Charles Barkley didn’t hold back in his appearance on The Dan Le Batard Show. The popular NBA analyst offered candid assessments of today’s sports media landscape while lamenting how little he and the Inside the NBA crew have been on ESPN this season.
During his appearance following the Miami Hurricanes’ loss to Indiana in the College Football Playoff National Championship Game, Barkley offered his positive reflections on the Miami season. However, he followed his comments with a critique of how some sports media reacted following Jacksonville Free Press reporter Lynn Jones’ positive interaction with Jacksonville Jaguars head coach Liam Coen.
“Have we got to the point now where you just have to be an idiot or fool or jackass to be on television or podcast or something?” Barkley asked, articulating a frustration he has felt about the direction of sports coverage.
His comments suggest a growing impatience with what he sees as superficial commentary dominating airwaves and streaming platforms.
“I don’t want all these punk ass reporters and clowns talking bad about me like they did that lady in Jacksonville who had a moment of humanity,” Barkley said.
Barkley, a Hall of Famer and longtime NBA analyst, also joked how he has lumped his new colleagues at ESPN potentially into his broader critique of sports media.
“Well, they can fire me,” Barkley joked. “I got seven years left on my contract. I’m 100% retired, but if I can do something just a little bit stupid, so they have to fire me. They don’t have to pay me for the whole seven years,” he said.
This season marks the first time Inside the NBA has been broadcast on ESPN. It is still produced by TNT Sports though. Barkley expressed positive feelings about the work on ESPN so far. However, he noted that Inside the NBA has aired significantly fewer broadcasts than usual
Barkley, known for his outspoken and humorous takes, noted the scarcity of appearances with blunt disappointment.
“We’ve complained we’ve only been on ESPN, I think four times in three months,” noted Barkley. “I don’t like that at all. I wish that we had been on more during the first half of the season. But I just checked the schedule. I think we’re on Saturday, Wednesday, Saturday. So they’re gonna start making up some of the days.”
As ESPN begins to increase Inside the NBA’s airtime later this month, Barkley’s fans will likely welcome more frequent appearances. Whether his observations about media standards prompt internal reflection remains to be seen. However, the Hall of Famer’s candor reminds viewers of the unique voice he has brought to sports television for decades.
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Townhall Media has announced it has named Larry O’Connor as the new Editor of Townhall.com.
O’Connor is no stranger to the brand. He has worked as a writer for both Townhall and HotAir since joining in 2016. He hosts a daily live podcast — LARRY — at Noon ET on weekdays for Townhall.
“Townhall has been a cornerstone of the conservative movement for decades, and I’m incredibly honored and excited to take on the role of Editor,” said O’Connor. “This is a platform with a powerful legacy, an outstanding team of contributors, and a loyal audience that cares deeply about ideas, culture, and the future of our country. I’m eager to build on that foundation, elevate strong conservative voices, and help Townhall continue to inform, challenge, and inspire readers every day.”
In addition to his role as Editor of Townhall.com, Larry O’Connor will continue to host mornings at 105.9 WMAL in Washington, D.C.
O’Connor steps into the role previously held by Katie Pavlich. She departed the outlet in November 2025 after spending more than 16 years as the Editor. She now hosts a primetime program on NewsNation, Katie Pavlich Tonight.
“Larry O’Connor is the perfect leader for Townhall.com,” said Townhall Media Publisher Jonathan Garthwaite. “He brings credibility, experience, and a genuine respect for both our contributors and our audience. Larry understands the responsibility that comes with stewarding a platform like Townhall, and I’m grateful for his willingness to step into this role. We’re excited to support his vision and lead Townhall.com’s coverage at a critical period in America.”
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iHeartMedia is shutting down its statewide “The Game” sports radio network in Wisconsin, following its October decision to flip Milwaukee’s 97.3 FM The Game station from sports to adult contemporary.
Since the decision in October, the company had continued providing a mix of live and syndicated sports programming for affiliates across the state, including its own Madison station, 1070 The Game. Other affiliates included Eau Claire’s 98.7 WBIZ as well as streaming content in Milwaukee via YouTube and social media.
However, several other stations had already migrated to Audacy’s Wisconsin Sports Network after The Game’s format change.
The network’s closure also brings significant shifts to local programming in Milwaukee. Morning hosts Bill Schmid and Armen Saryan will now team up with former afternoon host Drew Olson for a new show titled The Huddle, which will air weekdays from 5-8 a.m. on FOX Sports 920 in Milwaukee and 1070 The Game in Madison.
