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NBA on NBC Announces Debut Slate Of Games

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The NBA is making its long-awaited return to NBC, and the network is bringing some of the league’s biggest names along for the ride. NBC Sports and the NBA announced that the 2025-26 season will tip off Oct. 21 with a star-studded doubleheader airing on both NBC and Peacock.

The action begins in Oklahoma City, where reigning NBA MVP Shai Gilgeous-Alexander and the defending champion Thunder will raise their banner and receive championship rings before hosting Kevin Durant and the Houston Rockets. The 7:30 p.m. matchup marks Durant’s debut with Houston. Mike Tirico will handle play-by-play, joined by analysts Reggie Miller and Jamal Crawford, with Zora Stephenson reporting from Paycom Center. Coverage begins at 6:30 p.m. with an on-site studio show hosted by Maria Taylor, alongside Carmelo Anthony and Vince Carter.

The night’s second game will see Stephen Curry, Jimmy Butler, and the Golden State Warriors head to Los Angeles to face LeBron James, Luka Dončić, and the Lakers. Tip-off is set for 10 p.m. Noah Eagle will call the game with analyst Grant Hill and reporter Ashley ShahAhmadi, while Ahmed Fareed and Tracy McGrady lead the on-site studio coverage.

NBC’s opening night coverage will not only mark the NBA’s return to the network for the first time in more than two decades but also the league’s debut on Peacock. All games broadcast by NBC will be available to stream nationwide on Peacock throughout the season.

The announcement also included details for the premiere of Peacock NBA Monday on Oct. 27. The new weekly doubleheader will debut with Donovan Mitchell and the Cleveland Cavaliers visiting Cade Cunningham and the Detroit Pistons at 7 p.m., followed by Anthony Edwards and the Minnesota Timberwolves hosting Nikola Jokić and the Denver Nuggets at 9:30 p.m.

In a historic move, NBC Sports will present the NBA’s first-ever quadrupleheader on Martin Luther King Jr. Day, Jan. 19, 2026. The day will feature a packed slate of stars, including Giannis Antetokounmpo, Trae Young, Gilgeous-Alexander, Mitchell, Cooper Flagg, Jalen Brunson, Jaylen Brown, and Cunningham.

The schedule includes:

1 p.m. ET: Milwaukee Bucks at Atlanta Hawks (Peacock exclusive)

2:30 p.m. ET: Oklahoma City Thunder at Cleveland Cavaliers (NBC/Peacock)

5 p.m. ET: Dallas Mavericks at New York Knicks (NBC/Peacock)

8 p.m. ET: Boston Celtics at Detroit Pistons (NBC/Peacock)

Following NBA Tip-Off on Tuesday, Oct. 21, Coast 2 Coast Tuesday will begin on Oct. 28 and present doubleheaders on Tuesday nights throughout the regular season on NBC and Peacock. On most Tuesdays, an 8 p.m. ET game will be presented to NBC stations in the Eastern and Central time zones, and an 8 p.m. PT game to NBC stations in the Pacific and Mountain time zones. Both games will stream live nationwide on Peacock. A 30-minute studio program will lead into coverage each week on Peacock.

After Sunday Night Football and NFL playoff coverage concludes in 2026, NBC Sports will launch Sunday Night Basketball across NBC and Peacock on Feb. 1, 2026. This year, Sunday Night Basketball will pause on Feb. 8 and Feb. 15, 2026, due to NBC Sports’ coverage of Super Bowl LX, the NBA All-Star Game, and the 2026 Milan Cortina Olympics. It will resume on Feb. 22 and run through April 5. Sunday nights will occasionally feature doubleheaders. A one-hour, on-site studio program will lead into game coverage each week on NBC and Peacock.

NBC Sports will release its full NBA schedule for the 2025-26 season on Thursday.

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.

Did the UFC Sacrifice Exposure for a Bigger Check From Paramount, CBS?

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The UFC pay-per-view era is officially over. The pay-per-view model itself seemingly is over. With the UFC coming to a new rights agreement with Paramount+ and CBS, the UFC has found a new exclusive home for all their events in the United States. The seven-year deal, worth a reported $1.1 billion annually, is the type of dollar amount the UFC demands, but the company it chose is somewhat puzzling.

CBS Sports is well known for its coverage of the NFL, The Masters, NCAA Football, among others. The UFC has never touched a CBS Sports media property; they’ve done deals with FOX Sports and ABC/ESPN previously. Dana White’s promotion is navigating into uncharted waters with a high price tag attached.

You must wonder—was the focus the exposure or the amount on the check that was cut?

As a casual viewer of the UFC’s product, I do enjoy the feel of a fight night. The UFC has been putting on big fight nights now for more than two decades, dating back to when White took over the UFC in 2001. The sport has grown in popularity and made some of its fighters household names in the world of sports.

What Matters Most?

What struck me was a line in White’s comments about the signing of the deal.

“The exposure provided by the Paramount and CBS networks under this new structure is a huge win for our athletes and anyone who watches and loves this sport,” said White in a statement Monday.

The UFC is ending its current agreement with ESPN, known for being the Worldwide Leader in sports. The UFC was featured on ESPN programming like First Take, Get Up, and SportsCenter as part of its deal with ESPN. The UFC was active socially in partnership with ESPN’s massive digital team on fight nights and was promoted constantly on ESPN’s bottom line for every UFC event and program.

Last time I checked, as much as I love CBS Sports Network and Paramount+, they don’t have anywhere near the reach and influence in sports that the four letters of ESPN have.

It’s not a knock on the quality of product CBS provides—it’s just the facts of the matter.

What Changed for the UFC?

When the UFC signed their agreement with ESPN back in 2018, Dana White said the agreement with ESPN was another “monumental day” for the UFC. He called ESPN the “pinnacle in sports broadcasting” and recognized around the world. There was the rebranding of UFC on ESPN Fight Night with expanded coverage on ESPN’s linear networks. UFC events were seen on ABC television, just like they were on FOX Sports before.

