Chicago Bears quarterback Caleb Williams has built a reputation this season for extending plays long past their expiration date, often turning chaos into highlight-reel brilliance. Sunday night offered another reminder of that rare ability, and provided another moment for Westwood One Radio play-by-play voice Kevin Harlan to go viral.
Trailing late and facing a fourth-and-4 from the Rams’ 9-yard line, Chicago appeared moments away from seeing its postseason run end. Instead, Williams authored one of the most improbable throws of the NFL season.
As pressure collapsed the pocket almost immediately, Williams retreated backward, drifting nearly 30 yards away from the line of scrimmage. With defenders surrounding him and his back briefly turned to the play, the former USC star reset his feet and launched a pass toward the end zone. Tight end Cole Kmet, working through contact, separated just enough for the ball to arrive cleanly. The result was a game-tying touchdown that stunned the crowd and pulled Chicago even at 17-17.
The play gained instant attention not just for its timing, but for its difficulty. According to NFL Next Gen Stats, the throw traveled 51.2 yards in the air despite resulting in a 14-yard completion. That distance marked the longest air-yard completion in the red zone since the league began tracking the metric in 2016.
Westwood One Radio play-by-play voice Kevin Harlan captured the viral moment with an epic call that was praised by many among sports media.
𝗨𝗻𝗿𝗲𝗮𝗹 𝗚𝗮𝗺𝗲-𝗧𝘆𝗶𝗻𝗴 𝗧𝗗 𝗳𝗲𝗮𝘁. 𝗞𝗲𝘃𝗶𝗻 𝗛𝗮𝗿𝗹𝗮𝗻 🚨 On 4th and 4, the Bears score a 14-yard touchdown that looked more like a 40 -yard TD to tie the game with 18 seconds left in the 4th quarter! 🗣️: Kevin Harlan & @RossTuckerNFLpic.twitter.com/KzfTxEXwt4
Listening to the national radio feed of Rams-Bears while driving, & am reminded of how good Kevin Harlan is on radio. Paints the picture as well as anyone in the business.
— drake c. toll show, westwood one (@drakectollshow) January 19, 2026
If there are any budding commentators/play by play callers out there, listen to this.
Kevin Harlan – the best in the business – with an unreal call on an unreal play in the biggest moment of the game, with pandemonium all around him in a sold out Soldier Field!
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ESPN will bring College GameDay back to campus when the long-running college basketball studio show opens its on-site schedule for the 2025–26 men’s season from Lubbock, Texas, on Saturday, January 24.
The broadcast will originate from United Supermarkets Arena and air live at 11 a.m. ET on ESPN, setting the stage for a marquee Big 12 matchup between No. 7 Houston and No. 15 Texas Tech later that day.
The trip marks a notable return for the program, which will visit Texas Tech for only the second time in its 22-season history and the first since 2018. That previous appearance coincided with a high-profile matchup against Kansas and underscored ESPN’s growing commitment to spotlighting college basketball environments that resonate nationally while delivering strong regional engagement.
Rece Davis will again anchor the broadcast as host, continuing his role as one of the program’s most recognizable figures since its 2005 debut. He will be joined by veteran analyst Jay Bilas, 2023 Sports Emmy nominee Andraya Carter, former ACC Coach of the Year Seth Greenberg, and Jay Williams, a former Duke national champion and two-time NABC Player of the Year.
Bilas and Davis remain foundational voices for the franchise, while Carter enters her third season as a regular contributor across both the men’s and women’s editions of College GameDay. Greenberg returns for his 11th season with the program, and Williams continues his eighth overall year, reinforcing ESPN’s emphasis on informed analysis rooted in coaching and playing experience.
Reporter Pete Thamel will also contribute for the second consecutive season, offering insight from across the college basketball landscape as the sport navigates an evolving media and NIL environment. His presence reflects ESPN’s broader strategy of blending studio discussion with enterprise reporting to add depth beyond the game of the day.
According to coordinating producer Aaron Katzman, the decision to open the on-campus slate in Lubbock aligns with the network’s goal of capturing the energy that defines college basketball at its best. Katzman said the show’s return to campus represents an opportunity to highlight players, rivalries, and storylines that drive the sport’s appeal throughout the season.
