Former CBS News correspondent Catherine Herridge has shared that the network torpedoed a potential interview with Elon Musk over concerns about what he might say.
During a recent episode of her podcast, Herridge revealed that at the height of the reporting surrounding how the Biden Administration pressured social media companies — especially Twitter — to suppress certain stories, she had lined up an interview with Elon Musk, who had recently purchased the company.
“I had conversations with some of the reporters connected to the Twitter Files, and I was in my head thinking that there might be an opportunity to tell that story on CBS News,” said Herridge. “We had a number of topics under discussion — they didn’t go as far as we had hoped — but at the end of the day, this opportunity to interview Elon Musk was developing.
“So I went to the CBS executives, and I said, ‘This is the opportunity that we have.’ He’s saying, ‘I want to do it live, and on my platform.’ He’s one of the most influential human beings on the planet,” continued Herridge. “And the reaction from the executives was, ‘Well, we can’t do it live.’ I was like, What do you mean we can’t do it live? ‘Well, we don’t know what he’s going to say.’ Isn’t that the point of journalism? You don’t know what the person’s going to say.”
She continued by saying that she didn’t understand the hesitation by the network.
Straight to the Point: When Corporate Media Bias Is Baked In
In the fall of 2023, I brought CBS News a proposed interview opportunity with Elon Musk.
CBS Executives said the interview couldn’t be done live, rather it had to be pre-recorded so they had the ability to edit Musk… pic.twitter.com/nuS3A4cDsL
“Everything just got shut down. It’s one of the biggest interviews you could ever have,” she said.
Catherine Herridge added that she never returned to Musk to discuss the stipulations put in place by CBS News.
“I felt so ashamed, frankly, that I never went back to Elon Musk and said, Listen, they want to do it, but they’ve set all these conditions on it. I couldn’t do that. This is someone whose DNA is free speech, and how do you tell someone who’s committed to free speech that your network can only do it taped and only if they edit it, and it can only be on their platform? I couldn’t go back to him with that.
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Audacy’s Rhythmic Throwbacks station 94.7 The Block has tapped Big Mack to lead its morning show, the company announced. A New Jersey native, Mack brings a blend of radio experience and national entertainment exposure to the role. He is widely recognized for his appearances on nine seasons of MTV’s comedy series Wild ‘N Out and for his work as a stand-up comedian.
Mack’s radio career spans multiple major markets and roles. From 2014 to 2022, he spent eight years with Hip Hop outlet 99 Jamz in Miami, serving as assistant program director and music director while co-hosting both night and morning shows.
His earlier experience includes stops at iHeartMedia’s Power 105.1 in New York, as well as a stint as morning show producer at Hot 96.9 in Boston. Most recently, he contributed as a writer and producer for Premiere Networks’ nationally syndicated The Breakfast Club, also based at WWPR-FM.
In an Instagram post, Big Mack says he’s excited for the new opportunity with 94.7 The Block.
“This ain’t just a job… this is a TESTIMONY. A testament to God’s timing, God’s favor, and God showing out once again,” posted Mack. “When I was praying for open doors, He said: “Say less, I got you.” Dreams really do come true. And if mine can, yours absolutely can too. Am I excited? YES.”
Mack’s start date at WXBK will be Monday January 5.
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Veteran ESPN play-by-play announcer Sean McDonough has been named the 2025 National Sportscaster of the Year by the National Sports Media Association, earning the honor for the first time in his distinguished career.
The award was revealed to McDonough in a surprise announcement delivered by ESPN college football analyst and longtime broadcast partner Greg McElroy. A video of the moment was shared publicly, capturing McDonough’s trademark mix of humility and humor.
“I’ve joked I’ve been the Susan Lucci of that award,” McDonough said, referencing the actress who famously endured years of nominations before finally winning a Daytime Emmy. The comparison resonates with many in the industry, as McDonough has long been regarded as one of the most respected voices in sports broadcasting.
Now 63, McDonough has built a career defined by versatility, preparation, and credibility across multiple sports and platforms. His tenure at ESPN began in 1989, with a brief departure in the late 1990s to work exclusively for CBS. Over the decades, he has called some of the most prominent events in American sports. This includes the World Series, NCAA men’s basketball Final Four, Olympic Games, Monday Night Football, and all four major golf championships.
