. That no longer is being funded,” said Torre. “What can we mourn here as a matter of how f***ed it is. There are these administrations now with the CEOs included for whom, they’re not standing up for the thing that their institution that they’re trying to save was most distinguished by. Which is to say the quality and the necessity of the journalism.”

As newsroom staffs are reduced, so too is the ability to produce deeply sourced reporting that serves the public interest. That dynamic, Torre argued, has been compounded by leadership decisions that increasingly prioritize appeasing powerful political and corporate figures. He suggested that media companies are now more willing to make editorial compromises in pursuit of stability, access or favorable treatment, even if it undermines the very values that once distinguished their journalism.

“It’s bad. When you lose these players. You have people who are running the companies making compromises to favor administrations that are looking for more favorable coverage. Which brings in Bari Weiss as a character, which brings in the Ellisons… There are no checks on those transactions anymore,” said Torre.

The Washington Post’s situation reflects a broader reckoning for legacy outlets balancing financial sustainability and editorial independence. Executives continue searching for long-term survival models. Critics argue repeated cuts risk hollowing out a product readers once trusted.

For sports journalism in particular, the loss of a major newsroom presence signals a shift toward aggregation, opinion and personality-driven content at the expense of investigative depth. According to Puck, the paper is planning to cut up to 300 employees, focusing on sections like sports that haven’t seen enough demand.

The paper still plans to send a small team of reporters to cover the Olympic Games, according to the New York Times. However, there is still panic over the possibility that the paper’s sports desk could be eliminated.

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.

Joe Rogan: I Didn’t Win Golden Globes Best Podcast Award Because ‘I Didn’t Submit’ Nomination Process

0

Amy Poehler took home the Best Podcast Award at the Golden Globes earlier this year. Many questioned why The Joe Rogan Experience didn’t take home the award. We now know why.

On a recent episode of The Joe Rogan Experience, the popular podcaster shared that he never even went through the nomination process to win the award.

“So here’s the thing: A lot of people say, ‘Why wasn’t Joe Rogan nominated for the Golden Globes? Why did Amy Poehler win?’ I didn’t submit,” Rogan said. “So they asked me to submit to be nominated for the Golden Globes. You had to pay $500. And the $500 is like for paperwork or whatever. I said no.”

Rogan continued by noting that winning a Golden Globe wouldn’t have been any more validation than what he already receives from his audience.

“I already won. You can’t tell me I didn’t win. I’ve been number one for six years in a row,” said Rogan. “All of a sudden, you’re going to have a contest in front of all these people wearing tuxedos. And you’re going to say now I’m not number one? (Expletive) off. I don’t care that I’m number one. But I am, in fact, number one.”

Rogan’s comments echo those of Megyn Kelly, who also previously announced that she did not go through the nomination process. Kelly argued that she found the process to be farcical, and did not wish to participate in the “dog and pony show” of the process.

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.

CNN Launching Original Series Hosted by Kara Swisher

0

CNN has announced a new project with Kara Swisher, premiering later this spring as part of the CNN Original Series suite.

Kara Swisher Wants to Live Forever will investigate the rise of anti-aging products and services and will attempt to separate the science from the myths when it comes to how to live longer.

“For too long, the longevity space has been captive of the rich tech bros, jacked dude influencers, nonsense sellers of useless supplements, and some lady who sells candles that are named after her private parts (sorry, Gwyneth, but you started it!),” said Swisher.

“Well, after enduring endless conversations over the years about how to live forever, I want in, except I am going to show the way for the rest of us, and it will be grounded in science and facts about the best and most affordable ways to stay healthy, happy and smart,” Swisher continued. “Also, I took ketamine, so you don’t have to.”

CNN described Kara Swisher as “both reporter and test subject” as she investigates “the unconventional emerging technologies shaping how long and how well we may live.” 

“This series is driven by Kara’s relentless curiosity, razor-sharp analysis, and singular access,” said Amy Entelis, executive vice president of talent, CNN Originals and creative development for CNN Worldwide. “With clear-eyed, thought-provoking storytelling, Kara takes viewers behind the curtain to examine the science, money and influence shaping the race to live longer.”

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.

CBS News Plots First ‘Things That Matter’ Town Hall With Wes Moore

0

Late last year, CBS News announced plans for a series of town hall events in 2026 with a diverse group of subjects. It has now planned the first event in the series.

On Sunday, February 15th at 8 PM ET, the network will feature the first edition of the Things That Matter town hall series with Gov. Wes Moore (D-MD). The broadcast will directly follow that evening’s episode of 60 Minutes.

In addition to being available on CBS and Paramount+, the special broadcast will also be presented later on CBSNews.com and on the CBS News 24/7 streaming platform.

Norah O’Donnell will lead the discussion for CBS News.

The town hall will be recorded in front of a studio audience in Maryland. The network says the audience will be made up of “local residents across the political spectrum sharing their questions with Gov. Moore on topics spanning cost of living, public safety, education, and more.”

Furthermore, CBS News added that it will soon be announcing dates for similar projects including Vice President JD Vance and OpenAI CEO Sam Altman.

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: Plan Was in Place if Alex Honnold Fell to His Death on Netflix’ Skyscraper Live

0

Elle Duncan offered a candid look behind one of the most emotionally taxing live broadcasts of her career, revealing the extraordinary preparation and personal stakes surrounding Netflix’s Skyscraper Live, which featured famed climber Alex Honnold ascending Taipei 101 without ropes.

During an appearance on The Dan Le Batard Show, Duncan described the event as unlike anything she had previously experienced on air, largely because the consequences were not theoretical.

“It’s not like anything I’ve ever done, ever,” said Duncan. “It was the first time that I was obviously covering something where there were real implications of death, like true ones.”

While live television often carries reputational risk, this assignment involved something far more sobering. She explained that moments before the broadcast, a producer described contingency plans if Honnold fell to his death on Netflix.

“It was the first time that someone five minutes poor broadcast, handed me a card that was like, ‘if this person falls off the building, here’s what you’re going to say, and then we’re going to get off air,'” she explained.

The gravity of that preparation stayed with Duncan throughout the climb. Unlike most sports coverage, there was no margin for error, no replay to soften the outcome. Every movement carried irreversible consequences, and Duncan said the reality of that danger fundamentally changed how she approached her role as host. The assignment required composure under circumstances where emotion could not be fully compartmentalized.

That challenge was heightened by the personal relationship Duncan had built with Honnold before the cameras ever rolled.

“I had built a rapport with Alex. I went out to his home. hung out with him and his wife. I played on the kitchen floor with his little daughters. I had built an affection for him,” explained Duncan. “We all knew he was in firm control of this. But anything can happen.”

The physical environment only amplified the tension. Broadcasting live from Taiwan introduced variables completely outside anyone’s control. Duncan cited concerns ranging from weather conditions which delayed the broadcast one day to the possibility of earthquakes. All of which contributed to an elevated sense of anxiety that never subsided.

“There was just a lot of anxiety. I think for me, when I went back and watched it, I was like, Oh man, I started out at a 10, and then I just stayed at a 10, like the entire the entire time,” Duncan said.

Skyscraper Live, which aired on Netflix, ultimately concluded without incident, as Honnold completed his climb of Taipei 101 safely. According to Netflix’s internalrankings for the week of January 19, Skyscraper Live finished as the platform’s third most-watched television program. The placement stands out amid heavy competition from scripted series, returning franchises, and global releases vying for viewer attention.

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.