Outside of those hours, both stations will carry Fox Sports Radio’s national lineup.
iHeart’s decision ends the 10 a.m.-2 p.m. DND show, which featured Doug Russell, Nick Bruesewitz, and Dave Gasper. The trio hosted their last program on Friday. The move also concludes the afternoon program most recently hosted by Olson and Hunter Baumgardt, following the departure of Kevin “KB” Brandt.
iHeartMedia has not announced plans to revive The Game branding in the region. 97.3 The Game served as the radio flagship home for the Green Bay Packers. When the programming moves were made in October, Packers broadcasts moved to sister station 95.7 Big-FM.
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Streaming TV viewership has long outpaced broadcast and cable TV, but its advantage reached new heights in December 2025 thanks to Netflix, Nielsen figures show.
Netflix saw a 10% increase in overall viewership during the month of December. In total, it accounted for 9% of all television viewership during the window, according to The Gauge.
Christmas Day saw a huge increase in viewership for Netflix, as the streaming platform showed an NFL doubleheader featuring the Dallas Cowboys, Washington Commanders, Minnesota Vikings, and Detroit Lions. Following that NFL doubleheader, the streaming platform released the highly anticipated second volume of the series finale of Stranger Things.
In total, more than 55 billion minutes were spent watching streaming TV platforms on Christmas Day alone. Streaming TV viewership accounted for 47.5% of all TV viewing during December, a 3% increase compared to the previous month. On Christmas Day, that figure rose to 54%, the largest single-day share of TV ever recorded by streaming TV, according to Nielsen.
The previous high watermark for streaming TV was in July 2025, when it hit 47.3% of all TV viewing.
YouTube remained the top streaming platform for the month, reaching 12.7% of all TV viewership.
Meanwhile, Amazon Prime Video rose 12% month-over-month to hit 4.3%. That rise can be attributed to four Thursday Night Football broadcasts, as well as new episodes of the Fallout series.
Broadcast TV accounted for 21.4% of all TV viewership during the month, while Cable TV his 20.2%.
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Netflix has altered the financial structure of its proposed acquisition of Warner Bros. in a move that reshapes an already complex bidding battle and raises the stakes for rival suitor Paramount.
The streaming giant announced Tuesday that it amended its winning bid to make the transaction an all-cash deal. The change removes the $4.50 per share in Netflix stock from the original offer. Under the revised terms, Netflix would pay $27.75 per share in cash for Warner Bros. Discovery Global would be spun off as a standalone public company.
The adjustment immediately intensifies pressure on Paramount and its CEO, David Ellison, who have argued that Paramount’s $30 per share all-cash bid for the combined Warner Bros. Discovery entity is clearly superior.
With Netflix now matching the all-cash structure, the debate has shifts squarely toward valuation, particularly the worth of Discovery as a separate company. Going forward, Discovery is expected to become the focal point of the bidding war.
In a proxy filing released Tuesday, Warner Bros. Discovery outlined how its board views the potential value of Discovery Global as a standalone entity. The filing presented several valuation scenarios, with Discovery shares ranging from a low of $1.33 to a high of $6.86 per share, depending on the analytical framework used.
According to the company, a selected public companies analysis suggested an implied equity value between $1.33 and $3.24 per share. The analysis was conducted on a whole-company basis. A sum-of-the-parts analysis pointed to a higher range. That range ran from $2.41 to $3.77 per share. The estimates were based on comparable companies, including Versant.
Warner Bros. Discovery also highlighted a transactions-based analysis, which reflected the potential for future acquisition interest and produced an implied range of $4.63 to $6.86 per share.
Paramount has strongly disputed those assumptions. In a filing earlier this month, the company argued that Discovery should effectively be valued at zero, or no more than $0.50 per share, when measured against Versant’s stock performance. Paramount continues to maintain that its $30 per share offer delivers greater certainty and a cleaner, faster regulatory path.
Warner Bros. Discovery acknowledged that earlier internal estimates had placed Discovery’s value between $0.42 and $2.09 per share at the time the Netflix deal was initially reached. The board said improved operating performance and more refined financial modeling led to the higher ranges disclosed this week.
The dispute has already moved into the courtroom. Ellison recently sued Warner Bros. Discovery seeking additional information about the proposed spin-off and its valuation methods, while also signaling a willingness to pursue a proxy fight. Tuesday’s filing confirmed that the company plans to hold a special shareholder meeting focused on the transaction, though a date has not been set.
If Paramount proceeds with a proxy battle, it will need to persuade shareholders to reject the Netflix-backed deal at that meeting. Meanwhile, executives at Netflix and Warner Bros. Discovery insist the revised all-cash structure positions their agreement for a faster close, citing stronger-than-expected performance at Discovery as a key factor behind the changes.
