Charles Barkley wasted little time making headlines on Christmas Day, using the opening moments of ESPN’s NBA coverage to take a pointed shot at the NFL and commissioner Roger Goodell for encroaching on what has long been one of the NBA’s signature days. Appearing on Inside the NBA, the Hall of Famer criticized the league’s decision to schedule regular-season games on Christmas. For decades, the holiday has been closely associated with the NBA.
“The NFL got greedy and started adding Christmas games,” Barkley said on the broadcast. “We used to have this day to ourselves, but Roger Goodell and them pigs at the NFL always want to hog every day of the week now. Christmas is an NBA day.”
The comments were consistent with Barkley’s long-standing criticism of the NFL’s expansion strategy. Earlier this year, he labeled the league “greedy pigs” ahead of the AFC Divisional Round matchup between the Kansas City Chiefs and Miami Dolphins, which marked the first NFL playoff game streamed exclusively on Peacock.
This season marked the sixth consecutive year the NFL has scheduled games on Christmas Day. Historically, the league played on the holiday only when it coincided with a Sunday or Monday. Those days were already reserved for regular-season games.
. Thanksgiving, meanwhile, has traditionally been the NFL’s showcase holiday, while the NBA has not aired games on Thanksgiving since 2010.
NBA viewership on Christmas last year rose 87 percent compared to the previous year. Even so, the NFL continues to outperform the NBA on a per-game basis, including on Christmas Day. This reinforces why the league keeps pushing into nontraditional windows.
Barkley hasn’t backed off his criticism of the NBA either. He has also publicly challenged the NBA over what he views as growing greed within the league. Last summer, as the NBA finalized its new media rights deals with ESPN, Amazon, and NBC, Barkley criticized players and owners for failing to prioritize fans.
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Netflix’s aggressive push into video podcasts now has a launch date. The streamer has announced that The Bill Simmons Podcast will premiere on Sunday, January 11, marking Netflix’s first major video podcast debut since the company outlined a broader shift toward the format earlier this year.
The show will stream live on Sundays at 11:30 p.m. ET, immediately following NBC’s Sunday Night Football. The scheduling aligns with a familiar rhythm for longtime listeners, as Simmons and frequent contributor Sal “Cousin Sal” Iacono often open the program by recapping the NFL’s marquee matchup of the week.
Following the live Sunday night broadcast, each episode will be available on demand on Netflix. Episodes will also be distributed on Spotify and other traditional podcast platforms. Notably, the show will not be distributed on YouTube.
Additional episodes beyond the live Sunday installment will be available on Netflix on demand. This reinforces the company’s intent to make the platform a destination for premium podcast video content.
As the NFL season concludes in February, the show’s focus will shift. Simmons will be joined by longtime NBA analyst Zach Lowe for expanded basketball coverage. The partnership is familiar to fans of both personalities. It further anchors Netflix’s sports podcast offerings around recognizable media voices.
The Bill Simmons Podcast is produced by Spotify-owned The Ringer, which will play a central role in Netflix’s video podcast expansion. In addition to Simmons’ flagship show, The Ringer will supply a wide range of titles spanning sports, culture, lifestyle, and true crime.
Sports-focused programs heading to Netflix include The Ringer Fantasy Football Show, The Zach Lowe Show, The McShay Show, Fairway Rollin’, The Mismatch, The Ringer F1 Show, The Ringer NFL Show, and The Ringer NBA Show. Culture and lifestyle offerings include The Rewatchables, The Big Picture, The Dave Chang Show, The Recipe Club, and Dissect. True-crime content will feature titles such as Conspiracy Theories and Serial Killers.
Netflix has also struck separate agreements with Barstool Sports and iHeartMedia as it accelerates its move into the space. Barstool will contribute popular shows including Pardon My Take, The Ryen Russillo Podcast, and Spittin’ Chiclets. Meanwhile, iHeartMedia will bring established franchises such as The Breakfast Club with Charlamagne tha God, My Favorite Murder, and Chelsea Handler’s Dear Chelsea to the platform.
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The work of a reporter is to craft the art of the story. Sports are filled with all sorts of different storylines, from matchups and injuries to business transactions. The role of the sports reporter is to guide fans through the day-to-day of their favorite leagues, players, and teams. Brian Windhorst’s journey covering the NBA began more than two decades ago as a beat reporter covering the Cleveland Cavaliers for the Akron Beacon Journal.
The evening of May 22, 2003, proved to be a defining moment for Windhorst as he worked to secure the full-time beat reporter role with the newspaper. It was also a moment Cleveland sports fans will never forget, when the Cavaliers secured the right to the top overall selection in the upcoming NBA Draft. Waiting in the wings was Akron, Ohio’s own LeBron James, who was expected to be picked first overall.