All things considered, if ESPN is the pinnacle of sports broadcasting, then why move to Paramount+ and CBS?

In a world where everything goes to the highest bidder, the UFC may be no different. White stated in June that the UFC likely would have multiple media rights agreements with their next deal.

That still could be the case, given there was no mention of the UFC’s Contender Series. Rumors for months had the UFC in discussions with Amazon, Netflix, ESPN, and Warner Bros. Discovery. ESPN Chairman Jimmy Pitaro told The Press Box podcast that ESPN had regular discussions with the UFC about continuing their deal.

Out of nowhere though—Paramount+ and CBS.

Who Benefits the Most?

Does the deal make sense for Paramount+ and CBS? Of course it does. It’s a signature home for a growing sport (still) that caters to a much younger demographic than any of the four major sports.

What doesn’t make sense is how this makes sense for the UFC.

Regardless of the amount of money they’re making per year from Paramount+ and CBS, how does this help the UFC in exposure?

Paramount+ just closed out the second quarter with 77.7 million subscribers after losing 1.3 million since March.

Netflix ended 2024 with 301.6 million subscribers.

Amazon Prime has over 200 million. We’ll see what ESPN does with their new direct-to-consumer product in a couple of weeks.

Did the UFC make the right choice?

Are sports fans flocking to Paramount+ now for the Champions League or Big Ten basketball? What’s the SportsCenter element that CBS Sports provides to help gain added exposure for the UFC? Where are the cross-promotional opportunities for UFC fighters on CBS Sports or Paramount+ programming to plug their upcoming fights for viewership?

The UFC does have a growing audience because of the product and the platform ESPN provided since 2018, but will that exposure fall by the wayside if ESPN begins to ignore the UFC or not provide the amount of coverage it once had?

ESPN is trying to make something happen with Major League Baseball ahead of the conclusion of their media rights deal, which expires at the end of this season. Will they do the same with the UFC before their deal with Paramount+ begins?

The UFC cashed in due in part to their current partner in ESPN. The goal for Dana White was to build the UFC to where it was in the same conversation with the NFL, NBA, MLB, and NHL—to sit at the table of the four major sports. White succeeded in that.

With this agreement, the exposure fight for the UFC is officially over as they cash in with a new signature home.

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.

Why An ESPN College Football RedZone Is Destined To Fail

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Last week, news of ESPN taking control of the NFL’s media assets in exchange for the league acquiring a 10% stake in the network had everyone in our industry buzzing. People had questions, concerns, and ideas.

I’ll leave the questions and concerns to people smarter than me. I have my own, but I am man enough to admit that I don’t know enough about the inner workings of the deal to say whether they are valid. What I can do is tell you the single dumbest idea I have heard in terms of what is possible now that ESPN owns NFL Media.

For the love of God, RedZone doesn’t need to be expanded into other sports. The excitement for bringing the model to college football Saturdays is the most “tell me you don’t know ball” thing I’ve ever heard.

College football and the NFL are both versions of American tackle football, but they are not the same sport. They run in two very different ways. Those differences are prohibitive to a college football version of RedZone being as necessary and exciting to its fans as the original version is to NFL fans.

College Football Is a Mess on Purpose

The NFL is a union. Thirty-two teams may compete on the field, but when it comes to business interests, they work in unison. College football is a confederacy. The conferences are rarely united. They are independent entities looking out for themselves that happen to compete for the same championship.

Paul Finebaum has talked about this a lot. He’s very aware of how hard it is to fix some of the sport’s biggest problems when none of the four power conference commissioners want to cede anything to their counterparts. “That’s really what makes college football so unique, but also it causes so many issues,” he told me last year.

NFL RedZone works because, despite various media deals, the league is in control. It has access to every game going on at the moment. A college football RedZone on ESPN’s streaming app would be subject to rights restrictions.

It couldn’t show Big Ten games because that league has deals with FOX, CBS, and NBC, not ESPN. When Notre Dame is playing at home, college football RedZone couldn’t cut to the game because it belongs to NBC. If something crazy is happening in a game involving Army, college football RedZone could cut to it. However, only if they are playing another American Conference team on the road. Otherwise, the game belongs to CBS Sports Network.

So think about this. NFL RedZone works because it has everything. Those Sunday afternoon windows have a lot going on, and there is nothing standing in the network’s or viewer’s way of seeing it all.

Every single week, college football RedZone would be missing Ohio State and Michigan. Most weeks, it would be missing Notre Dame. Those are three of the biggest brands in the country. If the Cowboys or Steelers aren’t on RedZone, it’s because they are playing on a different day. There’s never a situation where an incredibly popular team is playing and NFL RedZone just can’t show it.

And don’t hold your breath for the Big Ten to work out a special deal for their games to be included. Given the conference’s standoff with the College Football Playoff, I can’t see Commissioner Tony Petitti being eager to make any ESPN-friendly deals anytime soon.

The NFL Is the Perfect Model for RedZone

Plenty of sports enjoy the same level of fandom that the NFL does, but the NFL has its audience trained in a way that RedZone fits into perfectly.

There are two windows for kickoffs on Sunday afternoons and only two channels showing games in those windows. That means RedZone is the only way for plenty of people to see all of the action. Conversely, try finding a college football game on any given Saturday that you cannot watch.

While the popularity of sports gambling has been on the rise, fantasy football has not gone away. Every August, millions set times to draft their team. On Thursdays, they all rush to set their lineups. RedZone is the perfect product to keep up with everything a fantasy owner needs to know.

Despite many attempts to get it off the ground, fantasy college football has never been all that popular. It certainly isn’t big enough to dictate people’s lifestyles and viewing habits.