Below are statements provided by David Zaslav, President and CEO of Warner Bros. Discovery as well as Ted Sarandos, co-CEO of Netflix, Greg Peters, co-CEO of Netflix, and Samuel A. Di Piazza, Jr., Chair of the Warner Bros. Discovery Board of Directors.
“Today’s revised merger agreement brings us even closer to combining two of the greatest storytelling companies in the world and with it even more people enjoying the entertainment they love to watch the most,” said David Zaslav, President and CEO of Warner Bros. Discovery. “By coming together with Netflix, we will combine the stories Warner Bros. has told that have captured the world’s attention for more than a century and ensure audiences continue to enjoy them for generations to come.”
“The WBD Board continues to support and unanimously recommend our transaction, and we are confident that it will deliver the best outcome for stockholders, consumers, creators and the broader entertainment community,” said Ted Sarandos, co-CEO of Netflix. “Our revised all-cash agreement will enable an expedited timeline to a stockholder vote and provide greater financial certainty at $27.75 per share in cash, plus the value from the planned separation of Discovery Global. Together, Netflix and Warner Bros. will deliver broader choice and greater value to audiences worldwide, enhancing access to world-class television and film both at home and in theaters. The acquisition will also significantly expand U.S. production capacity and investment in original programming, driving job creation and long-term industry growth.”
“Over the last decade, when much of the entertainment industry has contracted, Netflix has grown and invested tremendously in the business of film and television in the U.S. and abroad. This transaction will further fuel that growth and investment,” said Greg Peters, co-CEO of Netflix. “By amending our agreement today, we are underscoring what we have believed all along: not only does our transaction provide superior stockholder value, it is also fundamentally pro-consumer, pro-innovation, pro-creator and pro-growth. Our revised all-cash agreement demonstrates our commitment to the transaction with Warner Bros. and provides WBD stockholders with an accelerated process and the financial certainty of cash consideration, while maintaining our commitment to a healthy balance sheet and our solid investment grade ratings. We will continue to work closely with WBD to successfully complete the transaction as we remain focused on our mission to entertain the world and, together, define the next century of storytelling.”
“Our amended agreement with Netflix is a testament to the Board’s unrelenting focus on representing and advancing our stockholders’ interests,” said Samuel A. Di Piazza, Jr., Chair of the Warner Bros. Discovery Board of Directors. “By transitioning to all-cash consideration, we can now deliver the incredible value of our combination with Netflix at even greater levels of certainty, while providing our stockholders the opportunity to participate in management’s strategic plans to realize the value of Discovery Global’s iconic brands and global reach. We look forward to continuing to engage with our investors about the compelling benefits of the transaction as we progress toward our stockholder vote on an accelerated timeline.”
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Warner Bros. Discovery is breaking out the internal financial projections for CNN for the first time, and the news shows a slight dip in a robust revenue figure.
The network is forecasted to feature $1.8 billion in 2026 revenue, according to a filing related to Warner Bros. Discovery’s planned spinoff of Discovery Global.
Documents from a lawsuit filed last year reveal that CNN had revenue of $2.2 billion in 2021, which dropped to $1.8 billion in 2023.
The forecast released projections through 2030, with CNN’s revenue expected to rise to as high as $2.1 billion in 2029, while hovering between the $1.8 and $2 billion levels through that five-year stretch.
The projections highlight how important CNN would be to Discovery Global, should it be spun away from Warner Bros. Discovery. While CNN is projected to bring in $1.8 billion in 2026 revenue, the other cable entities from the company — which include the likes of TNT, TBS, HGTV, Food Network, and Discovery, among others — are slated to see a combined $9.9 billion in overall revenue during the year. That figure is forecasted to fall to as low as $7.9 billion by 2029.
Warner Bros. Discovery noted that the figures were “not prepared with a view to public disclosure.” However, it said it was providing the information because it had been presented to the Board of Directors and was an important piece of information to share.
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ESPN is expanding its long-form documentary slate with a deep dive into one of the most influential figures in sports history. The network has partnered with Words + Pictures on Saban, a multi-part docuseries now in production that will chronicle the life, career, and far-reaching impact of legendary college football coach Nick Saban.
At the center of the project is Saban’s 17-season run at Alabama. He won six national championships and restored the Crimson Tide to college football’s most powerful position. However, the series stretches well beyond Tuscaloosa. It traces Saban’s journey through earlier stops at LSU and Michigan State. The series also examines his time in the NFL with the Miami Dolphins. That context shows how his ideas, methods, and intensity evolved over time.