“I knew that was a life changing moment for me,” explained Windhorst, who had originally met James when he was 14 years old. “I knew that I would get the job, and I knew in that moment that LeBron staying in Cleveland would be huge for me.”
The beginnings of a Hall of Fame career in the NBA marked the start of Windhorst’s rise. He was quickly establishing himself as a compelling storyteller. His focus quickly became the biggest story in the league, with a worldwide personality as his subject.
Lifted By LeBron James
For James’ first seven seasons in the NBA, the stories were told largely through the words of Windhorst. Grateful for the opportunity to cover James, Windhorst agrees that his own career path is directly tied to James’ rise in the league.
“Without a doubt, we are inextricably tied,” noted Windhorst. “I recently saw an interview with Maverick Carter (LeBron James’ Business Manager). He is one hundred percent right talking about how LeBron James raises all ships. It’s a cliche, but it has happened everywhere he’s been.”
As impactful as the NBA Draft Lottery was in 2003 for both James and Windhorst, a night in July of 2010 proved to be just as consequential. When James announced he would be leaving Cleveland to take his talents to Miami, another door opened for Windhorst, as ESPN was looking for someone to cover James’ journey in South Beach.
“The night of the decision, I didn’t have any job offers yet. I didn’t want him to leave, but I knew that once I got through all the work my life was going to change again,” explained Windhorst. “I put in the work and effort to work my way up, and caught the tailwind of LeBron and rose with the ocean and am incredibly grateful and beneficial that I was able to find him and tell his story.”
As James moved to Miami, Windhorst moved to Bristol. He joined ESPN in 2010, covering the NBA with James as the face of the league. Over the past 15 years, Windhorst has expanded his presence at the network through writing, appearances on ESPN programs, podcast hosting, and his role as a full-time analyst on NBA Countdown.
Staying With ESPN
Recently, Windhorst signed a new multi-year contract extension with ESPN as the network entered a new media rights deal with the league. Earlier this summer, before the season tipped off, Windhorst’s name surfaced as a potential target for other opportunities, with NBC Sports and Prime Video launching their own NBA media deals.
“I had other offers from other partners. It was a once in a lifetime situation because there hadn’t been a new television partner since 2002,” explained Windhorst. “The truth is I began trying to align my contracts to be up at the same time as the TV deals, two contracts (six years) prior.”
He acknowledged the real possibility that TNT Sports could have extended its media rights. At the same time, NBC Sports and Prime Video might not have entered the picture at all. Although he positioned himself for that uncertainty, Windhorst ultimately chose to remain with ESPN after months of discussions.
“ESPN is very comfortable for me. Regardless of what people may believe, I have been treated very well by them. Every single day of fifteen years? No, but generally I have been treated very well,” said Windhorst. “I’m happy to be in the role with NBA Countdown. Whether I’m on for ten weeks or ten years, I’m happy to play the role as much as I can to story tell.”
Another notable addition to ESPN’s NBA coverage this season is Inside the NBA, which moved from TNT Sports to the network. The award-winning program remains a must-see destination for NBA fans and serves as a strong lead-in for the new-look NBA Countdown.
“They are such unicorns. We just sit back and watch them roll, then we do our thing. It’s two totally different staffs,” said Windhorst, who called it a blessing that ESPN secured the rights to broadcast Inside the NBA.
Windhorst says both shows are relieved to no longer compete with one another and are enjoying being teammates. While Charles Barkley has publicly joked about potentially working more at ESPN, Windhorst believes the comments are part of the act and expects viewers to see more of the Hall of Famer on television this spring.
“His trope is he’ll complain about how hard ESPN works you. Mark my words, when we get to the spring, Charles will want to do more TV,” explained Windhorst. “He’ll deny it, and that’s fine. But I’m telling you, Charles loves sports television.”
Athlete Driven Media
There is nothing new about former athletes entering sports media, much like Barkley did more than two decades ago. However, with the ease of entry into media today, many current and former players now participate directly in league storytelling. From game reactions to personal disputes, player-driven media has grown to unimaginable levels. This growth has made covering the league much more complex.
Windhorst has always valued the art of storytelling, but believes that despite increased access, the overall quality often falls short.
“The players are not experts in storytelling, and you often get more of a sanitized view,” noted Windhorst. “Players should try to tell the better story, which is the full story. Not what’s manicured.”
One athlete Windhorst would welcome into sports media is the same player tied to his career from the beginning. LeBron James has not officially announced his retirement and is currently playing his 23rd NBA season. While James has never discussed a media role with Windhorst, the ESPN analyst believes he would thrive in that space.
