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The Overlooked Case for the NBA Cup and Its Long-Term Value

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Let me start with some honesty. I don’t love the NBA Cup. I don’t wake up in November emotionally invested in a midseason trophy and understand why fans roll their eyes. Also I understand why traditionalists scoff and why Charles Barkley calls it embarrassing.

If this were about tradition, history, or championships, I’d be right there with them.

But this isn’t about that. The NBA Cup exists for three reasons, and three reasons only: Eyeballs, revenue, and buzz. From a sports media, social media, and television standpoint, that’s the only lens that actually matters.

The NBA season has two real checkpoints, and everyone knows it: Christmas Day, when the league finally owns the sports calendar, and after the All-Star break, when urgency returns and the NBA generally has the spotlight to itself. Everything before that — October and November — is the league’s dreaded dead zone.

The NBA knows the season feels long. Fans know it, and so does media. But the season isn’t getting shorter. Players are paid on an 82-game model. Owners aren’t giving back inventory. Media partners pay for volume, not vibes.

So if the league can’t shorten the season, it has to dress part of it up. That’s where the NBA Cup comes in and where the criticism usually misses the point.

An Injection of Interest

The NBA Cup was never meant to “mean” something in the way a championship does. It was meant to make certain November games feel different — and from a television standpoint, that matters. Early-season NBA games are notoriously difficult to sell: No urgency and no stakes. Heavy competition from the NFL and college football. Tons of inventory, very little identity.

The Cup gives broadcasters and streaming partners something they otherwise wouldn’t have: a hook. Branded games, and dedicated windows. Something to promote besides “another regular-season matchup.” And yes — the numbers suggest it works better than the alternative.

No, the NBA Cup isn’t pulling playoff ratings. That’s not the standard. What matters is how it performs relative to normal October–November NBA games. Here’s what’s been publicly reported and discussed across league and media circles:

NBA Cup group-play games in 2025 reached more than 40 million U.S. viewers, a sizable year-over-year increase from the inaugural tournament. On Amazon Prime Video, Cup semifinal games averaged roughly 1.6–1.7 million viewers, an increase from the prior season’s Cup semifinals.

Cup games have generally outperformed comparable early-season national windows, particularly in key advertising demos like 18–49. Social engagement around Cup nights has been noticeably higher than standard regular-season games in the same calendar window.

The Cup doesn’t need to be a monster hit. It just needs to be better than “meh.”

From a media sales standpoint, lifting the floor is valuable. Charles Barkley hates it. He’s called the NBA Cup “somewhat embarrassing,” criticizing the idea that players need extra incentives to care about regular-season games they’re already well paid to play. That critique resonates emotionally. It taps into authenticity and tradition. And it plays great on television.

Here’s the irony: Barkley blasting the Cup on Inside the NBA is exactly what the league wants.

The Cup is debated on Inside the NBA. It’s dissected on First Take and argued about on radio and social media. That doesn’t happen for random November games.

In today’s sports landscape, complaining is engagement, and that sells.

NBA Adapting for Change

Commissioner Adam Silver has been careful not to oversell the Cup as some sacred competition. Instead, he’s leaned into what matters to broadcasters and partners: reach, engagement, and growth. Silver has pointed to the Cup’s improved year-over-year viewership and its ability to attract younger, streaming-first audiences — the hardest viewers to reach and the most valuable to advertisers.

The NBA isn’t chasing nostalgia. It’s chasing habits. The NBA Cup isn’t just a concept — it’s a sellable property. It has a title sponsor, branded inventory, and dedicated national and streaming windows.

Also it has built-in promotion opportunities for partners. Even if the Cup itself isn’t yet a standalone revenue monster, it’s additive — layered onto games that already exist. That’s smart business. Especially in a media environment where leagues are under constant pressure to justify massive rights fees.

Of course it doesn’t mean what a championship means. Leagues experiment because media economics force them to.

So no — I don’t love the NBA Cup.

I get why it annoys people and understand why Barkley mocks it. I get why it feels manufactured, why the courts are loud, why the stakes feel forced. If this were about history or tradition, I’d be right there rolling my eyes. That’s not what this is.

This is the NBA staring at a long season it has no intention of shortening, a November calendar it struggles to own, and a media landscape that doesn’t reward patience or subtlety — and deciding it needs to do something.

From a sports media standpoint, the Cup does exactly what the league needs it to do. It gives broadcasters something to promote instead of apologizing for another random early-season game. Advertisers get a reason to buy November inventory. It gives streaming partners measurable engagement.

Does it “mean” anything? Not yet. Maybe never.

However, it creates buzz in a dead period. It performs better than the alternative and keeps the NBA part of the conversation at a time of year when it usually fades into the background behind the NFL, college football, and holiday noise.

That’s the part many critics miss.