The NFL also has connectivity going for it. Just 32 teams is a pretty narrow scope. Sure, two teams that do not play in the regular season may have very little reason to pay attention to each other, but with everyone working toward the same goal, there is a similarity to the Marvel Cinematic Universe — pay attention, because it’s all going to connect.

College football is more like Star Wars, where what is going on in the Outer Rim may never be on the radars of the people on Coruscant. Plenty of SEC fans would look at whip-around coverage as a nuisance because they aren’t interested in what is going on in the Mountain West, no matter how exciting the game college football RedZone is cutting to may be.

We’ve Already Tried This

Does anyone remember ESPN Goal Line? It was the network’s college football answer to RedZone. It operated for close to ten years, and I am going to be honest — I don’t remember a thing about it. I can’t tell you who hosted it. I don’t think I ever watched it. I don’t even think I could tell you how to watch it.

The product had all of the same limitations a new version of college football RedZone would. That means it’s going to have very limited appeal.

I heard Joe Pompliano on The Town with Matthew Belloni suggest that maybe an all-SEC version of RedZone would solve this issue. ESPN owns every bit of SEC media presence. The conference has a vocal, dedicated fan base. Surely there’s an audience there.

It’s an interesting idea, but it ignores another lesson learned from Goal Line. Plenty of us watch a ton of college football, but there are a lot more people who just want to watch their team. It’s the Marvel vs. Star Wars thing. You don’t need to know what’s happening between NC State and Georgia Tech if all you care about is Oregon and its rivals.

Now that ESPN owns the RedZone brand, ideas to expand into other sports are natural, but they ignore the realities of why RedZone works. The NFL is a compact universe, and a product that provides whip-around coverage for a very small part of the year is a necessity for people trying to keep up with everything.

There is no other sport like that. College football fans don’t need to know everything. Other sports’ seasons are just too long. RedZone is a unique product that succeeds in a unique space.

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

Why Steve Mason Credits Evolution For the Longevity of ‘Mason & Ireland’ on ESPN LA

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A lifetime is full of choices. Where you choose to live and work. Who you choose to love. Choices have benefits and consequences, but in the end, it’s the choice of the individual. For Steve Mason and John Ireland, their latest choice at ESPN Los Angeles was one they’ve made a number of times before.

Recently, Mason & Ireland were rewarded with new multi-year contract extensions to remain hosts of their program, which bears their names, on ESPN Los Angeles. The duo has worked alongside each other for the last three decades and, once again, have further solidified another run of time entertaining audiences in the ‘City of Angels.’

“I am so unbelievably grateful for ESPN and for Good Karma Brands,” said Mason. “It was an easy decision to re-sign and come back to work here.”

Steve Mason has experienced a wonderful career both in radio and in television. Before joining ESPN Los Angeles, Mason was known for his work on The Late, Late Radio Show with Tom Snyder & Steve Mason. He’s served as a broadcaster for seven Olympic Games and for his red-carpet coverage from the Academy Awards.

Moreover, Mason is the die-hard sports fan in all of us. Expressing his bold opinions and infectious enthusiasm every afternoon alongside Ireland. The pairing has drawn massive acclaim over two decades on the radio station, which ultimately led to an easy negotiation for the recent extensions.

“ESPN came to us early and they were unbelievably motivated to get something done,” explained Mason of the contract negotiations. “I truthfully can’t imagine working somewhere other than ESPN and Good Karma.”

Mason Sharing Pride for Who He Represents

Growing up in the Midwest, Mason says he never could have charted his journey of how he landed in Los Angeles. He doesn’t know fully how he arrived at the destination he now calls home, but he understands there is a lot of luck that comes with success. Referencing his father, who took pride in working for Eastman Kodak, Mason shares the same pride in being associated with ESPN.

“I’m with ESPN means something to me. It’s a great company that I have been a fan of since long before I ever worked for them,” said Mason. “I couldn’t figure out how to do it again, but I know I landed in the right place. I love this town. I love the lifestyle. I can’t imagine not only ever working anywhere else, but I can’t imagine living anywhere but LA.”

Additionally, Mason referenced the cultural vibe that sports plays in the Los Angeles market—a city built on a melting pot of culture whose people are passionately attached to their teams. He believes, however, that passion is often forgotten and overlooked by many in the sports radio industry based on locale.

“L.A. has gotten an unfair rep when it comes to being a sports town. This is a great sports town,” explained Mason. “The temperament is different in L.A. I still think they are strong takes and there are disagreements that really stir the drink here.”

‘Mason & Ireland’: Adapt or Die

Indeed, the market houses landmark franchises in all four major sports and beyond—where legends have become household names and the demand for greatness remains at an all-time high. Meeting the expectations of the Los Angeles sports fan is what Mason & Ireland pride their program on, knowing that a successful formula never stays the same, with change as the only constant.

“Our show is completely different today than it was 30, 10, or even 5 years ago. I strongly believe in that expression adapt or die,” notes Mason. “We have continued to be relevant because we’ve been willing to change. We’re willing to try new things, and I’ve always said you’re either getting better or you’re getting worse. We’re pushing forward creatively with this show, and I think evolution is ongoing.”

@espnlosangeles

We asked Mason, Ireland and Mychal to build their perfect MLB player! Kwan’s contact? Witt’s speed? Reggie’s swag? How would you build your perfect MLB player NOT including players from your favorite team?

♬ original sound – ESPN Los Angeles

As part of their ongoing evolution, Mason & Ireland have strategized around taking telephone calls from listeners for a single segment of the program. Interestingly, the show also does not feature many guests—something some may find intriguing, considering their history with the radio station and Ireland’s work as the play-by-play voice of the Los Angeles Lakers.