“The thing about LeBron is he’s so incredibly savvy. His ability to witness and analyze things in real time, he’d be amazing as a color commentator,” explained Windhorst. “For years I’d be in the locker room with him and he was watching a game, and it’d be like Tony Romo. He would be an elite and supreme color commentator; it would be amazing because I’ve seen it.”
Windhorst admits it’s unlikely that James would consider stepping into an analyst role. This despite his feelings it would be a giant boost for the league.
As James begins to close out his NBA career, Windhorst has no plans to follow him into retirement. He views himself as a small part of a larger group. A group that has grown alongside one of basketball’s most legendary careers
Today, Windhorst’s profile continues to rise through NBA Countdown, his Hoops Collectivepodcast partnership with Omaha Productions, and his recent contract extension. Having watched the NBA evolve on and off the court, he has seen many changes. He believes the league’s media landscape could once again be on the verge of change.
“I’d like to believe that storytelling is coming back, because I’m already feeling it,” notes Windhorst. “I’d like to believe that storytelling will make a full comeback. But what I’m afraid to say is that from 2020-2025, access is less and local media is less. There may be individuals who are doing great storytelling, but there’s less of it in the aggregate. That’s what I’m afraid will be the case.”
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The news didn’t come as a shock. When Doug Gottlieb announced he would step away from his daily program on FOX Sports Radio, very few, if any, were left asking questions. Gottlieb was entering his second season as head coach of the men’s basketball team at Wisconsin–Green Bay, and when he took the position in May of 2024, many assumed his days at the network were numbered. The role required a level of focus and attention he likely had never faced before.
To his credit, Gottlieb tried to do both. That effort deserves acknowledgment. Ultimately, however, his future outweighed his present and even his successful past. He recognized that his growth potential was greater in college basketball than in syndicated national sports radio.
Who replaces him remains an unknown commodity. Jon “Stugotz” Weiner is the new afternoon host on FOX Sports Radio beginning in 2026. The move raises a familiar question: Is this another example of broadcast companies leaning on the past instead of committing to the development of the next generation?
I touched on this earlier in the month while writing about Craig Carton’s return to WFAN, the same station that once attempted to lure Weiner for its open program director role. Too often, local sports radio stations across the country abandon long-term development plans in favor of what once worked. They reach back into the same bag of tricks, hoping history will repeat itself.
That trend extends beyond local sports radio.
Nationally syndicated networks operate much the same way. Gottlieb himself built a career across CBS Sports Network, ESPN Radio, and FOX Sports Radio. Colin Cowherd has worked at FOX and ESPN. Dan Patrick followed a similar path. Even Mike Greenberg returned to ESPN Radio after the end of Mike & Mike. The recycling of familiar voices has become common practice at every level of the industry.
This isn’t a criticism of the executives making these decisions. It’s an observation about perception. Too often, the message sent is that building for the future isn’t as important as protecting the present. Meanwhile, the younger audiences the industry claims to covet continue to age and migrate to new platforms, while the audience sports radio was built upon steadily ages out.
That’s what makes the hire of Weiner so interesting.
For more than two decades, Weiner thrived as a co-host alongside Dan Le Batard. From 790 The Ticket in Miami to ESPN Radio’s national stage and now Meadowlark Media, he played the role perfectly. He was the ideal complement, a reliable B working seamlessly with a strong A.
Earlier this year, Weiner began charting his own course. He reduced his appearances on The Dan Le Batard Show with Stugotz, despite the show continuing to use his nickname as part of its branding. He hasn’t appeared on the program since July and launched Stugotz & Company, a podcast built around guest-driven conversations without filters or time constraints. The project leaned heavily on the loyalty of the established Le Batard audience to establish his own personal momentum.
In the six months since stepping away from Meadowlark’s flagship show, Weiner has quietly built his own podcast network. He hosts God Bless Footballwith producer Mikey A and a rotating cast of guests, along with Stugotz & Company and Stugotz & Hochman which follows a similar format. The effort has produced tangible results, including more than 13,000 YouTube subscribers and a title sponsorship from FanDuel.
That progress caught the attention of FOX Sports Radio, which tabbed Weiner as the afternoon follow-up to Colin Cowherd.
There’s no denying FOX Sports Radio values name recognition greatly. Weiner built his by spending two decades attached to Le Batard. He excelled as the B, but this move requires him to become the A. That transition isn’t easy, regardless of experience.
The A role demands authority. It’s the voice listeners tune in to hear when the biggest stories break. For most of his career, Weiner reacted, responded, and amplified. Now, he must drive the conversation. Whether he can command attention at that level remains to be seen.
Still, the larger issue isn’t Weiner.