McDonough also spent 15 seasons as the lead voice for Saturday afternoon college football games on ABC, a role that helped cement his standing as one of the sport’s premier narrators. Today, he remains a centerpiece of ESPN’s college football coverage while also serving as the network’s lead NHL play-by-play announcer.
During the announcement, McElroy praised McDonough’s leadership and influence, both on the air and behind the scenes.
“We’re super fired up about this,” McElroy said. “I don’t think it could be more well-deserved. He is our leader, our patriarch. He is Sean McDonough, and officially the 2025 NSMA Sportscaster of the Year.”
McDonough’s path to national prominence began unusually early. At just 19 years old, he became the voice of the Syracuse Chiefs while still a student at Syracuse University. That early opportunity opened the door to a high-profile role as the television play-by-play announcer for the Boston Red Sox. McDonough held the position he held from 1988 to 2004. During that span, he earned four New England Sports Emmy Awards for Outstanding Play-by-Play.
In 2019, McDonough returned to the Red Sox as part of the team’s radio broadcast crew. Adding another chapter to his long-standing connection with the franchise.
His contributions have been widely recognized beyond this latest honor. In 2021, McDonough was inducted into the Massachusetts Broadcasters Hall of Fame, a testament to a career marked by consistency, adaptability, and trust from audiences and peers alike.
Veteran ESPN PxP Sean McDonough got quite the surprise to start his 2026, as our crew shared that he's been named the 2025 @NSMAsportsmedia National Sportscaster of the Year 🎉
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The NFL didn’t just show up on Christmas Day this year — it dominated the holiday television conversation in a way that further widened the gap between pro football and every other U.S. sports property, including the NBA.
Netflix’s Christmas Day NFL doubleheader delivered record-setting results, highlighted by the Detroit Lions–Minnesota Vikings matchup becoming the most-streamed NFL game ever in the United States. The late-afternoon contest averaged 27.5 million viewers, according to Nielsen, and peaked north of 30 million, an eye-popping figure for a game carried exclusively on a streaming platform.
Earlier in the day, Dallas and Washington averaged 19.9 million viewers, giving Netflix a Christmas performance that rivaled — and in some cases exceeded — traditional broadcast NFL benchmarks. For context, CBS drew 57.2 million viewers for its Chiefs–Cowboys Thanksgiving Day game earlier this season, reinforcing that the league’s biggest draws still operate on an entirely different scale than other sports.
While the NBA can credibly claim momentum on Christmas, the comparison remains lopsided when placed side by side.
The league announced its best Christmas Day viewership in 15 years, with more than 47 million people tuning in to at least a portion of its five-game slate across ABC and ESPN. That total marked a 45% increase year over year, with games averaging 5.5 million viewers — a solid number by NBA standards and a positive sign after years of holiday erosion.
Several individual matchups also posted notable gains. Cleveland–New York became the most-watched noon Christmas tipoff ever, averaging 6.4 million viewers. Other windows delivered their strongest performances in years, signaling renewed audience interest when the league’s biggest stars and markets are properly showcased.
Yet even on one of its signature days, the NBA’s average game audience still trailed Netflix’s top NFL broadcast by more than 20 million viewers.
That disparity underscores a broader industry reality: football remains the most reliable mass-audience programming in American media. The NFL routinely draws tens of millions of viewers regardless of platform, opponent or kickoff time — and now, it’s proving that dominance extends seamlessly into streaming.
For Netflix, the success validates its strategy of leaning into live sports to fuel its ad-supported tier. The company says its advertising reach now tops 190 million monthly active viewers globally, making premium events like NFL games especially attractive to marketers seeking scale and engagement.
The NBA, meanwhile, can take comfort in its social performance. The league said it was the most-viewed sports brand across social platforms on Christmas, generating 1.6 billion views — a 23% increase from last year. That digital strength matters, particularly with younger audiences.
NFL and NBA viewership numbers for their Christmas games:
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Cumulus Media’s Classic Rock KZ106 in Chattanooga is turning the page on one of the longest-running morning shows in radio history and introducing a new voice to lead its next era. Beginning January 12, veteran rock radio personality Jeremy Loper will take over mornings on KZ106 with the debut of The Loper Show. The move follows the retirement of The John Boy & Billy Show, which signed off December 31.