Instead, the program leans heavily on opinion, belief, and cultivating a more honest and transparent relationship with the audience. The hosts are not afraid to be critical of the local franchises when warranted.

“We [Mason, Ireland] don’t do a lot of face-to-face prep for the show. We both prep individually and then surprise each other during the show,” explained Mason. “We don’t plan out everything. We leave room for some creative content that just develops on the fly.”

Furthermore, Mason credits the show’s strong production team of Laura Romo and Brian Cohen for guiding and enhancing Mason & Ireland. He values their contributions in keeping the show fresh daily and calls them partners in any success the program achieves. Even with the run of success under the ESPN umbrella, there has never been a moment when the program was considered for the national lineup.

“I used to do national stuff for Fox Sports Radio. I’ll be honest with you, I prefer local stuff,” said Mason. “I don’t think there’s ever been any conversation about it. I just feel like I’m closer to people when I’m doing radio in a town. This is L.A. This is my town.”

Being Dominant on Digital, Staying a Fan

Another element that helps Mason & Ireland stand out is their strong digital presence across ESPN Los Angeles social media platforms. A sports radio station with a social following of over a million combined followers provides more reach to connect with listeners and draw them to the program on a day-to-day basis.

“We’ve got a social media team that I would argue stacks up against any social media team in the country,” complimented Mason. “People are consuming content differently than they used to. We have lots of people who watch the show on YouTube and Twitch. They look for those Instagram posts. The more times you can touch a listener, the more loyalty they develop for you. All those connection points on social media are important.”

Given that different audiences consume the program in different ways, Mason believes the fear of losing appointment listening shouldn’t be a concern. Instead, he sees the shift to short-form digital media as an extension of the program, not a threat to its integrity.

One consistent aspect that Mason has always preferred is attending games as a fan. He still holds season tickets and prefers seats in the stands over seats in the press box. This experience allows him to see the game through the lens of the fan, ultimately enhancing his on-air approach for Mason & Ireland.

“When you go to a game as a fan, it’s a different experience compared when you go to a game on a press pass. I like being right in the middle of it,” said Mason. “I don’t think I get that from the press box. I get a very visceral take on it by being at the game and experiencing it as a fan.”

Looking ahead, Mason is excited and looking forward to being fully involved with the 2028 Summer Olympics and 2026 World Cup, as both events call Los Angeles home. He continues to be grateful every day for the opportunity to continue doing what he chooses to do. Now, with a new extension from ESPN and Good Karma Brands, the future continues to look promising for Mason & Ireland on ESPN Los Angeles.

“I just love what I do every day. I have fun every day,” said Mason. “I joke on the air that you’ll have to pull this microphone from my cold, dead hands. I really can’t imagine that I would retire. I just like what I do so much.”

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.

Could the Success of ‘The Rachel Maddow Show’ Be a Problem For MSNBC?

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Rachel Maddow is the unquestioned star of MSNBC, and The Rachel Maddow Show remains one of the network’s crown jewels.

Every Monday night, Maddow reliably delivers strong ratings, critical buzz, and comments that drive political conversation for the week ahead. But while her success in the Monday 9 PM ET timeslot is undeniable, it’s fair to ask whether her limited schedule is doing more harm than good for MSNBC’s long-term health.

When Maddow signed her lucrative contract extension, the network touted it as a win for stability. Maddow would step away from hosting four nights a week, devote more time to other projects, and still remain the face of MSNBC on Monday nights. The rest of the week, Alex Wagner would fill the slot, eventually launching Alex Wagner Tonight. It seemed like a smooth transition — Maddow stays in the fold, Wagner gets a high-profile platform, and MSNBC keeps the Maddow halo effect alive.

But in the two-plus years since the change, the question becomes: Has that strategy built the brand, or siloed it entirely around one night?

The numbers on Mondays speak for themselves. Maddow consistently pulls in the kind of audience cable news executives dream about. She’s competitive with Fox News. In fact, routinely, the top 15 cable news broadcasts in the ratings feature 14 programs from Fox News and The Rachel Maddow Show. She dominates CNN, and provides MSNBC with one of its clearest ratings wins each week.

The problem is that Tuesdays through Fridays often tell a different story. Gone is Alex Wagner and in is Jen Psaki. She’s talented, polished, and capable, but she’s not Maddow — and viewers seem to know it. Ratings drop, buzz disappears, and MSNBC spends the rest of the week without the gravitational pull that The Rachel Maddow Show provides.

That creates a potentially dangerous viewing habit. If MSNBC viewers are trained to tune in for Maddow on Mondays, but not on other nights, the network’s primetime brand becomes fractured. Instead of building loyalty, familiarity, and comfort across the week, the network may be unintentionally teaching its audience that there’s only one “Must See” night of programming. That’s a precarious position to be in, is it not?

This isn’t just a Rachel Maddow problem. It’s a network identity problem. MSNBC has long relied heavily on its star personalities to draw viewers. In the Keith Olbermann era, Countdown was the centerpiece of the network’s primetime strategy. Maddow herself took over that mantle and ran with it for more than a decade. But stars age, interests change, and no matter how loyal a fanbase may be, no anchor can carry a brand seven days a week forever.

That’s why other networks tend to prefer consistency over event programming in primetime. Fox News, for example, has a deep bench of talent that trains viewers to tune in every night at the same time. Tucker Carlson’s departure was a major shakeup, and while viewers initially fled to other networks, they seemingly returned as the network has set ratings records in recent months. CNN, while struggling for an identity, still aims for that nightly appointment viewing across its primetime block. MSNBC, by contrast, has built Monday into a special occasion — and in doing so, one could argue, made Tuesday through Friday feel less essential.

The short-term trade-off makes sense. Maddow’s contract extension keeps her from bolting to a streaming platform or launching her own media venture, which might be the more likely competitor for her services at this point. Her Monday appearances give MSNBC the ability to promote a flagship program each week, while giving her the flexibility to pursue projects like podcasts, documentaries, and special reports. That likely helps Maddow stay creatively fresh and invested in the network.