The NBA Cup isn’t about tradition — it’s about attention. It’s not about crowning champions — it’s about selling inventory. And it’s not about whether everyone loves it — it’s about whether enough people notice it, talk about it, and tweet about it.

On those terms, the NBA Cup is working.

You don’t have to hang a banner for it, and don’t have to pretend it’s sacred. You just have to understand the business. Because in today’s sports economy, silence is the real enemy — and the NBA Cup makes sure November isn’t as quiet anymore.

Love it or hate it, that’s a win in the only language the league speaks.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

98.9 The Bull Morning Host Fitz to Exit

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98.9 The Bull morning host Cory “Fitz” Fitzner is set to exit the Hubbard Radio Seattle country station later this month.

Fitz had previously hosted mornings on the station from 2019 to 2021 before departing. He returned to the brand last year when the company returned the station to country in April.

In a statement on social media, Fitz revealed he’d depart at the end of the year.

“After being limited to quick ramps and voice-tracked breaks, I’m ready for more,” he shared. “I will step away on December 31st and shift all my energy into a full show!”

The longtime country radio host will continue to host American Country Top 40. That show will remain on 98.9 The Bull.

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Jade Jones, Tyler Frye to Take Over Westwood One’s CHR Evening Show

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Westwood One is set to pair Jade Jones and Tyler Frye for Nightly with Jade and Tyler beginning next month.

Affiliates of the show were notified that Westwood One will introduce a new show featuring Jade Jones — who hosts afternoons at Q99.7 in Atlanta — and Tyler Frye — who hosts mornings at 107.3 The Vibe in Kansas City.

In announcing the change, the Westwood One said, “This dynamic duo brings fresh energy, music expertise, and engaging personalities to keep your audience entertained and connected.”

Jones began her career as an intern on The Bert Show and has been with Q99.7 since 2018, first hosting nights before moving into the afternoon slot. Frye joined what was then 95.7 The Vibe in December 2021 as the station’s midday host and shifted to mornings following the move to 107.3 in October 2023. He previously worked in Houston, Raleigh, and Denver, among other stops.

The move follows the current program hosted by Elliott King, which launched as “Elliott and Nina” in January 2022. Nina Hajian exited the show at the start of 2023 and now serves as a co-host of the syndicated Jubal Show. There has been no announcement regarding King’s future.

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Steve Rickman, Geoff Cole Announces Departure From Fox FM

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After more than two years on the air, longtime radio personality “Southside Steve” Rickman and his co-host/producer Geoff Cole have departed Georgia Radio Alliance’s Classic Hits station, Fox-FM.

Rickman joined Fox-FM in May 2023, following a nearly 15-year tenure at Cumulus Media’s Rock 100.5 WNNX in Atlanta. At WNNX, he held various morning show roles. These included stints on The Regular Guys, Bailey & Southside, and Axel & Southside. He moved to afternoons in February 2022.

His radio career includes stops at 96 Rock from 1995 to 2006 and a brief period at 106.7 WYAY in 2006–07. Before co-hosting with Rickman, Fox worked as a morning show producer at WKLS and 94.9 The Bull. He also served as a weekend and fill-in host at 97.1 The River.

During his tenure at Fox-FM, Rickman brought a signature blend of humor, energy, and personality. He connected with listeners in Middle Georgia and Metro Atlanta.

Georgia Radio Alliance Vice President of Programming Kevin Steele praised Rickman’s contributions, saying, “During his tenure, Southside Steve brought his signature personality, humor, and high-energy broadcasts to listeners throughout Middle Georgia and Metro Atlanta. Fox-FM appreciates the commitment and effort he dedicated to the morning show during this time.”

Station President Chris Murray added that the departure is part of a strategic shift in programming. “As we move into 2026, FOX-FM is making strategic changes to strengthen our on-air presentation with a more music-focused morning show to better serve our growing audience. We are grateful for the work Steve and Geoff have done. We wish them both the very best in their future endeavors.”

Rickman addressed his exit in a Facebook post, noting that he was “rug pulled” from the station.

“I was told I was too expensive and the station couldn’t afford my show. Ownership wants to have a music morning DJ/show with very little talk. I won’t entertain that type of terrestrial radio,” he wrote. He also teased that he and Fox will update listeners on their next steps on social media.

Fox-FM plans to announce new morning programming in the coming weeks as it seeks to align its lineup with a music-forward approach.

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Sal Licata: “I Don’t Blame Craig Carton for Coming Back” to WFAN

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Former WFAN host Sal Licata opened up about his departure from the sports radio powerhouse and shared his perspective on the return of Craig Carton during an appearance on the Stugotz and Company podcast.

Licata, who had been co-hosting shows on WFAN with Brandon Tierney following Carton’s earlier exit, said he always understood that Carton’s return was inevitable.