For KZ106, the transition represents a rare and significant shift. Station leadership has not changed its morning lineup in over 20 years, making the selection of Loper a strategic bet on a proven personality with a track record of connecting with rock audiences in major markets.
“Chattanooga is rock ’n’ roll, and KZ106 is one of the most respected rock stations in the country,” Loper said. “This brand has history, attitude and loyalty.”
Loper arrives in Chattanooga with more than 30 years of experience. His reputation includes blending humor, storytelling and high-concept stunts into a personality-driven format. His work has crossed into the national spotlight multiple times, drawing attention from outlets including CNN, Fox News and TMZ.
Over the years, those moments have ranged from unconventional press conference appearances to orchestrating rapid-fire civic honors for major rock artists. More recently, Loper made headlines in June 2024 during the Nashville Rock N’ Jock Celebrity Softball Game benefiting Folds of Honor. During the game, a collision at home plate with NSYNC’s Chris Kirkpatrick became a viral moment. That moment led to a series of postgame media appearances for both.
Beyond the studio, Loper has been a familiar presence on some of rock music’s biggest stages. He has hosted and emceed large-scale festivals such as Rock on the Range, Sonic Temple, SunFest and The Buzz Bake Sale. He often performs in front of crowds numbering in the tens of thousands. His influence has also extended into civic and community causes. Those efforts include advocacy that contributed to the successful campaign to keep Major League Soccer’s Columbus Crew in Ohio.
Before joining KZ106, Loper hosted mornings at 105.9 The Rock in Nashville. The show generated early ratings momentum and strong local engagement. He previously spent 12 years leading mornings in Columbus, Ohio, on 99.7 The Blitz. There, Loper & Randi in the Morning became one of the market’s most recognized shows. His reach continues to expand through The Loper Show podcast and video platforms.
KZ106 Operations Manager and Program Director Scott Chase said the station is confident in its choice.
“We wish John Boy and Billy a very happy retirement,” Chase said. “Jeremy is talented, driven and the right person to lead us into this next chapter.”
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After joining MS NOW — previously MSNBC — nearly a decade ago, Charlie Sykes has announced he has departed his role as a contributor with the network.
Sykes has spent the past nine years working as a contributor to the cable news network.
Charlie Sykes previously worked as the morning host on Milwaukee news/talk station 620 WTMJ for more than 20 years until his 2016 departure. He also hosted a Sunday morning talk show on WTMJ-TV from 1993 to 2016 about political issues in the state of Wisconsin.
In a post on social media, Charlie Sykes revealed he had asked MS NOW to let him out of his contract early.
“A few months ago, I asked the folks at MSNBC to let me out of the final year of my contributor contract (which ran through the end of 2026),” Sykes wrote. “They graciously agreed and, frankly, were wonderful about it. They didn’t attach any conditions or limits. No NDAs, non-competes, or restrictions. Pure class.”
Some personal news in today’s newsletter: A few months ago, I asked the folks at MSNBC to let me out of the final year of my contributor contract (which ran through the end of 2026). They graciously agreed and, frankly, were wonderful about it. They didn’t attach any conditions…
Sykes has shared that he’s going to put more effort into his burgeoning Substack column, as well as an emphasis on his podcast and YouTube efforts.
“For 2026, I have two goals (besides saving democracy and maintaining our collective sanity): (1) Grow the audience; and (2) Work harder to break out of our bubbles,” Sykes added, stating that he hopes he’ll still be invited to MS NOW “from time to time.”
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Tony Dokoupil is set to take over the CBS Evening News next week, and he’s set his expectations for himself in a video published to social media.
Dokoupil — who is joining the nightly newscast from the network’s morning show, CBS Mornings — began his video by stating that “a lot has changed since the first person sat” in the anchor chair of the venerable broadcast.
“But for me, the biggest difference is people do not trust us like they used to, and it’s not just us, it’s all of legacy media,” Dokoupil said.
He then went down a long list of stories that people want to discuss with him in public that they believe the mainstream and legacy media have gotten wrong in recent years.