The move once again highlights how rooted the industry remains in its past. Contrast this with Westwood One Sports, which announced their lineup set to debut Monday. Instead of leaning on a familiar industry name, the network made a calculated bet on the future by hiring Drake Toll. Young, ambitious, and multi-platform savvy, Toll blends experience from the Savannah Bananas and the Locked On Podcast Network to reach an evolving audience. The same can be said about the additions of Chris Bleck and Adam Abdalla among other names on the new network.
That’s a different kind of thinking. It’s disruptive by design with a focus on meeting the audience of tomorrow.
The addition of Weiner to the FOX Sports Radio lineup isn’t the problem. It’s a symptom. It reflects an industry increasingly hesitant to take risks, fearful that developing new voices could jeopardize ratings, revenue, or affiliates today for the chance of more impact down the road.
The irony is that the next generation isn’t waiting to be invited in. They’re already building audiences on platforms traditional radio barely acknowledges. At some point, the sports radio industry must stop recycling old playbooks and start drawing new ones. The industry can’t continue rotating the same voices while wondering why its audience keeps aging out. In the attention economy, risk isn’t optional. It’s required.
If sports radio doesn’t embrace that reality, it won’t just lose relevance. It’ll lose its future.
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Santa Claus is the headliner — deservedly so. But behind St. Nick and the Mrs., there are elves. Without those hard-working little legends:
Toys wouldn’t get made.
Santa’s sleigh would be on blocks.
Forget about Mrs. Claus’ cookies.
And who would be wrapping all those presents?
Whether you’re a Christmas celebrater or not, let’s honor the Elves of RockMas. These are our unsung heroes who make it possible for the biggest, baddest and loudest Santa’s to take center stage.
Say Hello to Your Elves
Malcolm Young: Arguably the most locked-in rhythm guitarist ever. Hanging in the shadows, in front of all the Marshalls — so Angus could be out front shredding legendary licks.
Levi’s & Marlboro: They’ve been there since the early days. The smell, look, vibe. The undefeated dress code and aroma of Rock.
Taylor Hawkins, Chris Shiflett and Pat Smear: The unsung co-pilots who allowed Grohl to fly to icon status. Three monster players, three key roles, all combining forces in one unstoppable band.
The Sound Crew: The team that hears everything, makes off key sound like art, and still gets blamed when the band plays it wrong.
Sharon Osbourne: We can argue she’s a Santa on her own — but she saved the Prince of Darkness from himself and for all of us. Without her, Ozzy’s legacy might’ve ended in 1982.
The Fashionistas: Someone has to apply the eyeliner, spike the hair, and coordinate the outfits that make the misfits look like stars. (Honestly, have you seen some of them without makeup?)
Brendan O’Brien & Rick Rubin: Their fingerprints are all over Rock history. Imagine if some of those records had other producers. Would Ten, Blood Sugar Sex Magik, or Licensed to Ill even exist as we know them?
Drugs & Alcohol: Don’t do them. But they helped fuel some legendary riffs and unforgettable moments — and they rarely get any credit. History only remembers the songs, not the hangovers.
Chad Smith: One of the greatest Rock drummers of our generation who somehow never gets credit for being one of the greatest Rock drummers of our generation. Nine out of ten Rock drummers couldn’t survive a 90-minute Chili Peppers set, night after night.
Magazines: Remember them? Rolling Stone, Circus, Kerrang! — and the others that cranked out glossies (and still do online) waiving the RockTernative flag.
Alex Van Halen and Michael Anthony: I don’t play bass, but Eddie would have been great with even me on bass — try keeping up with that rhythm section and you’ll see how they kept it locked-down so Eddie could rewrite the history books on what great guitar sounds like.
The Lawyers: They killed a lot of great songs before they were ever written, but they also kept guys like Axl out of jail so they could show up late and afford to buy yachts and trash hotel rooms.
The Roadies: No credit, no sleep, no problem. The miracle workers who hang from the rafters and cram an eight-hour set up into a three-hour blitzkrieg — just in time for the sold-out crowd to arrive.
Izzy Stradlin: Many were never quite sure if he belonged at Woodstock or in Guns ‘N Roses. Slash gets the credit, but Izzy’s rhythm creativity and chops!? Masterful.
AI & DigiTools: Love ‘em or hate ‘em, but not every killer riff is just six strings and an amp these days. The machines have earned their spot in the band.
Radio: Raise a pitcher to the Rock radio talent and programmers who put their passion on display and keep the fuse lit for generations to come.
The Girls: We can’t forget them. The groupies who follow the bus, give money, and listen to stories of loneliness on the road. And then the fans in the crowd like Sydney Sweeney who every guitar player tosses a pick towards. I’m willing to bet most of Rock’s heroes would be working construction if it weren’t for the girls.
The Last Word
There are heroic elves everywhere but let’s leave some cookies and milk for some Classic Elves too who cleared the early roads. Tom Hamilton, Mick Ronson, Keith Moon, the Zeppelin Johns, Charlie Watts, Robby Krieger, MTV, VH-1, etc.. I could be here until next Christmas naming all the elves of Rockmas.