“We all knew what was going to happen. So my plan was never, I hope he doesn’t come back. I got to do the best job that I could do with the opportunity that I’ve been given. And I planned on doing that,” Licata said. “I feel like I did do that. So that’s when I factored Craig coming back, I did not factor in that no matter how well I performed, how much I put into this thing, how good we did as a show, or I did as an individual, it didn’t matter.”

Despite the setback, Licata expressed gratitude for his time at WFAN, calling it a key chapter in his career. “That part of my life and that part of my dream is over, and now I got to focus on a bigger dream, a different path,” he said. “I love the fan. I’ll always love the fan, but my future, definitively now, is no longer WFAN.”

WFAN officially announced Carton’s return last week with his destination being in afternoon drive. He’ll pair with Chris McMonigle for a new show that will begin after the turn of the calendar. Due to Carton’s return, the station is moving Evan Roberts and Tiki Barber to the 10 AM-2 PM window Brandon Tierney and Sal Licata previously occupied.

“I don’t blame Craig at all for coming back. He’s got to do what he got to do. The boss made their decision. All good, but yes, technically he didn’t take my spot. Evan and Tiki took my spot. I probably would have brought him back too. Just not at my expense,” said Licata.

The former host, who had gained a dedicated following during his tenure, highlighted the challenging dynamics of the sports radio landscape in New York, where decisions often hinge on ratings, management strategy, and long-standing relationships.

Licata’s remarks suggest a professional, measured response to a high-profile personnel change while also hinting at the emotional complexity of leaving a platform where he invested significant energy.

Licata and Tierney announced plans for a live stage show — set for January 22nd. Licata wrapped up his tenure with the station last week, with Tierney hosting solo for his final show tomorrow.

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Brian Kilmeade, Tomi Lahren, Kat Timpf, Tyrus, Jimmy Failla to Lead New Year’s Eve Coverage for Fox News

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Fox News has announced its plans for New Year’s Eve, with the likes of Brian Kilmeade, Tomi Lahren, Kat Timpf, Tyrus, and Jimmy Failla leading one-hour specials before the ball drops.

Beginning at 9 PM ET, Tyrus and Timpf will host a look back at their favorite stories and videos of 2025. The pair will be joined by Kennedy, Guy Benson, Madison Alworth, and Joe Machi.

At 10 PM ET, Brian Kilmeade, Tomi Lahren, and Griff Jenkins will lead the one-hour Who Can Forget 2025?. That special will look back at the biggest news items and pop culture happenings of the calendar year.

Jimmy Failla will host All-American New Year’s Bash beginning at 11 PM ET. He’ll be joined by Lahren, reality TV star Jon Taffer, and comedians Aaron Berg and Charles McBee in the lead-up to the countdown to the year’s end.

Fox News Audio will also present New Year’s Eve specials, including shows from Fox News Rundown with guests like Interior Secretary Doug Burgum and Fox News host Dana Perino, among others.

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CBS Evening News Plots 10-Day, 10-City Tour to Begin Tony Dokoupil Era

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As Tony Dokoupil gets set to take over CBS Evening News, he’ll begin his tenure with a cross-country tour.

Beginning on Monday, January 5th and ending on Friday, January 16th, CBS Evening News will embark on a 10-day, 10-city tour, bringing the nightly newscast all over the nation.

The first week will begin in Miami, before travelling to Atlanta, Dallas, Denver, and San Francisco, where Dokoupil will end his first week on the job.

On Monday, January 12th, the second week of Tony Dokoupil hosting the CBS Evening News will begin in Detroit. Subsequent stops include Minneapolis, Chicago, Cincinnati, and Pittsburgh, respectively.

“Growing up a bit ramshackle, moving between Florida, Maryland, and West Virginia, traveling the country playing high school and college baseball, I learned to love talking to new people,” Dokoupil said. “As a journalist, I realized there are some things you’ll never understand until you’re standing there with the people in the middle of it.

“Being there, and bringing others there, is what I love most about this job, and what makes me so excited about this trip,” Dokoupil said.

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Fox News Sees More Than 300 Million YouTube Views in November

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Fox News has put an emphasis on placing content on YouTube, and those efforts are paying off with hundreds of millions of views.

In November alone, Fox News saw 300 million views on YouTube, according to data from Emplifi. The network has already secured its best performance ever in one year on the platform before the month of December is accounted for.

It isn’t the only avenue Fox News has seen significant growth in. On the Total Digital Multiplatform Unique Visitors front, the network saw more than 165 million unique visitors during November. That figure represents a 44% year-over-year increase.

Between Facebook, TikTok, Instagram, and X, Fox News saw 108 million social media interactions. It saw a 358% increase in Facebook interactions compared to the previous year, up to 69.7 million. On those same platforms, the network earned 1.5 billion video views.