Directed by Russell Dinallo, the series is produced by Connor Schell, Libby Geist, Aaron Cohen, and Alexa Conway for Words + Pictures, alongside veteran ESPN storyteller Tom Rinaldi. Gabe Honig will serve as co-executive producer and showrunner. Together, the group is tasked with telling the full story of a coach whose dominance reshaped college football and whose leadership philosophy influenced generations of players and coaches.
Unlike previous profiles, Saban promises unprecedented access. The series draws from hundreds of hours of never-before-seen footage captured in locker rooms, practice fields, and internal program settings. Saban tightly controlled those environments throughout his career. Those scenes are paired with present-day interviews, including extensive conversations with Saban and his wife, Terry Saban. Her influence and leadership within Alabama’s program became legendary in their own right.
“With my coaching days behind me, Ms. Terry and I have been doing a lot of reflection and realized we were ready to tell our story,” Saban said in a statement. He added that the project allowed him to revisit every stage of his career while examining the process that drove his success, not just the results.
The docuseries also explores “The Process,” Saban’s disciplined, detail-oriented approach to leadership. That philosophy produced seven national championships, four Heisman Trophy winners, and a pipeline of NFL talent. It also changed how elite programs operate. Former players, assistant coaches, rivals, family members, and observers contribute more than 80 interviews. They offer perspective on both the public legend and the private man.
“There will never be another Nick Saban,” said Words + Pictures CEO Connor Schell. “He’s a football genius, a singular leader, and a true icon. He has shaped the modern game in ways that extend far beyond wins and losses.”
Featuring more than 30 hours of interviews with Saban himself, Saban positions ESPN to deliver one of its most comprehensive sports biographies to date. Premiere timing and episode rollout details will be announced at a later date.
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Tuesday marks the first anniversary of President Donald Trump’s second inauguration. NewsNation’s Katie Pavlich will sit down with him to discuss the milestone.
The interview will air at 10 PM ET during Katie Pavlich Tonight. The discussion with President Trump comes one day after the program debuted in the primetime window for NewsNation. Pavlich joined the NewsNation lineup in the timeslot previously occupied by Ashleigh Banfield, who departed the program to launch a true crime vertical for the network.
Pavlich will conduct the interview from the White House. It marks the second sit-down interview NewsNation has had with President Trump.
In her debut show, Pavilich — who joined NewsNation after previously working at Fox News — spoke glowingly of the first year of the second Trump administration.
“Tuesday marks the one-year anniversary of President Trump’s second term, and Katie Pavlich Tonight is headed to the White House tomorrow to interview the commander in chief as he reflects on the milestone,” said Pavlich. “Our exclusive sit-down will air this time tomorrow night right here on NewsNation. On paper, his accomplishments have been undeniable since being sworn in last January.”
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Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we hear from a quiet legend whom all in the industry should know but some don’t. That’s because over a 25-year career of doing mornings on a big brand in the nation’s capital — he’s chosen to simply let his content and presence do the talking instead of chasing headlines and sound bites. He’s Elliot Segal, member of the Radio Hall of Fame and host of Elliot in the Morning on DC101 in Washington, DC and WRXL/Richmond.
So, let’s dive in.
The Long Game
Keith: You’ve built a rare career by staying in one city, on one flagship brand, with various owners, for a very long time — while most air talent are chasing call letters by their mid ‘30s. What do the chasers misunderstand about the benefits of staying put and building something for the long term?
Elliot: When I left Z100 in 1999 (a good move for both me and Z100) and came to DC/101, my whole mindset was, “I have 2 years to make this work. I’m going to do this my way to make it work. If I fail – I fail. But I don’t want to blame anyone else if it doesn’t work out.” And I’ve had that mindset ever since.
So, while there have been other opportunities that have presented themselves over the years, in very appealing markets, they all came with restrictions that I thought would be detrimental to what I believe in. By no means am I saying that I wouldn’t modify the show for specific opportunities, but I wouldn’t make wholesale changes “just to get a cool job.” And while the idea of moving to a new city is always alluring, I never discount how much I love my current situation and how great DC is. The freedom to do “my show” in DC and Richmond is greater than wanting to move. Now, if I get fired and have to start over, I would have to find a new starting point with new parameters, but my mindset would remain the same.
I look at syndication the same way. When I was syndicating the show into ALT in New York and WNNX in Atlanta, I modified the show, but would not make wholesale changes. Jeff Sottolano and Mike Kaplan in New York, as well as the programming team at Cumulus, were on board. Unfortunately, within a year, both stations changed their formats and direction, and EITM was cut.