If you’re a radio talent or leader, don’t forget your elves this season. The ones behind the curtain in the workshop make you look good and make it all come together.
Have a very Merry, Hairy and Loud Christmas Season.
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.
It might be hard for Barrett Media readers who follow non-music radio to imagine a talk show being syndicated to music radio stations. Most talk radio stations are politically focused. Even if they aren’t discussing partisan politics, they are very news driven and talking about subjects that the majority of music radio stations actively avoid.
There is however an exception to every rule. Hubbard Radio’s myTalk 107.1 in Minneapolis is different. The station has an entire schedule filled with talk shows that aren’t talking about politics. Instead, they are focused on lifestyle and entertainment news. Generating 12 hours of original programming each day led to a larger discussion. What else could be done with all that material?
The Program Director of myTalk 107.1, Amy Daniels, explains, “We were trying to figure out how to better use and distribute the 12 hours-a-day of fresh, entertaining, and original content that myTalk produces. We were podcasting it, but there had to be more options than just local radio broadcast and podcast.”
The team had a meeting to discuss ideas. One had been on Daniels’ mind for more than a year, syndication.
Leaping Into Radio Syndication
Once they found a partner in Skyview Networks, they launched a weekend version of the Donna and Steve show. The program airs weekdays from 9am to noon, tailored for music radio stations. With an initial list of about 12 affiliates, they started the process of learning how to take the content and make it work for a completely different format. “We were cutting the talk segments down from 10-12 minutes to between 30 and 90 seconds,” Daniels explains.
That much editing wasn’t an easy task. It got exponentially more complicated too when Patti Marshall, Managing Director of Branding and Content for Hubbard Cincinnati and Julie Evans, Program Director of Mix 94-9, approached them about creating a daily version of the show.
“At the time we had one and a half people. We had to listen to each show, harvest the raw audio clips, edit them down to time, upload and administer the show. Now it was going to go from sixteen to ninety-six required segments a week,” says Daniels.
It was a tall order, but they made it work and eventually hired Grant Wenkstern as full-time Executive Producer. Now they’ve built out processes and a workflow that enables them to deliver fresh, relevant pop culture segments to music-based affiliates six days a week.
The mechanics are interesting but, throughout the history of syndication, the content must be great for the project to work. Host Donna Valentine says the show plays an important role in listener’s lives, providing the opposite of most talk radio shows. “We are here as an escape from hard news, politics, sports, and religion. Our content is mostly light and non-political. If we ever go against those expectations, we will get emails from listeners slapping our hands.”
Co-Host Steve Patterson takes that one step further. He points out a key difference between their show and most other talk-based products. “I think sometimes political talk radio shows feature a lot of disagreement that ends up dividing people. Whereas our pop culture, lifestyle-based show features a lot of differing opinions and light-hearted disagreements but in a way that is relatable, humorous, and brings people together.”
The Benefits of Expansion
Often when shows go into syndication the content and vibe can change causing problems. In this case, both Daniels and Valentine feel the content needed for syndication has improved the original show.
“We are more focused and better at not getting off topic,” Valentine says. “We are aware of the need to keep things clean because the stories we discuss need to be on the shorter side for music stations.”
Ironically, Daniels also says the content has improved but for almost the opposite reason. “Patti Marshall and Julie Evans wanted segments that showed off Donna and Steve’s chemistry and personalities.” That required the segments running a little longer than they had for the original weekend show. “The only advantage any of us have over AI is to be authentic, entertaining, and human. Donna & Steve are all of that, but they needed more time to highlight those qualities in each segment.”
At the receiving end in Cincinnati, Marshall says the show sold itself. “Donna & Steve have such an authentic chemistry, warmth, and relatability. They sound like real friends having real conversations that are funny and emotionally intelligent without trying too hard. It felt like a show that could live inside our brand naturally.”
It’s early but so far, according to Evans, the response has been great. “Listener feedback has been really positive. People mention how genuinely funny they are and how the show has become part of their daily routine.”
Evans says they have been working hard to integrate the show into the Mix brand. “We integrate Donna and Steve into our on-air imaging, promos, website, and contesting so listeners feel like they’re truly part of the Mix 94.9 family, not ‘outsiders,’” she says. “We also make a point to feed them local stories, events, and contest information so they can play off Cincinnati-specific content on air.”
Patterson says they still talk about local Minneapolis stories in specific show segments that don’t go out to affiliates. But that localism is also about connection. “Our highest priority is delivering content that feels relatable and connects with listeners, no matter where they are. When listeners connect with the hosts they’re listening to, they feel close to them. Connection supersedes location ten times out of ten.”