ESPN will determine future campus locations on a week-to-week basis, with each site announced one week prior to the broadcast.
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Piers Morgan will be absent from his digital show following a freak accident in London.
On Sunday, Morgan revealed that he had broken his femur following a fall at a London hotel restaurant.
In a post on social media, the former CNN host shared that he had tripped on a small step, leading to his fall.
“Fractured femur,” the 60-year-old Morgan wrote. “So badly I needed a new hip. Recovering in the hospital. Crutches for 6 (weeks). No long-haul for 12 (weeks).”
He jokingly added that the New Year was “off to a cracking start” and that he “blamed Donald Trump” for the accident.
‼️ BREAKING NEWS ‼️ 1. Tripped on small step. 2. In a London hotel restaurant. (🙄) 3. Fractured femur. 4. So badly I needed new hip. 5. Recovering in hospital. 6. Crutches for 6wks 7. No long-haul for 12 wks. 8. New Year off to a cracking start! 9. I blame Donald Trump. pic.twitter.com/dnFpYTPnDe
Morgan later clarified that there was “zero alcohol involved” in the incident.
When the British tabloid Metro reported that Morgan has a roughly $25,000 man cave at his London home, Morgan said he wouldn’t be recovering there, but it could be a temporary location for his program.
“I might be able to host (Piers Morgan Uncensored) from there for a bit,” Morgan said. “Working on that now.”
The fall and injury for Morgan comes on the heels of investors spending more than a reported $30 million with his upstart media company that produces his Uncensored show.
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The MeidasTouch Network has announced it has ended its deal with Michael Cohen following recent comments made by the former personal attorney of President Donald Trump.
Last week, Michael Cohen shared that he felt “pressured and coerced” into testifying against Trump during his felony trials in New York. In a Substack post, he argued that those in the Manhattan District Attorney’s Office and the New York Attorney General’s Office weren’t interested in testimony that didn’t help their narrative in convicting Trump.
“I felt pressured and coerced to only provide information and testimony that would satisfy the government’s desire to build the cases against and secure a judgment and convictions against President Trump,” Cohen wrote.
He addressed the idea that he was only speaking out in search of a pardon from Trump, whom he has roundly criticized since departing the president’s “inner circle.”
“You may reasonably ask why I am speaking out now. The answer is simple. I have witnessed firsthand the damage done when prosecutors pick their target first and then seek evidence to fit a predetermined narrative,” Cohen said.
After his comments went viral, and were addressed by Trump himself on his Truth Social account, The MeidasTouch Network shared that it had ended its relationship with Michael Cohen.
“Programming note: MeidasTouch Network will no longer be producing or carrying the shows Political Beatdown or Mea Culpa with Michael Cohen, the network shared in a post on social media.
Programming note: MeidasTouch Network will no longer be producing or carrying the shows Political Beatdown or Mea Culpa with Michael Cohen.
The MeidasTouch Network has seen a meteoric rise in recent months. The network — operated by brothers Ben Meiselas, Brett Meiselas, and Jordy Meiselas — operates The MeidasTouch Podcast, which has continually finished as either the most-watched podcast on YouTube or in the top five most-watched podcasts on the platform. Most recently, it earned the top spot for the week of January 5th.
In response, Michael Cohen said he was disheartened by the news.
“My podcasts and shows will continue, but they will no longer air on the network of three brothers I came to call my own,” Cohen said. “That is not a phrase I use lightly. I mean it. Losing that partnership feels like losing family.”
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The National Association of Broadcasters (NAB) has again urged the Federal Communications Commission (FCC) to “modernize” the local radio and TV ownership rules.
In a filing with the FCC regarding the 2022 Quadrennial Regulatory Review, the organization argued that removing ownership restrictions “would better position local radio and television stations to compete with Big Tech and deliver diverse, community-focused content.”
It argued that broadcasters “continue to be shackled by rules first crafted nearly a century ago – rules that do not apply to our competitors.”