But in the long term, this arrangement may be teaching the exact opposite lesson MSNBC wants to impart. Instead of showing viewers that primetime is worth watching every night, it’s sending the message that the rest of the week is optional. That’s a brand dilution problem, and one that’s not easy to fix once the habit is ingrained.

It’s also worth noting that Maddow’s Monday dominance can mask broader weaknesses in the network’s schedule. As long as executives can point to her ratings as proof of success, they can avoid harder questions about why other shows aren’t performing at the same level. But take Rachel Maddow out of the picture entirely, and suddenly the drop-off becomes glaring.

What happens when Maddow eventually decides to walk away for good? It isn’t out of the realm of possibility, especially when you think about the fact that MSNBC has hung its hat on someone who has made no bones about wanting to host their cable news show once per week. If viewers are only trained to show up when she’s behind the desk, MSNBC could face a catastrophic audience drop. Star-driven programming without a sustainable bench almost always ends up creating a leadership vacuum when the star leaves, Fox News not withstanding.

To be clear, none of this diminishes Maddow’s individual success. She’s one of the most influential cable news hosts of her generation, and she’s earned the right to shape her own career path. But for MSNBC as a brand, the Monday-only Maddow schedule may be more of a crutch than a cornerstone.

The challenge for the network is to turn The Rachel Maddow Show from an isolated tentpole into the anchor of a broader primetime strategy. That means finding ways to keep Maddow’s audience engaged throughout the rest of the week. Whether that’s through content that feels thematically connected to Maddow’s work, a consistent tone across the week, or developing personalities who can complement her style, the goal should be to make every night feel like an event—not just Monday.

The network has capable hosts. This isn’t some one-trick pony situation. Jen Psaki, Chris Hayes, and others on the network create compelling content. But, for whatever reason, they haven’t cut through the cable news noise the way Maddow has.

Until that happens, MSNBC risks building a primetime identity that peaks once a week and coasts the rest of the time. And in the competitive, crowded, and rapidly changing world of cable news, coasting isn’t a strategy—it’s a countdown clock.

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.

How Succession Planning Could Save AC Radio’s Biggest Daypart

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According to internet keyboard warriors, Howard Stern’s 20-year reign as King of All Satellite Media is coming to an end this year.

Howard transitioned from terrestrial radio in January 2006 with a fresh five-year, $500,000 deal, making him the highest-paid “radio” personality of all time.

Worth every penny according to investors of Sirius, then XM, who merged in mid-2008 – creating a $13 billion company – to afford Howard long-term.

You’re most likely thinking – “what the heck does this have to do with Adult Contemporary?” And you might be right. This piece is not about Howard.

Today’s article is about Succession Planning.

The announcement that Howard was leaving CBS Radio in the rear-view came in late 2004 with his final show on The Howard Stern Network on December 16th, 2005. The hubris of CBS leadership thought that Howard had no other terrestrial place to go. A move to satellite escaped consideration

By that time, former CBS C.E.O. (and Howard’s boss) and now Sirius C.E.O., Mel Karmazin, fully knew Howard’s vast influence and convinced the Sirius Board of Directors that Howard was worth 1,000,000 dollars per year.

You would think that a year’s notice would be ample time to find a Howard replacement. By late 2005, CBS was still scrambling.

Then CBS President Rob Barnett huddled his format VPs to comb America for possible replacements. Big shoes to fill for sure.

The outcome left all of Howard’s station flat-footed. The search result was a hodgepodge of regional shows, including Rover’s Morning Glory, Adam Corolla and the famous New York experiment involving David Lee Roth with disastrous results.

Rarely do we come across Adult Contemporary products—or any station, for that matter—that have an active Succession Plan.

A Succession Plan is hard to face.

Most lack the foresight or fortitude to broach the subject.

During my tenure in St. Louis with Hot AC Y98, we were closing in on a renewal window with market legend Guy Phillips, who is one of the best local morning talents who even put on headphones. The possibility was real that we could not meet his steep – but well-earned – contract demands. We were financially handcuffed.

Guy Phillips Photo Facebook

We took to the road to listen to other regional, smaller-market, but talented Hot AC talent – specifically, Saga Communications’ morning tandems in Des Moines, Champaign, and Springfield.

Saga’s Vice President of Programming, Steve Goldstein – before Steve became “Podcaster in Chief” – brilliantly put together great morning duos. We had our successors identified and ready to move.

Fortunately, we came to terms with Guy as he went on to several more successful years in St. Louis radio.

A few weeks back, we introduced you to an Adult Contemporary morning mastermind.

Midwest Communications morning whizz Dennis John Bailey on Evansville’s 104.1 WIKY. DJB entered his sixth decade in radio. DJB continues to post boxcar numbers and shows no sign of slowing. Yet, knowing the forward-thinking leadership at Midwest Communications, certainly discussions of a Succession Plan if DJB deservingly rides into the sunset have taken place.

Adult contemporary brands often rely on long-term tenured personalities for audience comfort and relationship building. Countless AC morning personalities find their local success and stay market loyal for years, at times, decades.

A few weeks back, a long-time radio friend asked for assistance in locating a replacement for their AC morning show. This friend was having difficulty finding talent, even though the market lifestyle screamed “resort town”.

The senior talent bench we’ve developed has largely moved beyond radio, having experienced downsizing and salary reductions.

Where do you search for talent to place on your most important daypart if a vacancy is on the horizon?

We’ve found success discovering storytellers in these categories:

Competing Formats

Your HR director won’t endorse you, saying, “aging talent”. However, talent does age out of contemporary formats. Few seasoned talents like Elvis Duran, Scott Shannon and the previously mentioned Guy Phillips have mastered the ability to connect long-term with the younger listener.