Looking to the Future
Daniels succinctly sums up the team’s future goals as, “World domination.” More specifically she says the plan is to get the show in front of as many stations as possible. “We think they’ll agree that there’s not enough time or money in the world to replicate what these two deliver every single day. It’s important to thank Skyview Networks, Hubbard EVP of Programming and Audience Development Greg Strassell, and the team at Mix 94.9 in Cincinnati for their patience and faith in us.”
She adds that myTalk 107.1 is in a unique position. It can help with one of radio’s biggest issues, stations that lack compelling content. “In radio we’re all looking for talent but not looking to spend hundreds of thousands of dollars to develop and manage it.”
Daniels added, “myTalk 107.1 is the only pop culture and entertainment talk radio station in America. We have three other shows that are also primed to deliver listeners for music radio. In an environment where we are all doing more with less, we can provide the humor, authenticity, smarts, and lovability that stations need to stand out, and it can all be done for barter.”
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You and I have been signing off on emails in the same-old traditional ways we used when snail mailing letters or writing memos on a typewriter for over 30 years now. For younger folks, a typewriter was a machine we old fogies used and put your paper in manually to type a letter without a computer or smart device.
I still sign mine in a few traditional ways. They include, “Thanks much, Sincerely, Best regards, Best, or Warmest regards”. It’s taken me decades to see it as an overlooked piece of business real estate. We spend a lot of time and paragraphs trying to sound smart, professional, helpful, or at least competent. But then we slap on something as mundane and meaningless as, “Regards” like we’re all starring in a 1997 office drama.
As the world has changed, it dawned on me that this line of a correspondence hasn’t progressed at all. We all watched working remotely blur the lines between professional and personal with digital communication. Now more conversational than ever, and best of all, people seem to appreciate a little spark of personality. Lord knows many people could use as much help as possible.
Let me be the first to welcome you to this millennium’s era of the “creative email sign-off.”
What’s unique about these signoffs are that they attempt to be somewhat humorous or light-hearted and for the record, these won’t work for every situation. Nor do I take responsibility for the other party’s response. It’s best to try them on friends first!
For example, you probably don’t want to close an HR complaint (or any email to HR) with “Stay spicy.” But for everyday messages, team chats, or any interaction where you already have established some sort of relationship, a playful sign-off can turn a forgettable email into more of a connection. So, without delay, here are some new, entertaining options that people are increasingly using and why they may work well.
The Top 9
Sending productivity vibes – This could be perfect when you’re emailing colleagues or trying to motivate your team. While tongue-in-cheek, it’s still positive. Plus, as a manager I would hope everyone needs some extra productivity vibes.
May your inbox be light – A reference to “The Hunger Games,” this is an amusing blessing of sorts for anyone who understands the pain we all have on Monday mornings. It’s relatable, universal, and just dumb enough to earn a smile.
Off to refill my coffee… wish me luck – This one highlights your personality without going off the deep end. It’s perfect for someone like me who understands the daily caffeine struggle. (5 cups a day here!) “Proceeding with questionable confidence.” Great for friendly teams and those with whom you have a great relationship. It helps lighten the mood when you’re working through horrible tasks together. I probably wouldn’t send this to your boss.
Trying my best, as always – Dry humor at its finest. This may work well with colleagues who enjoy a little self-deprecation. I recommend using this one sparingly. The reply I would send back would be very Yoda-ish… “Do or do not, there is no try.”
P.S. If there’s a typo, let’s pretend it’s a feature – For those times when you’re barreling through way too much stuff on your list and typing way too fast for your own good. This gives you room to be human without sacrificing professionalism. I do remember these on smartphone emails a lot.
May your Wi-Fi never buffer – Here’s a modern-day offering for a modern-day problem, although as the world shifts to fiberoptics, we have fewer issues with this. It’s still good for teams who work remotely and have crumby internet service providers.
Signing off before I say something I’ll have to explain later – I love this. It highlights personality and is one of the most playful but isn’t too risky. That said, I would avoid using it with someone you don’t get along with as it can be taken the wrong way, so use sparingly!
Bravely clicking ‘Send’ – A perfect closer for complicated emails, or anything you’ve spent a lot of time writing. We have all hit “send” too soon on an email and know the sinking feeling after reading it again and finding errors, but it’s already gone! Thanks goodness iPhone has a delay feature that prevents sending immediately after hitting send. Mine is set to 3-weeks!
Catch you on the other side of this inbox – A fun, cute sign-off that notes what we all experience with communication in today’s world. It feels like a little wink without the emoji, don’t you think?
What I like about creative email signoffs is that they inject some humanity into a form of communicating that often feels cold and automated. It takes the AI of the equation and inserts more of YOU. I remember messages that make me laugh, or at least smile. I believe that a humorous, fun signoff ends your email by adding personality to your professional identity.