Perhaps the strongest stance taken by the NAB in the filing is aimed at those who oppose altering the restrictions.
In the filing, the NAB argued that Newsmax — among other dissenters — “rely on mischaracterized data and legal arguments that ignore today’s competitive landscape.”
“In perhaps the most transparently insincere comments, Newsmax bemoaned that eliminating ex ante ownership rules would lead to local broadcast TV consolidation that would diminish local voices,” the NAB filing reads. “Indeed, Newsmax lamented how the loss of local newspapers has led to an increase in public and corporate malfeasance. Of course, Newsmax ignored how the FCC’s rigid newspaper/broadcast cross-ownership rule hampered local newspapers from saving themselves – and the public – from a secular demise.”
“The Commission should dismiss the arguments of those commenters urging it to the do same with TV broadcasters,” the filing continued. “Overall, Free Press, the Democracy Forward Commenters, and Newsmax adduced several studies – all of which are either miscited, mischaracterized, miss crucial context, or … well…just miss. It would be one thing if they were citing these studies to diligently identify how local TV station combinations can diminish the provision of news. But unfortunately, there is something more perilous in their position.”
Newsmax — and its CEO, Chris Ruddy — have been vocal in their opposition of the proposed merger between Nexstar Media Group and TEGNA.
In a filing with the FCC, Ruddy said, “The only thing the (FCC) will get if it alters the national television multiple ownership limit is a permanent injunction. The (FCC) lacks authority and a compelling reason to change the rule.”
The proposed merger between Nexstar Media Group and TEGNA would put the company well over the allowable limit of reaching 39% of all U.S. households. Once the deal is closed, Nexstar Media Group will then have 265 TV stations in 44 states and the District of Columbia. Additionally, it will feature outlets in 132 of the country’s 210 markets, reaching roughly 80% of all households.
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President Donald Trump says he plans to sign an executive order aimed at preserving the Army-Navy Game’s traditional place on the college football calendar, framing the annual rivalry as a national institution that deserves protection from expanding postseason schedules and mounting commercial pressures.
In a post shared on social media, Trump argued that the second Saturday in December should remain exclusively reserved for the Army-Navy Game. He cited concerns that future College Football Playoff expansion could encroach on the matchup’s long-held window.
He described the game as a symbol of patriotism, courage, and honor, and suggested that financial motivations tied to television contracts threaten its standing.
Trump wrote that his administration would secure an exclusive four-hour broadcast window for the game, preventing any other college football contests from airing at the same time. The move, he said, would ensure the Army-Navy Game “stands above commercial postseason games,” emphasizing its cultural and historical importance over playoff-driven programming decisions.
FCC Chairman Brendan Carr reposted Trump’s statement on X, signaling awareness of the issue, but offered no additional comment or clarification regarding the agency’s position.
Broadcast television operates under Federal Communications Commission oversight, but the FCC’s authority does not typically extend to dictating sports scheduling decisions across networks. While broadcasters are subject to certain content regulations, courts have consistently ruled that any restrictions must be narrowly tailored to serve a substantial governmental interest.
The Army-Navy Game has aired on CBS Sports since 1996, and the network currently holds broadcast rights through 2038. Paramount Global, CBS’ parent company, has not commented on the matter.
Lawmakers have previously weighed in on the issue. In 2024, a bipartisan group urged college football officials to preserve the Army-Navy Game’s traditional date, warning that playoff expansion could dilute one of the sport’s most recognizable standalone events.
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The 2026 Barrett Media Audio Summit presented by Point to Point Marketing is coming to New York City, June 30-July 2, 2026. The show takes place at the SVA Theatre on West 23rd Street. Ticket prices are lower this year to make it easier for industry folks to attend. A one-day pass is $199.99, a two-day pass is $324.99, and a three-day pass is $399.99. You can buy tickets on the Summit page up top on the website.
We are reformatting this year’s show to unite creators, programmers, executives and business professionals across all formats. News Talk is our focus on Tuesday June 30th. Sports media is our area of examination on Wednesday July 1st. Music radio takes us home on Thursday July 2nd. Each day’s show runs 9a-5p with a lunch break in the middle of the day. After parties follow each day’s show from 5:30p-7p.