My point is, I believe my show has been successful for very specific reasons, and I am not going to “just change it” in hopes of chasing syndication. I own my own syndication. I charge for it. And I won’t make the drastic changes that I have had presented to me in order to grow the show: do it for barter, pre-record segments and send them down the line, create multiple clocks so each station can format the show, pre-record local sounding breaks to give yourself a more local sound… and on and on. Not for me.
I have had been told “Why would I pay you? I can call Premiere, get Show X for free, and give up a couple of spots, which really aren’t worth much right now anyway.” I’ve been told, “You need to send breaks so that XXXX can play 6 songs an hour. Or 4 songs an hour.” I just don’t believe that is what makes EITM successful in both DC and Richmond. We do one show for one audience, no matter where they live.
Like I said, I will modify the show. We did for Richmond when they started 20+ years ago. We did for New York, and we did it for Atlanta. We’ve included content from both markets and aired callers non-stop from both markets, mixed in with callers from DC and Richmond. We still do with listeners that have remained from New York and Atlanta. It was one big audience all experiencing, interacting, and being part of the same show. That to me is live syndication. But that is my mindset, others see it differently and do it differently, and that may work for them.
The Washington Effect
Keith: DC is a unique city — power, politics, diverse audiences, a global stage of sorts, and a large quotient of high IQ listeners. How do you think hosting a show in DC is different from most places in the country?
Elliot: Washington DC is definitely a unique city. So is Richmond and every city. I feel like, if you do your homework, study each and every market, you find out not only what makes it unique, but you find that is what makes it special. Sure, you have a lifestyle in DC that doesn’t exist anywhere else, but that is what allows for a unique experience.
My show is, and always has been, very interactive and very phone heavy. Having people in those unique positions – working at The Pentagon, The State Department, The White House, staffers, contractors, interns — allows voices from those sectors to be heard. It adds a great element to the show. I love diversity, it is what makes people unique. I want everyone to be a part of EITM. If you listen to the show, I am definitely not the smartest one in the room, but I am very curious by nature. I want to talk to everyone.
Avoiding Fame
Keith: You’ve never chased industry press or awards, which is rare for talent. Has that been intentional, and what are the benefits of staying out of the spotlight for you?
Elliot: I don’t think it’s intentional and I don’t know if there are benefits. There are a lot of things our industry does that I really don’t agree with or like, so I don’t think I’m sought out for comment. I don’t seek it out because I’m not really looking to get fired, so maybe that’s the benefit.
As for chasing press or awards, I really care about one thing: radio. I love radio. I’m so happy to get to be a part of radio. I respect radio. So, I want EITM to perform at its best. That is what I chase.
I will say though, getting into the Hall Of Fame was huge, but mostly as a way of honoring people. That moment, to me, was about honoring the people who have been huge influences and instrumental in my success. To stand on that stage and be able to thank John Lander and Scott Shannon, program directors like Brian Philips and Steve Kingston, and people who have been supporters and mentors like Sam Milkman and Thea Mitchem. To be able to thank my show: Diane Stupar, Tyler Molnar and Krysten Warnes for their work and effort every single day was a privilege. Finally, to be able to thank my wife and kids for their support every single day is what really made that day special. I also got to meet Jonathan Brandmeier, which was amazing.
I would have never accepted going into the Hall on an “audience vote”. I’m not knocking anyone who has gotten in that way. I just don’t have it in myself to ask a listener to vote for me. There are some that gave away t-shirts for votes. I can’t do that. Maybe that’s why I don’t chase anything.
Relevance Without Reinvention
Keith: Many shows try to reinvent themselves every few years to stay fresh and relevant. Full facelifts or constant reinvention haven’t been at the top of your priority list, but how do you know when it’s time to shake the show up a bit?
Elliot: The show evolves naturally over time. Or it should. EITM is not the same as it was in 1999. Or in 2005, and on and on. And it is not the same show it will be 10 years from now. If you just went back and listened to a single show from 20 years ago, it would be “wow, they’ve changed.” But if you listened along the way, it has evolved. I think it has to evolve. If we are not evolving, we are not growing.
That is true of life, that is true of morning radio. Diane has been with me since Day 1. Tyler has been with the show for over 20 years. We have people who have listened since we started. And people who have joined along the way. I just think that shows don’t have to reinvent the show or change out members to keep it fresh. But, the work ethic and effort have to continue and the ability, and open-mindedness, to evolve has to exist.