“The point is, on too many stories, the press has missed the story because we’ve taken into account the perspective of advocates and not the average American,” said Dokoupil. “Or we put too much weight in the analysis of academics or elites and not enough on you. And I know this because, at certain points, I have been you. I have felt this way too. I felt like what I was seeing and hearing on the news didn’t reflect what I was seeing and hearing in my own life, and that the most urgent questions imply weren’t being asked.
“So here’s my promise to you today, and every time you see me in this chair: you come first. Not advertisers, not politicians, not corporate interests. And yes, that does include the corporate owners of CBS. I report for you, which means I tell you what I know, when I know it, and how I know it, and when I get it wrong, I’ll tell you that too.”
"On too many stories, the press has missed the story. Because we've taken into account the perspective of advocates and not the average American. Or we put too much weight in the analysis of academics or elites, and not enough on you."
Dokoupil added that he’ll be talking to and holding everyone “in public life” to the same standard.
“I became a journalist to talk to people,” the new CBS Evening News anchor shared. “I love talking to people about what works in this country, what doesn’t, and not only what should change, but the good ideas that should never change. And I think telling the truth is one of them.”
He concluded his message by saying, “hold me to it.”
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This wasn’t supposed to be the moment it all lined up. But last week, while the media industry was easing into Christmas, mentally shutting things down, and assuming nothing big was left to happen before year’s end, it did. Netflix stepped into podcasts through iHeartMedia and Bobby Bones. Charlamagne tha God got a bag even bigger than Santa’s. Ebro Darden walked away from Hot 97 and watched his audience follow immediately. Howard Stern re-upped for three more years with SiriusXM.
Different headlines. Same message. The power is shifting.
When The Tower Was Power
For decades, corporations held power because they controlled distribution, infrastructure, access to the audience, and just as importantly, the ad-sales machine. Talent needed the building, the tower, the network, the logo, and a sales department to monetize attention.
That equation no longer holds. Much like my current attempt to convince my kids that Amazon is headquartered at the North Pole.
For years, the syndication model followed a predictable script. Talent launched on a single flagship station, proved ratings success, then picked up a few affiliates while keeping that original outlet as home base. A syndication company stepped in, often owned or closely tied to the same corporate parent employing the talent, and began the affiliate sales process. Revenue came through a mix of cash and barter, while owned stations were required to clear the show internally to inflate reach.
That expanded footprint wasn’t just about listeners. It was about optics. Bigger maps made for better decks, bigger sales stories, and hopefully larger national buys. Syndication wasn’t just about exposing talent. It was about building a narrative the company could sell.
The Syndication Model Is About to Flip
When you look at the recent Charlamagne, Bobby Bones, and especially Ebro moves, that structure is breaking. The next era of syndication won’t be built on affiliates, mandates, or barter. It will be built on direct audience relationships.
Talent will scale digitally first, monetize immediately through host-read ads, programmatic sales, subscriptions, and brand partnerships, then invite platforms in later, on their terms. The flagship won’t be a station. It will be the show itself. Terrestrial syndication becomes optional, something talent can use for acceleration or bypass entirely if they choose.
The most sought-after creators will soon operate at a scale where day-to-day input from program directors, local affiliates, or format leads becomes secondary, not because those roles lack value, but because the product has moved. When creators bring the audience and the revenue engine with them, decision-making consolidates upward, not outward.
Radio, But You Can Pause It
The Netflix–iHeart deal deserves credit for something deeper than headlines. It acknowledges that the future of audio growth lives beyond analog towers and inside portable, digital-first IP. That’s not a retreat from radio. It’s an evolution of it. Netflix didn’t “get into radio,” and iHeart didn’t abandon broadcasting.
The move is especially smart because it isn’t built on new content.
What makes the move especially smart is that it isn’t built on new content. The same show gets made once, then expressed four ways: live radio, repackaged as a podcast, expanded into video, and sold upstream to Netflix. One creative act. Four revenue surfaces.
That’s a serious margin amplifier which is the perfect name for a Netflix show.
iHeart didn’t invent new IP for Netflix. It extracted more value from content it already had. When the same audience habit can be activated across audio, on-demand, video, and streaming platforms, every additional format becomes upside, not cost. That’s how legacy media evolves without burning cash.