Before I reveal our first group of speakers, here are some details regarding our hotel. Hotel Hayden is our partner for this year’s event. The hotel is a 10-minute walk from the venue. Rooms are available for $288 per night. Our room block will fill up fast. If you plan to fly in and need lodging, book your room today. Once rooms are full, we can’t add more. Click here to secure your discounted hotel room. You can also get the link for discounted rooms on the Summit page.
Hotel demand in New York City is high this summer due to the World Cup. There are other hotels in the area if you prefer to stay elsewhere. Some like to stay near Times Square or MSG and take a train or taxi to the show. Whatever works best for you, go for it. Just know that most hotels in the city will cost more.
The First 22 Speakers
Since announcing the date, location and venue for this event, speaker interest has been insane. Nearly 400 people have inquired about participating, and more will likely reach out after this announcement. I know a lot of sharp broadcasters want to share their expertise and opinions, but we can’t accommodate all requests. Delivering the most informative and balanced show for attendees is our key focus. Doing so requires being extra picky about the conference agenda.
Joining us this year from the on-air talent side are the following: Paul Finebaum of ESPN, Premiere Networks hosts Buck Sexton and Angela Yee, 77 WABC morning host Sid Rosenberg, 710 WOR midday host Mark Simone, and SiriusXM Mad Dog Sports Radio morning host Damon Amendolara. Other high-profile personalities will be announced in the near future.
Next, we are excited to welcome to the room a number of key executives guiding the way for some of the audio industry’s top brands. It’s an honor to welcome iHeartmedia President of Programming Operations and Digital Music Jon Zellner, Connoisseur Media’s Senior Vice President of Programming Keith Dakin, Audacy Chief Programming Officer Jeff Sottolano, Hubbard Radio EVP of Programming Greg Strassell, Fox Sports Radio’s Senior Vice President of Programming Scott Shapiro, and the Executive Director of Westwood One Sports 24/7 Programming Armen Williams.
Moving to our next group, we are thrilled to welcome Z100 Program Director and iHeartmedia VP of CHR Programming Mark Adams, iHeartmedia VP of News/Talk and Sports Programming Chris Berry, and KOA Denver Program Director Dave Tepper. Also joining the mix are Vice President and Brand Manager of 104.3 The Score in Chicago and VP of BetMGM Network Mitch Rosen, Audacy News/Talk Format VP and KRLD Brand Manager Drew Anderssen, and 95.5 WSB Director of Branding and Content Ken Charles.
Our first announcement concludes with a few broadcasting gurus and business professionals joining the lineup. We are honored to welcome back McVay Media President Mike McVay, and Jacobs Media President and Founder Fred Jacobs. Longtime music radio programmer turned consultant and Barrett Media columnist Jim Ryan, and Xperi Senior Director of Broadcast Strategy and Business Development Juan Galdamez will make their Summit debuts. Barrett Media News Editor Garrett Searight and Sports Editor John Mamola will also guide discussions at this year’s show. I will serve as event host.
The SVA Theatre
Still to Come
We are planning to make another big announcement for the show this Wednesday. With 10 sessions and the Premiere Networks awards ceremony planned each day, it’s vital that we tackle the right issues with the right speakers. We will take our time building the show to make sure attendees gain maximum value from being in the room. This event is designed to serve executives, managers, programmers, talent, sales/advertising professionals, and anyone who has an interest in better understanding the audio business. Our only requirement, you must work in the media industry to attend. This is not a public event.
I will be in San Francisco February 2-4 taping episodes of the upcoming Jason Barrett Podcast, promoting our Sports Top 20 series, and talking to a few folks about participating in the conference. I’m also traveling to Nashville in March for CRS and the RAB meetings where I’m sure a few other conversations will take place. In addition, I hope to schedule an upcoming zoom call with a few leaders to gather feedback to make sure we’re hitting all the right notes in NYC.