As we get set to launch 2026, let’s make a resolution to ditch “Sincerely,” or “Best,” and step up our digital signature game. Maybe we should try this first in text messages. Do pick your moments wisely. Maybe save “Stay perfect” for the coworkers who truly get you.
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.
Former mayoral candidate Curtis Sliwa expressed frustration over the role WABC and Red Apple Media owner John Catsimatidis he felt played in his 2025 campaign, claiming they pressured him to drop out and misrepresented his affiliation with the station.
Speaking while filling in on The Mark Simone Show on 710 WOR, Sliwa reflected on his experiences running for mayor in both 2021 and 2025, emphasizing a lack of support from WABC and its leadership.
“Going into this election cycle, early on I made it very clear that I would seek the Republican nomination, a run for mayor again, as I did in 2021. By the way, with no help from WABC back then, none,” Sliwa said. “People should know that the orders came from management and ownership that you were not to talk about Curtis Sliwa when he was running for mayor. In fact, you were not to interview Curtis Sliwa back in 2021. There was a big sign in the newsroom. Let’s just say there was no excuse for that.”
Sliwa also criticized Catsimatidis for publicly supporting rival candidates while privately giving the impression he backed Sliwa.
“I wasn’t supported by anybody there at WABC running for mayor. Although they weren’t insulting, they weren’t personally attacking me, the owner and operator, John Catsimatidis was supporting Eric Adams. Everyone was under the impression that he was supporting me because he would say, ‘Oh, we’re family here,’” Sliwa said.
According to Sliwa, pressure escalated earlier this year when former Governor Andrew Cuomo considered dropping out of the mayoral race.
“Boy, did they ratchet it up. The Masters of the Universe, the billionaires, John Catsimatidis, owner and operator, who was the maestro of the orchestra that was constantly banging a drum that Curtis Sliwa had to drop out. Had to drop out for the good of the city,” Sliwa said. “I remember he was saying, ‘Oh, I’m gonna leave. I’m gonna sell my businesses. I’m down in Florida.’ The moment Zohran Mamdani was announced the winner on November 4, all of a sudden he was saying, ‘Oh, we got to work with the mayor, oh, for the good of the city.’”
Sliwa singled out WABC host Greg Kelly for publicly advocating for other candidates during the primary as ordered by station management.
“During the primary, the Democratic primary, he was actually advocating to his listeners that they support Zohran Mamdani over Andrew Cuomo. Yeah, him. And then in the end, through the directions of John Catsimatidis, the owners and operators and managers at WABC, he spoke the party line,” Sliwa said.
Finally, Sliwa addressed what he called a misperception that he remained tied to WABC while campaigning.
“First and foremost, the image that went out during the campaign is that I was an employee of WABC. I was on leave from WABC. I was part of the dysfunctional family. No. When you leave to run for office, you’re gone. You don’t get pay, you don’t get benefits, you don’t get anything. You’re no longer an employee of WABC, but they created that impression, like somehow John Catsimatidis was still pulling my strings that he could command me to drop out. Hey, how did that work out?”
The comments are Sliwa’s first comments since the public falling out with Red Apple Media Owner John Catsimatidis during his New York City mayoral run.
Catsimatidis says he “recommended” that Sliwa exit the race to lead more voters to independent candidate and former New York Governor Andrew Cuomo in favor of now-Mayor-Elect Zohran Mamdani. Sliwa accused WABC of favoring Cuomo and betraying him and told Sid Rosenberg on-air, “You will never see me ever in the studios of WABC again, never, no matter how this election turns out.”
While Catsimatidis expressed his belief that Sliwa would come back to WABC after the election, Sliwa has yet to appear on the airwaves as of yet. Sliwa’s remarks highlight ongoing tensions between political candidates and the media outlets they once worked for, raising questions about impartiality, influence, and the blurred lines between journalism and corporate ownership in New York City politics.
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Kevin “KFC” Clancy addressed the company’s recent partnership with Netflix on the final episode of KFC Radio, discussing the platform’s exclusive video distribution of select podcasts and the move away from YouTube.
Last week, the streaming giant announced a multi-year partnership with Barstool Sports that will bring video versions of three of the brand’s biggest podcasts — Pardon My Take, The Ryen Russillo Podcast, and Spittin’ Chiclets — exclusively to Netflix beginning in early 2026
The move to Netflix has sparked some backlash among Barstool Sports fans, particularly regarding paywall concerns. Clancy responded candidly, noting the broad accessibility of the streaming service. “People are like, it’s behind a paywall. It’s not, bro. If you do not have Netflix in America in the year of our Lord 2025, you’re not like a human,” he said. “I’m sure there’s a very small group of people who are in unfortunate economic circumstances, and I’m not talking about that. I’m sure there’s people who can’t afford the $9.99 a month, and those people can be mad.”