Just Noise
Keith: You follow industry stories and news — what is the industry obsessing over today that matters far less than it’s made out to be?
Elliot: Before I answer this, let me stress, I am just a disc jockey. I’m not a CEO or the head of programming sitting in a meeting with the CEO. I am a disc jockey. That said, I think we, as an industry, focus more on the output more than the input. The output is important, and I’m not suggesting it is not. I understand the importance of being able to dive into research and see and track who is listening where. Where the heaviest listener or listeners may be. I understand that getting a meter on the app is more valuable than over the air. I look at the research and love seeing it. And, as an industry, we are obsessed with it. But I wish we focused more on the input. The day to day programming.
I talk with so many market programmers who are frustrated with talent that don’t put in the work. I know talent too that don’t put in the work. There are a lot of stations that essentially run on auto-pilot, and not just in very small markets – which I also think is inexcusable. I, personally, don’t care how anyone listens. I don’t care if they listen through an actual radio, the app, stream on a computer or smart device, I don’t care. Listen however you want.
I care about what they are listening to. Make the product good, and be thankful that someone is listening. That goes for the talent, production, stopsets, and the stream. Make the station a good listening experience. I stream stations on the app, and for how important we say it is and how we promote it, at times the listening experience is horrible. I would start with the input.
Tech & Ratings
Keith: With iHeart as a parent company, I know you’re well-versed on tech and new content distribution strategies — but what about ratings? As a veteran talent with your track record, do you watch ratings closely? Do they influence how you approach your show or are they just something you check after the fact?
Elliot: Let me start with the iHeart piece. They have done a great job being at the forefront of a lot on the technology side. The app is great in that it changed the way people can listen. The fact that they created a way for people to literally take us anywhere in the world and listen is a true credit.
As for ratings, of course I keep an eye on them. But, for me it starts with my gut and my ears. Constantly reviewing how I feel about the show. Does it sound right? Are we doing the right things promotionally? Are we keeping active enough? And so on. As for numbers, I do look. Even with all the warts, Nielsen is what we have. And, it can, and does, have an impact on us as talent. It is the scoreboard. It can determine someone’s employment, pay, and an entire station’s existence. I don’t live and die by weeklies, but I absolutely keep an eye on them, in both DC and Richmond — or wherever the show has been on. But, I will also stress, they do not have a big influence on how I approach the show on a short-term basis.
Distrust in Media
Keith: You’re a trusted voice in the nation’s capital at a time when distrust in mainstream media is high. From your perspective, what builds audience trust and how is it lost?
Elliot: This is a hard one, because I don’t really focus on it. I think I learned at an early age from both Lander and Shannon, that the goal is to build the biggest audience you can. My goal has always been to be inclusive to almost everyone. If you want to listen to a morning radio show, I want it to be EITM. I don’t care if you are a man or woman. Old or young. White, black, Asian, Hispanic, anything. I don’t care if you are blue collar or white collar or if you love or hate politics. I don’t care if you are straight, gay, or what your preference is. Everyone is welcome to listen and interact.
Some people hate me and hate my show — I know that. I remember a research company at one point selling themselves as being able to “find the needle in the haystack” – meaning they could find singular target listener in an area and then focus in on them and trying to get them to listen. I remember telling them, “why don’t we get the entire haystack.” I’m sure they went on to be part of the people who hate my show. But I do believe that gains trust. It sounds very rose-colored glasses, but EITM has an honesty about it — good and bad — which I hope comes across.
FCC Rules
Keith: It occurred to me that members of the FCC, maybe even the Chairman, can listen to your show live on their way to work in traffic. Having had your own FCC encounters, is it time for the FCC to relax some rules so FM broadcasters can be aligned and more competitive with other media? If so, what would you change?
Elliot: Yes, FCC members can, and do. And yes, I have definitely had my own “FCC encounters.” Michael Powell was definitely not a fan during his term. But, I don’t know what I would change. Would it be fun to say whatever words I want to say…. probably. And if the FCC said, “Here is a new list of words you can’t say,” we would find ways to say them in another way. But I have never felt that I am handcuffed because I can’t say “fuck.” Maybe context versus words would be different. I do think everyone should be able to talk about whatever they want.
I have never felt like there is anything that EITM can’t approach. But, some people will always complain. And, in my case, that person listening could very well be working at the FCC, or running it. Maybe I’m in the minority, but I don’t feel like being able to use foul language really changes the content. That still comes down to how good the talent is. But, I would also be lying if I said there aren’t some days where being able to just say the damn word would make the story better.