Summit and Top 20 Sponsorships
We are grateful for the support for the Barrett Media Audio Summit from Point to Point Marketing, Premiere Networks, Core Image Studio, Steve Stone Voiceovers, and MRN Radio. Additional groups will come on board in advance of the event too. For rate information and details on available opportunities, contact Stephanie Eads at 415-312-5553 or Stephanie@BarrettMedia.com.
Additionally, the Top 20 Sports Television Shows, TV Talent, and Top 20 Sports Digital Shows of 2025 get revealed January 28-30. The Top 20 of 2025 in Sports Radio (Feb 2-6 and 9) comes next. After that, we unveil the Top 20 of 2025 in News/Talk Radio and News Television (February 10-13 and 16-20). The Top 20 of 2025 in Music Radio (February 23-27 and March 2-4) wraps things up. Companies interested in sponsorship of the biggest online projects of our year should email Stephanie@BarrettMedia.com asap.
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Vacations are a wonderful thing. Depending on your preferences, you may visit a part of the world that is new to you. We spent the last couple of weeks in Argentina and Chile. Buenos Aires and Santiago are cool cities, and if you ever have the opportunity, go see Patagonia in either country. We did the Chilean version (“another Pisco Sour, please”), and it was incredible. Vacations are also great for helping you disconnect from what’s happening. I kept up on the trades while away but couldn’t get all the details of Judge Jeannette A. Vargas’ decision in the Cumulus-Nielsen court battle.
Now that I’m back in Kentucky, the fog is settling in again. I read Judge Vargas’ Opinion and Order, Nielsen’s request for a stay including Rich Tunkel’s declaration, and Judge Vargas’ denial of that request. As a public service to Barrett Media readers, you can peruse my thoughts on numerous pages of legal filings and not have to read the proceedings yourself.
The bombshell landed just before the ball dropped in Times Square (we left the country on December 28). On December 30, Judge Vargas of the U.S. District Court for the Southern District of New York granted Cumulus a preliminary injunction against Nielsen.
Specifically, Nielsen is “restrained from enforcing its Network Policy.” It’s also enjoined and restrained from charging a commercially unreasonable rate for its Nationwide Report as a complete standalone product. Judge Vargas defined “reasonable” as “a rate that is equal to or lower than the highest annual 2026 rate Nielsen charges any broadcaster (whether network or local) for Nationwide.” She felt Cumulus stood a good chance of winning its case against Nielsen on antitrust grounds.
Nielsen requested a stay of the order, filing a letter on January 9 along with a declaration from Rich Tunkel. I know Rich, I’ve worked with him. I like him, and above all, I respect him. From what the trades reported, the highlight comment in his declaration to the court was that “it (Nielsen) may have to retire the Nationwide report similar to when Nielsen retired its other national data product, RADAR.”
Judge Vargas considered Nielsen’s request and, told Nielsen to pound sand on January 12th. She did give the company an “administrative stay” of four days, just long enough for Nielsen to appeal her decision to the U.S. Second Circuit Court of Appeals, which its lawyers did on January 15.
Being retired, aside from writing this column, advising a student radio station, and teaching at Western Kentucky University, I had time to read Judge Vargas’ 47-page decision. Rather than offer quotes, I have some other thoughts based on how the radio audience measurement business has changed.
Nielsen Audio is a very profitable business. I don’t know any figures, but that’s always been the case. Yet Nielsen does make a couple of reasonable points, although I understand that using “Nielsen” and “reasonable” in the same sentence will upset some readers.
My immediate reaction to Rich’s declaration about the possible retirement of Nationwide was “Bulls — t.” However, there is a scintilla of truth there. Nielsen must measure the entire country (a few parts of Alaska are exempted), including areas that aren’t already measured in the current 242 metros to produce Nationwide.
Decades ago, the diaries that went into “white counties” (counties that weren’t part of any metro) produced revenue from the County Coverage product. County Coverage (CC) still exists, but small-market stations, the subscribers back then, no longer buy it. Agencies have been the majority of CC clients for years. As we all know, agencies don’t pay very much for any ratings service. The agency dominance in that service is one reason why Nielsen sells County Coverage on a state-by-state basis.