On TikTok, the network saw 19.7 million interactions, according to Shareablee.

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Bomani Jones: Fame Is More Important To Broadcast Companies Than Airchecks

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Former ESPN commentator Bomani Jones believes the growing presence of athletes in sports media has fundamentally altered the pathway for aspiring broadcasters who do not already have name recognition.

Speaking on The Jim Rome Podcast, Jones said fame has increasingly become a prerequisite for landing media jobs, creating an uneven playing field for younger voices attempting to break into the industry. While former athletes bring credibility and built-in audiences, Jones worries about what that trend means for those without an established profile.

“What worries me is they [athletes] are also famous, and fame is kind of a prerequisite now for you to get a job,” Jones said. “I don’t know what happens to the younger people who don’t have a name already, and how they catch on. The athletes have the advantage. Somebody already knows who they are, so somebody’s already ready to give them money.”

The rise of athlete-driven podcasts, studio shows, and digital content has reshaped hiring priorities across radio, television, and streaming platforms. Networks and media companies now prioritize audience reach. In addition, social following and brand recognition also matter more. Traditional broadcasting skills and credentials carry less weight.

Jones said that shift has effectively diminished the importance of demo reels and air checks, once considered essential tools for landing entry-level media jobs.

“It used to be, you get a job at radio station, why listen to my demo tape, right? I’m really good. Listen to my air check. I’m really good,” Jones said. “Your air check doesn’t matter anymore. They’re like, where is your audience?”

According to Jones, the expectation has flipped. Media outlets no longer serve as primary audience builders. Aspiring talent is now expected to arrive with an existing following.

“They’re [aspiring broadcasters] like, I’m coming to you. You help me get an audience. No, where is your audience?” Jones said. “If you don’t have an audience already, people aren’t necessarily trying to hear you. But I don’t know how you build the audience if people won’t put you on if you don’t already have an audience.”

The comments reflect a broader industry reality as sports media continues to evolve in the digital age. Athlete-driven content often delivers immediate engagement, sponsorship interest, and built-in credibility with fans. That combination makes it an attractive investment for networks navigating shrinking budgets and intensified competition.

However, Jones’ perspective highlights a growing concern about sustainability and diversity of voices within the industry. As platforms prioritize reach over refinement, the traditional development pipeline — internships, local radio stops, and gradual progression — has become increasingly narrow.

Jones, who built his career through radio, television, and digital commentary before joining ESPN in 2013, has long advocated for thoughtful media analysis and accountability. His remarks suggest the next generation of sports media talent may face steeper barriers unless the industry finds new ways to identify and develop voices beyond existing fame.

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Elle Duncan Officially Joins Netflix With Multi-Year Contract as Network’s Host of Various Sports Events

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Elle Duncan, a longtime face of ESPN’s SportsCenter, is taking her on-air talents to new heights — literally. Duncan has joined Netflix as part of a multi-year deal, marking the streamer’s first partnership with an on-air anchor. Her first assignment will be hosting Skyscraper Live, a special in early 2026 featuring free solo climber Alex Honnold as he attempts to scale Taipei 101, the tallest building in Taiwan.

Duncan, who left ESPN earlier this week after an emotional farewell, will serve as a host across Netflix Sports and the company’s expanding lineup of live events. Her role signals the streamer’s growing investment in high-profile sports programming, as it looks to combine its global reach with recognizable broadcast talent.

“Joining Netflix feels like being invited to an already legendary party and somehow getting handed the aux cord,” Duncan said. “For a lifelong utility player, a multi-sport assignment is a full-circle moment, and being trusted with something this one-of-a-kind feels incredibly special and surreal. I’m bringing boundless energy, storytelling, and bad puns no one asked for but will be subjected to anyway. Also, I was told this fast-tracks my kids to meeting the K-Pop Demon Hunters, soooo…win-win.”

Duncan has built a decade-long career in sports media. She joined SportsCenter in 2016. She also hosted College GameDay Women’s Basketball, WNBA Countdown, and The Elle Duncan Show on YouTube. Before ESPN, she spent two years as an anchor at the New England Sports Network (NESN). Early in her career, she worked as a sideline reporter for the Atlanta Hawks.

Netflix executives see Duncan’s versatility as a major asset. “Elle Duncan’s proven ability to seamlessly move between hard-hitting sports analysis and warm, personality-driven cultural hosting makes her a perfect fit at Netflix,” said Gabe Spitzer, vice president of sports. “She immediately adds credibility and familiar star power to our global programming slate.”

Skyscraper Live is slated for early 2026 and will air exclusively on Netflix. Duncan’s presence as a familiar sports anchor is expected to attract traditional sports audiences. She may also draw new viewers intrigued by the high-stakes live eventt.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.