Your Best Advice
Keith: A young talent walks into your office and says they want to be the next Elliot Segal. What’s the best career advice you can give to a young and talented personality who wants to excel at morning radio for decades?
Elliot: I am lucky. When I was younger, I got to learn from Lander and Shannon. And I had some great PDs. I am also lucky in that both Lander and Shannon had some not-so-great great PDs and General Managers. From John and Scott, they worked hard. They had high expectations for themselves, for the show, and the stations they were on. They didn’t look for short cuts and they worked hard. The same was expected out of me. It became second nature. I never wanted to let them down, not out of fear, but out of respect. But, I also got to watch them deal with not great PDs and GMs and learn from that.
I remember Lander tell me something in Philly… “never do it for the money… be successful and the money will come.” I moved to Los Angeles to work at Pirate Radio for less than $20,000. That was not chasing money.
And that gets me back to something earlier… being told that if I completely changed the show, and did it in a way that I did not believe in, I could be syndicated and that comes with a paycheck. It’s just not for me.
Lastly, there are no days off. Being allowed to do morning radio is work. It takes effort. It can be a great living that comes with a lot of perks… but if you are not willing to put in the effort and do the work, every single day, don’t do it. Don’t take it away from someone else.
2050
Keith: What will morning radio look and sound like in 25 years — if it still exists? Will shows still be doing Florida News and War of the Roses? Will it be humans?
Elliot: Morning radio better exist in 2050. And I fully believe it will. There is no telling what morning radio shows will be doing then, but I hope shows that are doing “War Of The Roses” and “Second Date Update” are not still running the same ones they are airing now. I know plenty of shows that are running the same “scripted and recorded bits” from 5 years ago, but pretending they are still new. But, like I said earlier, evolving and growing are essential for any show, as well as any format to thrive. But whether it was 25 years ago or 25 years from now, talent and content will still be the most important part of radio.
Your Biggest Win
Keith: What’s the bigwin your most proud of?
Elliot: I’m not sure if I have a biggest “win”. I have plenty of things I am proud of dealing with EITM. I’m proud of how we’ve handled situations in DC like 9-11, the DC Snipers, and other serious stories. I’m proud of the work we have done with, and for, The National Center For Missing And Exploited Children, as well as my involvement in the annual Secret Service – FBI charity hockey game. But I am equally proud of our ability to go in every morning and put on what I believe is an appropriate show for the day. We put a lot of work and effort into the show, so I am proud that no one on the show mails it in or takes a day off.
Nickelback
Keith: For the record, I’ve never hated Nickelback and think they’re allergic to writing bad songs. But they became one of the most entertainingly polarizing bands in rock history. YOU are in their “Rockstar” video. Have anything to say about that?
Elliot: Of course you don’t hate Nickelback. No one does. They may be polarizing, but people still know the songs, and if and when, one comes on, everyone knows all the words. And I’m not just saying that because I’m a Montreal kid.
The Uncomfortable Truth
Keith: If there’s an uncomfortable truth about morning radio or the radio industry in general that everyone needs to hear, what is it?
Elliot: This is a very hard one for me to answer. I love radio and want to remain employed. In my opinion, there are several big uncomfortable truths, and I don’t think I’m alone in that belief. I believe radio is the greatest form of media. It can be immediate, emotional, and interactive. It can be funny, serious, educational, silly, ridiculous and a best friend. Radio can build a large community capable of helping one another. There is nothing it can’t do, if we let ourselves do it.
Radio needs to respect its listeners and respect itself. Everything I do, I try to put the listeners first. Is this good for listeners? Everything else falls in line behind that. EITM has great business partners and sponsors and advertisers that I really enjoy working with. But, nothing is more important, to me, than the audience. I don’t take listeners for granted and don’t try to take advantage of them. I just want them to listen and enjoy the show.
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It’s been a very busy few months for Audacy’s sports radio flagship WFAN in New York City. Craig Carton’s return to the legendary radio brand for a third run created truth to rumors that had lasted for months following his departure from Breakfast Ball on FS1. Amid the changes came an opportunity for Carton’s former producer, Chris McMonigle. A WFAN lifer who worked his way from an intern in 2007 to full-time overnight host in July of 2023.
Today, the dream he had from childhood continues on the grandest stage of them all: afternoon drive in New York City on the brand that defined the format.
“I haven’t even picked my head up yet to think about the pressure [of afternoon drive]. I’m trying to focus on getting things started and doing the best I can, but it’s obvious. There’s more pressure and eyes on us,” said McMonigle. “It’s an incredible experience so far, and I’m really excited about it.”