Meanwhile, more small metros are taking a pass on Nielsen data. It’s not because they don’t want the information, but because station owners can’t justify the cost. My home market of Bowling Green, Kentucky, ranked 161, is reportedly down to one subscriber. The market may shut down if Nielsen can’t get owners to sign up. If Bowling Green goes away as a metro, Nielsen still has to place diaries there, though far fewer.
The 48 PPM markets aren’t going anywhere, especially now that PPM is being used for TV. You can thank PPM for the monster numbers for sports now that Nielsen TV no longer uses the pathetic visitor methodology to account for out-of-home viewing. Meanwhile, there are plenty of major radio markets that still use the diary. Examples include New Orleans, Oklahoma City, Buffalo, and Louisville, all of which are reasonably large, and those markets will continue.
If Nielsen shuts down enough markets, doesn’t receive much revenue from County Coverage, and still must place a greatly reduced number of diaries to ensure Nationwide has true nationwide coverage, you can see its point, sort of.
The court case centered around antitrust issues, specifically Nielsen’s tying policy. This means that if an owner wants to subscribe to Nationwide ratings, they must buy local data for every metro where the company operates stations. The other market for Nielsen data, agencies and advertisers, was a tangential concern. However, agencies are also Nielsen clients, and many want Nationwide as well. We all know that national business is in the toilet. Dollars are still spent nationally though, whether with Westwood One, Premiere, or other networks.
Would Nielsen seriously consider shutting down Nationwide, forcing agencies to put national dollars into other media because they can’t justify buys without data? Doing that could hurt radio and, concomitantly, shoot itself in the foot. Is that what Nielsen’s private equity overlords really want? I read it as, “Let’s threaten the industry with shutting down a service that helps funnel millions of dollars to radio because we can’t maintain the historically huge margins that the PE people would like to take even higher.”
If you agree with that statement, don’t blame Rich Tunkel. His predicament made me think of the title of an old Elton John album, “Don’t Shoot Me, I’m Only the Piano Player.” Rich is the head sales guy for Nielsen Audio. This stance is likely coming from much further up the food chain.
Last year, I wrote a series of columns describing my view of what the radio industry needs for audience measurement. I had no preference for a source, Nielsen or another company. Ideally there would be multiple companies, as competition generally lowers prices.
Regardless of how the Second Circuit Court of Appeals rules on Nielsen’s appeal of Judge Vargas’ decision, we’ve seen the first crack in a 60-year reign of radio audience measurement. Next week, I’ll offer more thoughts on how this might play out, as well as other aspects of this case.
Let’s meet again next week.
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Tonight marks the 12th College Football Playoff National Championship game on ESPN’s family of networks. What began as ESPN’s Super Bowl has been exactly that. The network has leveraged all of its assets, talent, studios, affiliate networks, and technology to create a showcase strong enough to lure the NFL into considering ESPN for the largest television event of the year.
Mission accomplished. Next February, for the first time in network history, ESPN will broadcast the Super Bowl.
So, what will go into ESPN’s first crack at a Super Bowl Sunday broadcast day? Will the all-in approach executed over the past 12 years remain the same game plan in February 2027? More importantly, should it?
Many may not realize that ESPN broadcasts more than 47,000 live events annually. The company oversees a host of networks and consistently pushes the boundaries of alternative broadcast presentations. From Pat McAfee and his crew roaming the sidelines to collaborations with Disney, Pixar, and others to create kid-friendly game experiences, ESPN has positioned itself at the forefront of broadcast innovation.
Make no mistake, ESPN has mastered the art of showcasing the biggest events in sports. The lone exception forever has been the Super Bowl.
For college football fans, ESPN and its family of networks are offering 14 different ways to consume tonight’s Indiana matchup against Miami. Nearly every ESPN channel features some form of alternate presentation, each with its own twist.
The main telecast airs on ESPN and ABC, as viewers have come to expect. Pat McAfee and his crew appear on ESPN2, while The Film Room returns on ESPNU, featuring four former head coaches watching the game in real time and sharing commentary throughout the contest.