The Kings of New York and Nashville
Ebro’s exit was both quiet and loud. He didn’t get a farewell tour — which he more than deserved — or a formal introduction to what was next. Yet with one post, his audience moved immediately. One episode. One day. Top of the charts.
That doesn’t happen when the station is the product. It happens when the human is.
Ebro doesn’t step into independence empty-handed. As a senior global leader at Apple, overseeing Urban music programming and hosting a daily show on Apple Music, he retains worldwide distribution and relevance, inside the most powerful tech ecosystem on the planet. His former employer, MediaCo, could have pursued a joint strategy with Apple the way iHeart did with Netflix. Instead, Ebro, Laura and Rosenberg will now build it, host it, and own it.
Charlamagne sits on a similar road. Podcast network. TV deals. Books. And radio’s most watched morning show — soon living on the streaming app that hates when you share passwords. At this point, calling him “talent” undersells him. He’s an enterprise. A portfolio. A CEO with a microphone instead of a corner office. Corporations don’t make the call anymore. They make the offer.
Bobby Bones is another clear signal of where this is headed. What started as a self-funded radio show has become a media machine. Yes, his voice still comes through speakers, but the leverage lives beyond the mic. The audience followed into podcasts, books, television, live events, and now streaming.
More importantly, Bones owns infrastructure. His Nashville Podcast Network is a creator-first platform designed to develop, distribute, and monetize shows with talent-first economics. Creators want to build with other creators. Bones didn’t wait for someone else to decide he was scalable. He built the system himself, then let larger platforms plug into it.
Bobby built the system. Charlamagne scaled it. Ebro proved you can walk away and keep the audience — while still working with a company whose stock trades at $271 a share. I’ll take a bit of that Apple over any radio stock.
Who’s Next?
Different verticals. Same blueprint.
Whether it’s music radio, culture, or politics, when the audience bonds with the voice, the platform becomes optional.
Alex Clark came up through music radio as well — we worked together in my former role. She learned the same fundamentals of cadence, consistency, and daily audience habit before becoming one of the most influential voices to emerge from Turning Point USA. Like her radio counterparts, Clark didn’t inherit an audience. She built a relationship.
Now she’s assembling her own media ecosystem: reality television, podcasting, social distribution, live events, and direct-to-audience monetization that operates independently of any single organization. Loyalty follows talent, not the banner behind it.
News and talk decision-makers should understand this moment clearly: Alex Clark is on the brink of becoming the conservative it girl, the kind of cultural force audiences follow across platforms before institutions realize what they missed.
Phil of the Future Predictions
While some GMs and PDs try to hold on as long as they can, the reality is simple: creators can now monetize directly through host-read ads, programmatic insertion, subscriptions, merch, live events, and partnerships that don’t require a sales manager, a rate card, or permission. Distribution is no longer scarce. Monetization is no longer centralized.
This doesn’t mean program directors, affiliates, and operators disappear. It means their role shifts. The future belongs to those who move from control to curation, from analysis to amplification, from decision-makers to surgical-level executors.
Before the org chart fully flips, this is your window. Broadcasters still have a chance to restructure relationships in ways that benefit both the company and the creator. Give talent the full force of your sales engine. Give sales teams something more valuable to sell than a broadcast spot or low-margin third-party digital products. Stop fixating on who owns a creator’s social feed, Substack, or podcast on the side. Build with them now and become an amplification tool.
If you’re a creator reading this, this part is for you. You are the studio. You are the platform. You’re the IP. Know your worth. Protect your rights. Build deliberately. Every time you hit record, you’re not just creating content. You’re creating capital.
For private-equity boards and legacy CEOs, the most valuable line item on the balance sheet is no longer a tower, license or length of your contracts. It’s the people walking in and out of your building each day wearing headphones.
And here’s the part most have yet to realize: some creators are now generating enough revenue, influence, and liquidity to acquire the very companies that once employed them. Deals like Charlamagne’s alone represent valuations that could have purchased entire legacy media companies multiple times over. If it were me, I’d work with them now before you end up working for them.
By the end of 2026, companies, managers, syndicators, and affiliates won’t disappear. But they won’t all be in charge either. The smart ones will evolve into partners, amplifiers, and champions of talent. Because in the near future, the people running the media won’t be those who control the company. The creators the audience already chooses to follow will be the ones in charge.