Look for talent that found success in Alternative, Country, CHR, and the like that have left the format and perhaps radio altogether. Those storytellers are prime targets for AC Morning talent.

Television personalities who have retired or were severed because of financial downfalls are also terrific storytellers. Contact and retain connections with people in your market.

Content Creators

We found success with non-broadcast digital creators that tell stories about a passion product, comedy sketches or parenting issues. If a creator can develop a story with Capcut, they can engage a radio audience.

The obvious locations to find these creators are Facebook, Instagram and TikTok Reels. Search those who follow YOU and track their activity. You will find gold there.

The digital-savvy Content Creator will have a quick learning curve to your studio setup and will have a steep learning curve in mastering audio timing.

Teachers – Realtors

The retired teacher is a solid target for a morning show host. Teachers have spent years engaging students with academic content while projecting during presentations. Plus, they were used to the early and long hours.

In order to be successful, Realtors need to develop storytelling skills. Realtors are also predisposed to fully know your market. Realtors know the makeup of neighborhoods and retail centers. Built in local knowledge.

Both of these professions have tech skills that radio talent often don’t possess to include the ability to tell a story using video assists and interacting with digital presentations.

Non-Profit Leaders

Attend Chambers of Commerce events regularly. You will witness presenters in your market that engage an otherwise often lifeless crowd. Local non-profit leaders are excellent storytellers and are largely underfunded.

Executive Directors at the Chamber level are a great option for mornings. Non-profit E.D.s also know the market like the back of their hand and have the ears of business leaders, along with mayors, fire, and police leadership.

We find local Non-Profit leaders will give you many years behind the mic as they are normally glued to their local community. They have less propensity to bounce to another market as radio talent tends to.

Your Succession Plan won’t have a perfect path. The goal is to be aware that your talent situation will change as change in our business – and the world – is constant.

Don’t get caught off guard.

Connecting with potential talented storytellers and maintaining those connections readies you for the unexpected talent separation.

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.

How to Build a Strong Hot AC Radio Brand That Connects

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Hot AC radio occupies a unique spot in the industry. Modern, upbeat, and relevant, but broad enough to attract a wide demographic. In today’s media environment, a successful Hot AC brand must do more than play hits; it must stand out with personality, consistency, and audience connection.

Know Your Core and Peripheral Audiences

Here are key strategies to build and strengthen your brand. You must know not just your core audience but your peripheral audiences as well! Every brand starts with clarity about its target.

For Hot AC, that usually falls between 25–44 years old, with a slight female lean. But understanding peripheral listeners, those who may not be your main focus but tune in occasionally, that can expand your reach.

Leverage Local Market Research

Research your local market to learn listener habits, lifestyle touchpoints, and media consumption patterns. This insight drives not only your music mix but also your promotions, on-air tone, and community involvement.

Create a Distinct and Consistent Brand Voice

Be sure you deliver a distinct and consistent brand voice. Decide if that is a single male or female approach, or my preference when I was building the Pulse brand at SiriusXM, a combo of a female and male station voice. In a world where music discovery is dominated by streaming and TikTok trends, your brand voice is your personality, even if you have a full airstaff, which sadly these days is less and less!

Is your station playful and cheeky? Warm and relatable? Energetic and edgy? Decide and stick with it across every platform—on-air, digital, social, and in-person events. Consistency builds trust, and trust builds loyalty.

Beyond the Playlist: Building Appointment Listening

Next up, I’ve approached this point in numerous articles in this space before, it is CRITICAL that you are more than just a playlist! Spotify and Apple Music can match your music library, but they can’t replicate your connection.

Hot AC thrives on personality-driven shows, local conversation, lifestyle tips, and pop culture updates. Create “appointment listening” moments, daily benchmarks, themed hours, or quick, engaging features such as mini countdowns. Something that gives listeners a reason to tune in live.

Be the Local Connection

Your biggest competitive advantage over streaming is your ability to be local. Be at community events, support local causes, show up at the local high school sporting events, the goal is to be where your audience is! Highlight stories that matter to your market.

Partner with local influencers, showcase regional talent, and respond quickly to local news or weather events. When your station feels like “home base” for the community, it becomes part of people’s daily routine.

Use Imaging to Reinforce Your Identity

Another important step that cannot be overlooked is using your imaging to reinforce your station identity. Brand imaging, jingles, sweepers, and stagers should instantly signal your station’s energy and values.

Keep production fresh, updating imaging regularly to reflect current music and pop culture while maintaining core sonic branding elements. The goal is for a listener to recognize your station within seconds, even without a DJ’s voice.

Engage Listeners Beyond the Dial

You also MUST engage listeners everywhere. Today’s Hot AC brand must live beyond the FM dial. Maintain an active social media presence that reflects your on-air tone. Use Instagram Reels, TikTok snippets, and YouTube shorts to share behind-the-scenes moments, contests, and personality-driven clips.

Encourage two-way interaction: polls, user-generated content, and live Q&A sessions can deepen relationships. Always though be mindful of too many posts, which can be a total tune out!

Innovate Your Contests and Promotions

Try to be innovative with your contests and promotions. Contests and giveaways should feel exciting, not recycled. Tie promotions to lifestyle passions such as travel, experiences, and entertainment—rather than just cash. Consider “money-can’t-buy” prizes like backstage passes, lunch with an artist, or VIP access to local events.

Unique promotions cut through the clutter and generate word-of-mouth buzz. That is not to say that cash cannot still work, but it has to be a number that excites. $100 bucks doesn’t move the needle any longer.

Monitor, Adapt, and Stay Agile

It is critical for you, as the Programmer or Content Manager, to monitor and adapt! Audience tastes and competitive landscapes shift quickly. Use ratings, callout research, and social engagement metrics to track performance.