There is also SkyCast, which provides camera angles familiar to fans of the Madden video game series. A Field Pass option airs on ACC Network, featuring its roster of analysts calling the game from the sidelines. For those away from a television, ESPN Radio carries the national call, while ESPN’s direct-to-consumer app offers five additional viewing/listening options.
What ESPN has done, and continues to do, with the College Football Playoff National Championship is something FOX, CBS, and NBC cannot replicate. For all the cameras and microphones that can be placed inside a stadium, the depth of content options ESPN delivers remains untouchable.
Most networks that host the Super Bowl traditionally emphasize pregame and postgame programming, ESPN’s strength lies in the in-game experience.
That raises the question: should ESPN take this same approach with Super Bowl LXI? Does the Super Bowl need a Film Room? Would a SkyCast presentation make sense for “The Big Game?”
More importantly, does it make sense to segment the Super Bowl audience across multiple platforms when viewers are accustomed to a singular destination?
Every network’s goal is to maximize revenue and reach while delivering a viewing experience that feels fresh. Programmers constantly chase a new look, sound, or presentation that hooks and audience to come back for more. There remains an older audience rooted in tradition, alongside younger viewers who consume content in entirely different ways.
Historically, the Super Bowl has been a singular destination. While networks have experimented with streaming elements or secondary broadcasts, the priority has always been clear: drive viewers to one central presentation.
Should ESPN follow that same model?
It is an intriguing dilemma, and one that ESPN’s leadership is well-equipped to navigate. The opportunity is unique for a network getting its first crack at the apple, albeit one that arguably should have come much sooner.
First impressions matter. Do Super Bowl fans really need 14 different ways to watch the biggest game of the year when they’ve only traditionally consumed one? Probably not. The Super Bowl is a rare balance of sports, entertainment, pop culture, and advertising.
Would a SkyCast viewer miss the debut of a new Pepsi commercial? Would a Field Pass broadcast fully integrate the halftime performance? With the added complexity and cross-promotion potentially required, the question becomes simple: is it worth it?
For all the effort ESPN will pour into tonight’s College Football Playoff National Championship, less is more when it comes to the Super Bowl. It is Americana. Peanut butter and jelly with fireworks and Bruce Springsteen. The game arrives every year with a built-in audience and fixed expectations.
ESPN’s role should not be to sell viewers on alternate experiences when the Super Bowl is about more than just football. That distinction does not apply to the College Football Playoff National Championship.
For the Super Bowl, give me Joe Buck and Troy Aikman calling the game. Lisa Salters on one sideline, Laura Rutledge on the other. Lean on the NFL analysts we trust during Monday Night Countdown, then mix in current and former coaches at halftime and postgame.
Do viewers need a ManningCast? It appears to be in motion, if Eli Manning is to be believed. If so, elevate it by adding McAfee as a third analyst and combine assets for a different experience there. Beyond that, there is no need for a Film Room, SkyCast, or Field Pass broadcast. Leave Mickey and Minnie at Disneyland, and allow Monsters Inc. to sit back and enjoy the game.
ESPN’s mission should be to keep viewers anchored in familiarity and enhance that experience through simplicity.
That is how ESPN should pivot its College Football Playoff National Championship approach to the Super Bowl. Preserve what works. Avoid segmenting the audience in a way that risks diluting the moment.
For 12 years, ESPN has treated the College Football Playoff National Championship like its Super Bowl. Now, it finally has the real one. That does not mean it should treat it the same.
This is a moment for ESPN to show discipline, not dominance. Lean on its best voices, its cleanest presentation, and the understanding that the Super Bowl does not need help being massive.
It already is.
Get it right, and ESPN will not just check a box in 2027. It will prove that when the biggest stage calls, it knows exactly how to play it.
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I’m always inspired when new rock singles are one listen and instantly click for me. That’s the case with the new one from ARANDA.
Never heard of them? Kind of remember them? ARANDA has been a band for over 20 years. I must confess, they were one of my favorite bands to come out of the 2000s, with super-charged, well-crafted, hook-heavy bangers. However, they were not a “top of mind” band. That’s about to change.