Here we go…*SFX Netflix logo*
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Here we are. 2026 has arrived. A new year for resolutions to eventually fail, predictions to prove incorrect, and 365 more days of evolution in sports media. Last year (you can say that on January 2), we saw more talent go independent than ever before. Many started their own platforms while still serving the corporate overlords of traditional media. Meanwhile, those sticking to the old formula and traditional methods are the ones still providing results for clients, thanks to the megaphone they continue to hold. For now.
However, a new year is here. If 2025 proved anything, it showed momentum shifting toward the creator and not necessarily the brand itself. Sure, there are plenty of examples around the country where the brand remains bigger than the creator. Still, in 2025, Lady Justice’s scale showed more balance than in any previous year.
That’s why I believe 2026 will be the year of the creator, talent, and entertainer. Rather than leaning on the outlet to build an audience, the audience will continue to find new outlets. More digital than traditional. Where ease of access reigns over the desire for “real.” That is why now, more than ever, is the greatest time to be a creator. Welcome to the content race of 2026. Are you listening?
I’ve been away from the traditional sports radio industry for over a year now. The walls that once confined my outward and forward thinking are gone. I was a lifer in an industry that continues to lean on its past while continuing to tiptoe into a murky future.
Over the past year, working for Jason Barrett allowed me to spread my wings, open my mind, and ask the right questions with an overwhelming sense of curiosity. I also moved in with my girlfriend and began watching Ted Lasso. Yes, five years after its debut. There is a scene in the first season where Lasso matches wits with his new boss’ ex-husband, the former owner of the team he now manages.
The American, who arrived in Europe with no soccer coaching experience, took over a neighborhood club in the Premier League. I remembered the scene vividly because Jason Barrett once played the clip at a previous Barrett Sports Summit years ago.
The scene shows the new soccer coach, with no experience, as an obvious underdog, written off before he ever got a real shot. Fans called him “wanker” wherever he went, underestimating what Lasso could bring to their beloved club.
Lasso found himself down in a darts match against the former owner and needed 170 while his opponent needed only 10. This was the round where Lasso made a miraculous comeback.
Between each set of three throws, Lasso spoke about how people underestimated him his entire life. He admitted that he never understood why and that, at times, it bothered him that so many believed he would never amount to anything. He then referenced a trip with his son, where they saw a quote by Walt Whitman on a building that read “be curious, not judgmental.”
It was a life-altering moment for Lasso. On the ride to work after dropping off his son, he reflected on how the quote applied to his life. He realized that those who belittled him forever never lived with curiosity. Instead, they judged him because they believed they already had everything figured out by themselves.
Referencing Lasso’s example, this is why I believe this is the greatest time to be a creator in the content race of 2026. I’ll circle back to this in a moment.
For too long, the goal for talent was the radio station or the network. The focus centered on becoming better than the last person who occupied the same chair. Sports fans have argued for generations about who is the next (fill in the blank). In sports media today, that question no longer applies.
Instead, the real question is what talent can provide as content and how talent can find outlets that want to distribute it. Nothing made this more evident than how 2025 wrapped up.
Barstool Sports, Spotify, and iHeartMedia arranged exclusive podcasting deals with Netflix. The streaming giant will now house content created by others on its platform that audiences couldn’t find anywhere else. These deals reflect creators producing content and finding new vessels to enhance reach and profitability.
We saw this years ago when Pat McAfee signed with ESPN. A creator producing content found another vessel to expand reach and revenue. Rich Eisen accomplished this last year by rejoining ESPN. Robert Griffin III told me his Outta Pocket with RG3 podcast follows the same philosophy. Emmanuel Acho said the same about his Speakeasy programming. FOX Sports’ partnership with Barstool applied the same concept with Wake Up Barstool.
What 2025 proved is that more networks and distributors see the writing on the wall. Audiences are shifting to more places than ever before. To meet the growing appetite for niche-driven content, they must seek out the best creators to produce it to hold onto any consumer possible.
Sports, news, music, pop culture, video games, and life advice all represent growing content categories. Distributors are actively searching for ways to feed their audiences, many with open checkbooks ready to do business.