Don’t be afraid to pivot music rotations, or refresh your promotional calendar if trends demand it. Remember, agility keeps your brand relevant.

Build Emotional Connection and Loyalty

Ultimately, your brand’s value lies in the emotional connection you create. Whether it’s helping someone through their morning commute, making them smile during a tough day, or sharing a song that sparks nostalgia, those moments build loyalty.

In a really crowded marketplace, emotional equity is what keeps listeners choosing you over countless other options. When listeners feel your station “gets” them, you become more than background noise; you become part of their life soundtrack.

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.

How Howard Stern Lost His Edge

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Howard Stern is not gone. He has not been canceled. Howard’s contract is up, and there is a negotiation going on. Here is my history of being a Stern fan and my disappointment with Howard.

Before the internet, there was a company called California Aircheck. This service would send you a cassette featuring a show or shows and station composites.

Before consolidation, California Aircheck was the way to hear the great personalities and performances of that time. Since spoken word was my love, I ordered cassettes of Greaseman, Don and Mike, Bob Grant, and Howard Stern. If you are of my generation, California Aircheck was essential. I learned so much from California Aircheck and my amazing coworkers at the mighty AM 1500 KSTP.

The personalities who were amazing mentors to my early career were (in no particular order): Barbara Carlson, Turi Ryder, Mark Boyle, Bob Yates, Joe Soucheray, Patrick Reusse, Jesse Ventura, Griff, John MacDougal, Lee Valsvik, and Bruce Gordon.

Back in the day, the market size was considered the be-all, end-all determination of how great the radio was and how innovative the personalities or stations were. As we know today, market size is not the ruler for success in our industry.

Today, if you are a cub broadcaster, you can listen online to hosts and stations anywhere in the world. California Aircheck brought the most renowned broadcasters to your mailbox. Howard Stern was so innovative because he was there for the great unwashed. He said things that the average working stiff could not express in the days before the internet. I learned from the greats, who I still admire to this day. Howard Stern’s show evolved, and not necessarily in a good way.

Howard was constantly being harassed by the FCC for topics or language that were available to everyone via cable television. Ironically, some of the topics, themes, and language were also explored by the music of the day played on the radio, without issue. Someone speaking the truth was being persecuted. Howard’s ratings and revenue were growing. With the advent of satellite radio, there was finally a place where Howard would not be targeted.

Following the wisdom of the FCC, certain topics and themes were banned on commercial radio, while on pay TV or radio, the hosts could discuss anything. It was totally inconsistent. Eventually, Howard was wooed by one of the two satellite radio companies. Howard Stern, Robin Quivers, and the team chose Sirius, which damaged terrestrial radio and benefited Sirius.

On Howard’s first day on Sirius, the F-word was dropped about 200 times. Howard was freed from the FCC. Eventually, he got back to what he did best, and it was huge. Sirius put XM Radio on the ropes, and the two satellite companies merged.

Howard — who universally held disdain for the white-collar elites in New York City — was making huge money. He had a reputation as a bit of a recluse who avoided the fancy parties.

In New York City, getting the right invite is like winning the lottery, and Howard was never seen at those gatherings. He went through a divorce and eventually remarried a remarkable woman named Beth. He bought a place in the Hamptons and began attending the very parties he once criticized. My theory is that the Hamptons party circuit was important to his new wife. If you are dining with the very people you once loathed, your show will change.

Howard began to tame down his interviews. He was once famous for asking the questions everyone wanted to know. If his line of questioning insulted a celebrity, so be it. That version of Howard Stern has been gone for a long time.

Howard Stern has become the sycophant he once claimed to hate. His antics became as tame as a sleeping puppy. The show lost its edge as Howard kissed up to the powerful and famous. It is disappointing that Howard will not ask pompous celebrities tough questions anymore. It is purely because he wants to be their friend, not the friend to his longtime audience.

Is Howard leaving SiriusXM? From everything I have read, his contract is up for renewal. SiriusXM is seeking a cut in salary. Stern and SiriusXM may come to an agreement. Howard is 71. I don’t know him personally, but I think the show still means something to him. Howard is worth somewhere around $650 million, according to ChatGPT. He doesn’t need to work. There are also plenty of platforms that would be excited to have him on their roster.

Unlike Stephen Colbert, Howard Stern’s show has truly impacted people. Howard has created amazing memories for his listeners. All Colbert ever did that was noteworthy was dance with COVID shot puppets.

The demise of Howard Stern has been called prematurely. He may choose to walk away. I hope to see Howard at the BNM Summit in NYC on September 3rd and 4th.

Howard is a generational talent. Much like Rush Limbaugh, he has improved spoken word broadcasting. There is no debating the innovations Howard brought to media. I generally avoid political points in my column, but I believe it is important to have voices available that offer different opinions from mine.

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.

Can Nielsen Fix Its Data Processing Problems?

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Nielsen has a data processing problem. But it might not be for the reason you would logically think.

As with most things, there are good and bad results, and that includes private equity (PE) firms buying and running companies. In some cases, private equity took over firms that had become bloated and behind the times and made needed changes to bring them back to a competitive state. After a period of time, the PE firm either sold the company or took it public and made a handsome profit. In other cases, things didn’t work out so well and the PE firms lost money, or more accurately, their investors’ money. In both cases, headcount usually took a hit.

After all PE activity over the last three or four decades, there are few firms left that are ripe for PE takeovers. Of course, if a major purpose of your business is taking over companies, well, you have to find companies to buy. Two PE firms, Elliott Investment Management and Brookfield Business Partners, bought Nielsen Media for $28 a share in late 2022 and took it private. This wasn’t the first time Nielsen Media entered the private sphere.