The band is led by brothers Gabe (vocals) and Dameon (guitars and more) ARANDA. They broke out in 2008 and enjoyed moderate success at rock radio with songs like Satisfied, Whyyouwannabringmedown, and Don’t Wake Me. Kelly Clarkson recorded ARANDA’s music, and the WWE was a fan as well. It seemed Aranda was on their way.
In fact, ARANDA had seven songs chart in the Rock Top 40. They toured with Shinedown, Nickelback, Daughtry, and more.
What happens when a band is “almost there?”
I’ve often thought that instead of being called “criminally underrated,” “severely underpromoted” might be a more accurate phrase.
The band enters 2026 on a high note, though, with a killer new song, You Don’t Wanna Know, from their forthcoming release, Are You Not Entertained?, due in May. Congratulations are also in order, as You Don’t Wanna Know was the number one most added song at rock radio in its first week.
I recently caught up with ARANDA guitarist and songwriter Dameon Aranda on my Carr Stereo Podcast. We discussed the business of music, his serial songwriting, and returning after a few years of catastrophic loss.
*Editor’s Note: Answers have been edited for clarity and length.*
Terrie Carr– You guys have been dealt a couple of really crappy hands. You’re a phenomenal songwriter, an amazingly talented live band. Talk to me about how the past is defining your future.
Dameon Aranda – My brother and I have been doing it for more than 25 years. Since we were five and six years old, actually. Playing, singing, harmonizing. We always knew that we were going to do music together and that we were going to do it long-term.
We had that sense when we were young. Always together and really close. As we progressed, we started getting out there in 2008 and had some moderately successful charting songs.
Then we’d go play and do all these things. From about 2008 to maybe 2016 or 2017, we were hitting it as hard as we could. In today’s music business, you feel like having a music career has to be supplemented with something else. Trying to find other things to supplement your income. Especially with streaming entering the equation and physical releases fading away.
TC – You are a great songwriter. Kelly Clarkson doesn’t record songs written by bad songwriters.
I thought some of your songs should have been number ones, but there are a lot of factors that determine why a song reaches number one that has nothing to do with its quality. ARANDA deserved more than what you got.
So how does the spirit move you? When do you get your best ideas for writing?
DA – Gabe would probably say when we get together, because he’s writing for the band. That’s just how his brain works. Me? I’m a serial songwriter.
I have 200 to 300 ideas on this phone right now. On the new song, You Don’t Wanna Know, we worked with a guy who’s been doing a lot of rock stuff in Nashville, Kyle O’Dell. We had been working mainly with in-house and at-home producers, and that’s been great.
Gabe had a melody, kind of the chorus idea. I felt we have to write this song today. So we did. We wrote it in about two and a half hours and recorded the whole thing that day. From inception to completion, it took about a day and a half.
You Don’t Wanna Know really started the cycle for this new record. It looks like early May for the album [release]. The record is called Are You Not Entertained? It’s a tongue-in-cheek way of saying, ‘Here we are, putting all of this out to you.’
As an artist, you bare your soul. When you do that, you invite people to slam you, praise you, or whatever they choose to do. You put yourself out there. So it’s like, Are you not entertained? Well, here it is. Here’s all my brokenness. Can you connect with this. or are you going to throw more tomatoes?
You Don’t Wanna Know is the first song to kick that off.
TC – The people you’ve worked with, and some incredibly tough things you’ve had to overcome. You lost your drummer in 2019. He was murdered, which is such a heavy subject. I don’t know how you come back from that. Longtime drummer, longtime friend. Like a brother. I remember reading about it.
You also worked with producer Kato Khandwala. A phenomenal producer who we lost in a motorcycle accident. There were so many bumps in the road. It has to be incredibly hard to keep that fire going.
DA – Yeah. In that stretch of time over about a 10-month period, we lost our longtime sound guy. We lost Kato. Then we lost my dad. After that, we lost Mike, our drummer. All of that happened within a short window. We asked ourselves, ‘Are we really going to do this or not?’
Then it became clear. We had to. We absolutely had to keep going.
I agree. I’m so glad ARANDA is back. This time, they may just get that number one.
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