Now, let’s pay off the tease.
Ted Lasso was a curious man while others underestimated him. Could the same be said about traditional media talent and their judgments about the content race shifting to the digital realm? Think about the talent at your station or network, or look inward at yourself.
How many times have you heard the phrase “being asked to do more with no reward in return?” Traditional sports media talent work long hours, pull double shifts, travel extensively, and juggle the same pressures of balancing home and work. The reality is traditional audiences are shrinking, and revenue continues to shift away. Less audience and less money do not create a strong business formula or a bright future.
That’s why my hope for 2026 is that every sports media talent who has belittled or avoided independent work begins their journey. Be a little curious. Enter the new year with a fresh mindset and recognize that sports radio is no longer just sports radio. That three-minute hit on a pregame show is no longer enough. Leaning on the security and success of the past no longer applies to the future.
Audiences are demanding more, and in any way, shape or form they can grasp it.
2026 will be the year the creator economy explodes through curiosity and by asking the right questions of the right people. Sports media will blossom in more ways than can currently be imagined. New approaches to using social media for connection, reach, and engagement will emerge. Bright stars of the future will rise, while many examples of the industry’s old evolution will fade into memory.
Ask yourself: If not now, then when? How about trying a resolution that could become your next destination?
This year will mark the beginning of what will be remembered as the greatest time to be a creator in the content race.
Are you listening? Because underestimating the future will no longer protect you.
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Let’s get this out of the way: this isn’t a complaint column. Sports media has never been bigger, louder, or more profitable. Games are everywhere. Content is endless. Access is unprecedented. If you’ll pay for it, you’ve never had more choices as a fan.
But better? That’s still up for debate.
So instead of forecasting trends or firing off hot takes, here are five common sense things that would genuinely make sports media better in 2026.
5. Tom Brady Moves From the Booth to Owners Box
Tom Brady can get better as a broadcaster. Broadcasting nuance takes time, and Brady is wired to chase mastery wherever he goes. But right now, the fit still feels off — and it has nothing to do with football knowledge, preparation, or effort.
One noticeable issue is volume. At games, Brady hears crowd noise in his headset at a much higher level than the audience does at home, and he constantly yells over it. The result is a broadcast that feels overly amped, even when the moment doesn’t call for it. It can be a hard listen.
What makes it stand out is the contrast. As a player, Brady was famously controlled — a slow breather in chaos. In the booth, he’s the opposite. Too hyped. Too urgent. Fighting the environment instead of letting the game breathe. That’s usually one of the first adjustments producers make with new analysts: pacing, tone, and understanding that television isn’t competition — it’s communication. So far, that adjustment hasn’t fully happened.
This also isn’t about a conflict of interest, despite some noise earlier this season around Brady’s involvement with the Las Vegas Raiders that misses the point. This is about calling.
Brady’s instincts aren’t those of a narrator. They’re those of a builder. He thinks in systems, standards, accountability, and culture. He’s obsessed with structure and daily detail. That skill set translates far more naturally to ownership than to live television.
The irony is Brady probably won’t quit broadcasting anytime soon — not because it fits him best, but because he wants to prove something. That drive is real, and it’s part of what made him great. But proving you can do something isn’t the same as doing what you’re best built for.
Which is why Brady as a full-time, visible owner makes more sense than Brady trying to win the booth. And yes, Greg Olsen, who earned the No. 1 job, is simply better right now. More natural. More listenable.
4. One Platform for All Streaming Apps
We all celebrated when we cut the cord. Freedom. Choice. Empowerment. No more cable bills and bloated bundles. It felt like a consumer revolution.
Fast forward to now, and what do we actually need? Cable. Or something like it.
I’m paying for everything. NFL, college football, NBA, MLB — I’m all in. I love sports. I’m not dodging subscriptions or sneaking around paywalls. I’m buying the apps. All of them. What I’m tired of is app gymnastics.
Jumping between interfaces. Logging in and out. Searching for games I already paid for. Missing moments because I’m hunting for the right platform like I’m solving a technology Rubik’s Cube.
We didn’t escape cable — we just rebuilt it without a guide button.
In 2026, sports media gets better the moment technology does what it’s supposed to do: One hub, login, interface. Everything I already pay for in one place. I don’t need cheaper. I need simpler.