Clancy addressed the recent decision to make the wildly popular Pardon My Take podcast available on Netflix, a move that effectively ends its free YouTube distribution. He emphasized that, despite the video-centric approach, the core audio experience remains intact.
“This is an audio product that you do listen to in the car. Then the video was sort of like a bonus behind the scenes. Oh, I can just put a face to the name, and I can see how they operate and all that sort of s**t. Now, I think it needs to be like a visual show, clips and video pictures and all that. But if, at its heart, you can enjoy Pardon My Take as it was intended to be created, and pretty much at its fullest extent on audio for free.”
Clancy framed the shift as part of a broader evolution in podcasting itself. “We have evolved, and I think new content should be video first. Now, I think video first. And certainly going forward, if you’re starting something, you need to make a video product,” he said. “It’s almost become the opposite. Make a video product, strip the audio, put it on Apple and Spotify. It’s almost going to lose some of its luster because you’re referencing things that need to be visual. But you can go listen if you’re in the car.”
The transition reflects a growing industry trend where major podcasts embrace video-first production and exclusive streaming deals. Clancy’s remarks suggest Barstool sees long-term value in creating shows that work visually. Also while preserving their audio appeal for traditional listeners. For Barstool, the Netflix partnership is not just about distribution—it’s a strategic move aimed at expanding the audience and redefining how fans engage with its content. While also securing business for future growth.
KFC Radio is not the only Barstool branded program coming to an end. Last month, Kirk Minihane also announced the immediate end of the Kirk Minihane Show on the platform. That decision came just a week after Minihane revealed an indefinite leave of absence, citing personal struggles.
Both Clancy and KFC Radio co-host John Feitelberg have other projects in the works for beginning in 2026.
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NBC Sports has announced its SportsDesk reporters for the XXV Olympic Winter Games in Milan, Cortina, and Livigno, led by veteran journalist and commentator Mary Carillo, marking her 14th NBC Olympics assignment and 17th overall.
Carillo will be based in Milan, which hosts figure skating, speed skating, short track, and ice hockey events. She will be joined by NBC News chief White House correspondent and “Weekend TODAY” co-anchor Peter Alexander. Also joining are two-time Paralympic gold medalist Ezra Frech, Olympic figure skating bronze medalist Adam Rippon, and NBC News correspondent Anne Thompson.
Reporting from Livigno, home to freestyle skiing and snowboarding competitions, will be NBC News correspondent Sam Brock.Meanwhile, NBC News NOW anchors Gadi Schwartz and Savannah Sellers will cover Cortina. Alpine skiing, curling, bobsled, skeleton, and luge competitions are scheduled there. The Opening Ceremony is set for Feb. 6, 2026, on NBC and Peacock.
The SportsDesk team will cover events across multiple venues throughout northern Italy and contribute to features across NBCUniversal’s platforms. This coverage coincides with Italy hosting the Winter Olympics in Cortina for the second time. Overall, Italy has hosted four Winter Games: Rome (1960), Turin (2006), and Cortina (1956).
Alexander, reporting from Milan, is on his fifth Olympic assignment, having covered Beijing (2008, 2022), Vancouver (2010), and Rio (2016). A Walter Cronkite Award recipient, he celebrated 20 years at NBC News in 2024.
Sam Brock returns for his third Olympics assignment. A national correspondent based in New York, Brock has been with NBCUniversal since 2012 and won an Emmy for his work in local news.
Carillo brings decades of Olympic experience. She hosted the 2010 Vancouver and 2008 Beijing Games. She also called tennis gold medal matches and produced a 20-year figure skating retrospective at the 2014 Sochi Olympics. Recently, she was elected to the International Tennis Hall of Fame in the Contributor category.
Ezra Frech, making his NBC Olympics debut, will become the first Paralympian to serve as a Winter Games commentator for NBC. Frech won two gold medals at the 2024 Paris Paralympics and continues his track and field career at USC.
Adam Rippon returns for his third Olympics assignment with NBC, having previously contributed at the 2024 Paris and 2020 Tokyo Games. Rippon won bronze in figure skating at the 2018 PyeongChang Olympics.
Cortina reporters Schwartz and Sellers bring extensive experience across NBC News platforms. Schwartz is covering his fourth Olympics, while Sellers is covering her second. Anne Thompson, a seven-time Emmy winner, completes the Milan team with her seventh Olympics assignment.
NBCUniversal, which holds U.S. media rights through 2036, will broadcast the Winter Games on NBC and Peacock, with the Paralympics scheduled for March 6-15, 2026.
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