McMonigle spent the last two and a half years as the guiding voice for WFAN’s overnight programming, He sat sidecar for so many working the third shift keeping them entertained while connecting on a personal level. His efforts during that time were not ignored.
The Opportunity Presented
McMonigle says he was approached by Audacy Chief Business Officer and New York Market President Chris Oliviero in mid-November with an opportunity he did not see coming.
“I had some time with it before it was announced. It was an exciting surprise,” said McMonigle. “It’s been a lifelong dream. Just to be the overnight host I felt was a dream, and I felt I was just becoming accustomed to that role. It’s been a whirlwind, but it’s been a crazy but exciting couple of months.”
Following his initial conversations before the Thanksgiving holiday, McMonigle says station management kept him fully in the loop about the potential opportunity. His experience as Carton’s producer for over two years alongside Evan Roberts helped build strong camaraderie between them.
As a result, McMonigle felt that a reunion, albeit in a new setting as a co-host, would be a smooth and comfortable fit.
“Now it’s just speaking less. The idea of sharing the time and establishing that rhythm of the back-and-forth is different,” said McMonigle. “Craig opens the show, leads the calls and segments. Those are all things I’ve been doing exclusively for over two years. Sometimes when the music comes back, I’ve caught myself just turning on the mic to start. It’s just getting used to it.”
When Carton departed WFAN to take on a role with FOX Sports in 2023, McMonigle knew it wouldn’t be his last stop with the station. He noted Carton’s legacy with the brand, along with his ability to generate ratings and revenue success over two previous stints, wouldn’t keep him away from a third crack in the Big Apple.
A Future Unknown
During the time following Carton’s exit to FOX Sports, McMonigle says he wasn’t worried about Carton taking his overnight position at WFAN. He didn’t allow rumors of a return to affect his focus, noting that being an overnight host insulated him from much of the scuttlebutt surrounding the prime dayparts.
Now, with Carton back in afternoons and Evan Roberts and Tiki Barber in middays, McMonigle feels the WFAN weekday lineup has a “big feel” in every daypart. While excited to be trusted as a key part of that lineup, he admits he didn’t always believe the opportunity would come at WFAN.
“Along the way there were times where [WFAN] felt very stagnant. The guys from behind the glass weren’t getting a lot of opportunities,” explained McMonigle. “There were times when it became a challenge. You felt you had to leave if you want to get on air. There were absolutely times at the station where I felt I didn’t know where this is all going. I love the station; I want to be here. But is this the best place for me?”
Change is never easy, and WFAN navigated a very public transition over the past few months with Carton’s return. While McMonigle’s role was elevated, station management ultimately decided that Brandon Tierney and Sal Licata would depart. In the weeks following the official announcement, BT & Sal were given the opportunity to close out their program on their own terms.
McMonigle praised the way both Tierney and Licata handled a very public and difficult situation.
“In radio you don’t always get the last show. [Chris] Russo didn’t get that. We’ve always heard once it’s over, it’s over,” said McMonigle. “I know BT and Sal will be great with whatever’s next. They [Tierney, Licata] handled it incredibly well, and I thought the station did well too… It went as well as it probably could have went.”
The Next Generation
McMonigle’s career path has always been tied to WFAN. His story reflects hard work, dedication, and embracing opportunity when it presents itself. He jokes that hard work never goes out of style, but the sentiment rings true when applied to his journey.
Although his story now continues into afternoon drive, McMonigle is often asked for guidance by those trying to break into the industry. He recognizes that his path was shaped by the timing of his entry. He also acknowledges that the landscape for breaking through in sports radio is much different today.
“The difference is it might be easier than ever to get started. There are so many platforms and different things to find and be a part of, but maybe that makes it more difficult to cut through,” explained McMonigle. “There’s still a role to go somewhere and do whatever it takes to get somewhere and stay relevant in that company. But it is a different world. There are more ways now to do it than just one.”
With the first week of shows alongside Craig Carton officially complete, McMonigle is focused on what’s ahead. The comfort level of working with Carton is already there, and McMonigle says he knows he’s in good hands with one of the best to ever do it.
Each day comes without a set plan of attack. As McMonigle puts it, the vibe should always be two buddies talking about sports, with the rest taking care of itself.
“My wife would say I speak fluent sarcasm. Me and Craig are very similar in that way,” noted McMonigle. “I’m not even thinking of changing anything. I’m thinking about starting something. For me, Craig and I are starting something new. For him it may be his third crack at it, but it’s my first. This is something new, and I’m looking forward to it.”
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