Let me build my personal quad box no matter where the games are. Allow me to move seamlessly between games. Let me watch sports the way sports actually happen — simultaneously, chaotically, communally.
3. More Alternate Broadcasts Are Good
This is really about choice.
Not every fan watches for the same reason or has the same level of knowledge. Not every fan wants the same thing from a broadcast — and that’s not a flaw. It’s reality.
Some fans want Xs and Os. Others want numbers and probabilities. Many want vibes. Some just want something on while friends are over.
In 2026, sports media gets better the moment it stops pretending there’s one “correct” way to watch a game. We already have the technology to serve everyone.
Hardcore fans who want film breakdowns. Number crunchers who want analytics without translation. Casual fans who want context and entertainment. Influencers who bring an audience no matter what they’re doing.
Let the viewer decide.
Traditional broadcast? Great. Alternate broadcast? Also great, and not just for marquee games.
The ManningCast didn’t create a trend — it exposed demand. Fans don’t want fewer broadcasts. They want options. Yes, alternate broadcasts can be expensive. But they don’t have to be overproduced. Not everything needs a massive set and twelve producers.
One of the basic rules of YouTube — and modern media — is this: it’s not always about how it looks. It’s about serving the audience. The fanciest set doesn’t always win. Substance over style. Fit over fancy.
Sometimes that means a coach with a telestrator, or former players explaining why a play worked. Other times it’s an influencer reacting live, and sometimes, it’s Marshawn Lynch on camera. No script, no polish, just honesty, chaos, and a dump button. There has to be a platform for the Beastmode Cast.
Choice isn’t fragmentation. It’s meeting fans where they already are.
2. Fix ESPN’s Volume Problem — Not the Personalities
Let me be clear: this is not a shot at Stephen A. Smith. Stephen A. works. He’s entertaining. He understands television. He knows how to drive conversation. And the first word in ESPN is entertainment — I’m good with that.
The issue isn’t that ESPN leans into opinion. It’s that, too often, opinion crowds out credibility when credibility actually matters.
When serious stories hit — like the Chauncey Billups or Terry Rozier situations — ESPN doesn’t always have the right mix of voices ready. Not enough reporters who’ve covered the issue, and no where near enough legal or investigative context. Not enough people who can explain what’s happening without turning it into another debate segment.
That matters because ESPN isn’t just another network. It’s the barometer. Whether it wants the responsibility or not, it sets the tone for sports coverage everywhere else. Somewhere along the way, passion became synonymous with shouting. But passion doesn’t require yelling. You can be animated without breaking eardrums. You can disagree forcefully without sounding like the studio’s about to tip over.
What ESPN needs isn’t less entertainment — it’s smarter entertainment. Develop talent that isn’t just a foil for Stephen A. Find voices who challenge opinions with information, not just volume. Build shows where credibility and personality coexist instead of competing.
1. Stop Forcing Gambling — Before Credibility Becomes Collateral Damage
This is the one that actually worries me. Let’s acknowledge reality: the betting industry spends a ton of money. If networks pull back gambling content, sportsbooks will pull back dollars. Everyone involved understands that math.
That’s the conundrum. But here’s the other side of the ledger — the one that actually matters.
The only thing that could truly derail the sports money train isn’t ratings dips or cord-cutting. It’s credibility. Once fans start questioning the integrity of the games, everything else gets fragile fast.
Right now, gambling isn’t just adjacent to coverage — it’s baked into it. Odds on the screen. Props mid-drive. Parlays during halftime. The line between analysis and promotion keeps getting thinner.
What happens when it’s not a gray-area story? What happens when it’s big, clean, and undeniable? Because once fans start believing too many players are cheating — or that outcomes are being nudged instead of earned — trust erodes fast. Trust doesn’t come back with a promo code.
Gambling doesn’t need to disappear. Fans like it. It’s not going anywhere. But the current saturation level feels unsustainable. Pull back. Create clearer separation. Protect the one thing that makes all of this work in the first place. The outcome isn’t predetermined, messed with, or scripted.
Sports can survive bad broadcasts, bad apps, and bad contracts — but it can’t survive fans thinking the games aren’t real.
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