PE firms typically cut costs. Some corporate expenses are unnecessary or even frivolous, but as in any action, don’t expect perfection. I remember when Nielsen acquired Arbitron in 2013, a large number of people were “made redundant,” as the British refer to employees being fired.

A comment made by a Nielsen honcho at the time was that they would probably be right for 80 percent of the people who were let go. The other 20 percent went under the heading of “Oops!”, cold comfort for those folks.

The cuts can go too far, and these days, you must wonder about whether Nielsen’s PE overlords have done just that, based on recent announcements we’ve seen from Nielsen Audio.

Here’s the scoreboard:

· July 25-Monmouth-Ocean, NJ Spring 2025 release was delayed from July 25 to July 29

· July 25-Biloxi-Gulfport-Pascagoula Spring 2025 release was delayed from July 25 to July 29

· August 5-Gainesville-Ocala: Multiple diaries were discredited, requiring a reissue of the Spring 2025 report.

· August 7-New London, CT: Two HD channels were left out, and the subscriber status was wrong for other stations.

· August 7-Grand Rapids: Two AM stations were left out.

· August 7-Omaha-Council Bluffs: Seven entities (stations and streams) were left out and the subscriber status was wrong for four stations.

· August 7-PPM monthlies due to be released on August 11 were delayed as well as Control Panel Reports for all 48 PPM metros.

If you’re keeping score at home, that’s six diary markets and 12 PPM metros that were not delivered on time due to Nielsen errors, ignoring the CPR delay. That’s different from a reissue caused by a security breach or other mistakes on the part of a station or cluster, which is not an error on Nielsen’s part.

Nielsen didn’t explain why these delays occurred, and they’re likely not under any obligation to do so beyond customer service. Yet this is troubling, and in my view, Nielsen owes the industry an explanation. Are these due to poor systems? Clerical errors? Lack of oversight by managers?

Like many companies, Nielsen offshores much of their data processing, mostly to India as best I know. This was going on long before the purchase of Arbitron in 2013, so they should have the systems humming along. Did the company change procedures, vendors, or make other change that caused these delays?

One organization is qualified to review and report on the situation and that’s the Media Rating Council. I don’t work for a member company, so I don’t have access to MRC audit reports or deliberations, but I would suggest that George Ivie and company should ask Nielsen Audio some tough questions (George and his crew know just what to ask).

Further, if the answers aren’t satisfactory, the MRC’s Nielsen auditors (I’m assuming Ernst and Young still handle that duty) should be looking closely at why this happened and the steps that have been taken to prevent further delays and mistakes.

If you’re concerned, what can you do? Diary market subscribers should schedule a review, especially now that you can do it online (see my column from January 6 for more information). If you’re a PPM subscriber, there are Nielsen reports available showing how listening was credited.

If you were in radio around the turn of the century, Fall 1999 to be specific, Arbitron updated its processing software. The company had a “can do” attitude, which is great until “can do” becomes “can’t do” too late in the process. All releases were delayed by three weeks.

The next Arbitron Radio Advisory Council meeting was held in March 2000. Members were not exactly overjoyed by the delay, and I remember all of the Arbitron attendees were asked to leave the room with the exception of the late Steve Morris, our CEO. Word was that he

was told in no uncertain terms that this would never happen again. And it didn’t happen again under his watch.

It’s 25 years later and while an entire survey hasn’t been delayed, the steady flow of announcements, combined with consistent cost-cutting, is unnerving. Here’s hoping the flow doesn’t become a flood.

Let’s meet again next week.

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.

iHeartMedia Posts Slight Revenue Increase During 2025’s 2nd Quarter

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iHeartMedia has released its 2nd quarter financial results, and the company reported a slight revenue increase during the window.

In total, the company’s revenue was $934 million during April, May, and June. That figure represents a 0.5% increase compared to the same quarter in 2024.

When political advertising is excluded, the company’s revenue grew 1.5% year-over-year.

The Digital Audio Group for iHeartMedia saw 13% growth, up to $324 million. Podcast revenue specifically grew 28% to $134 million. The company’s digital revenue outside of the podcasting space was up to $190 million during the quarter. That is a year-over-year increase of 5%.

The Multiplatform Group revenue — which encompasses the company’s radio stations — was down 5% to $545 million in total revenue. That figure remained the same when political advertising was excluded.

“Our second quarter performance was solid and slightly ahead of our initial expectations, with our Q2 adjusted EBITDA of $156 million at the upper end of our previously provided guidance range and 4% above prior year and our consolidated revenue for the quarter was above our guidance range, up 0.5% above prior year,” said iHeartMedia Chairman and CEO Bob Pittman.

“We continue to make progress on our ad tech platform, specifically building the capabilities to allow our broadcast radio inventory to be bought and sold like digital advertising, and to be a part of the key integrated buying systems,” continued Pittman. “And today, we announced that Lisa Coffey is joining the company in the newly-created role of Chief Business Officer to drive those efforts. Lisa has a long history in ad tech, and digital and mobile advertising, including leading the team that introduced Amazon Advertising to the U.S. Agency Marketplace.”

“In the second quarter, the Digital Audio Group’s revenues were $324 million, up 13.4% year over year, slightly above our guidance, and the Digital Audio Group’s Adjusted EBITDA was $108 million, up 17.1% year over year,” added iHeartMedia President, COO, and CFO Rich Bresler. “The Multiplatform Group’s revenue was $545 million, down 5.4% compared to prior year, at the higher end of our guidance range, and Adjusted EBITDA was $96 million, down 7.6% from the prior quarter. We are still on track to our previously announced modernization initiatives, which will generate net savings of $150 million in 2025 when compared to 2024.”

The company’s Adjusted EBITDA was $156 million at the quarter’s conclusion, compared to $150 million in the same window in 2024.

Additionally, the company’s GAAP operating income was $35 million, compared to a GAAP operating loss of $910 million in last year’s second quarter.

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.