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Inside Seton O’Connor’s Pivot for the Future of The Dan Patrick Show

John Mamola
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Inside Seton O’Connor’s Pivot for the Future of The Dan Patrick Show

The Dan Patrick Show is considered one of the best weekday sports radio products in the industry today. The program is annually recognized at or near the top of the Barrett Media national sports radio rankings and has earned multiple Sports Emmy nominations over time. What many may not realize is the program began in the attic of Patrick’s home, with the assistance of producers Paul Pabst and Patrick “Seton” O’Connor.

Nearly twenty years later, the Dan Patrick Show has grown from Patrick’s attic into an expansive studio in Milford, Connecticut. Pabst and O’Connor still find themselves guiding the program alongside their patriarch, Patrick. However, in 2023, when Patrick announced he had signed his final contract with FOX Sports Radio, change was in the air. It was a change that O’Connor knew would alter his career forever.

“Once you put an end date on things, it’s sort of always looming,” said O’Connor about the conclusion of the Dan Patrick Show coming in February of 2028. “For those of us who aren’t Dan, who aren’t retiring. It’s like what am I going to do now.”

Seton O’Connor’s journey with the Dan Patrick Show began while he was still working at ESPN in Bristol, CT. As Patrick began conceptualizing his independent radio program, a simple outreach led to an email that changed O’Connor’s outlook on his career.

“I was producing his show on ESPN when he left ESPN. After about two weeks, I sent him an email to check in on him. He wrote back to me, ‘Are you happy,’” explained O’Connor. “I knew right then I had a new job. From reading those words just asking are you happy, I was all in. I put in my notice and started working in his attic.”

Preparing For Change

What started in an attic became a talent-to-producer relationship that lasted nearly two decades. However, once Patrick revealed he would be retiring, it was time to begin thinking about the next phase of O’Connor’s media career. Last month, O’Connor announced he was departing his role as a producer on the Dan Patrick Show to focus on growing a digital content wing for the program.

He described the decision not as walking out the door, but as building a new room onto the house. Ironically, O’Connor has been spending much of his time away from the Dan Patrick facility building his own home studio for podcasting and original content.

The decision for O’Connor to step away didn’t come suddenly or lightly.

“The biggest adjustment is not being on the radio every day,” explained O’Connor. “It was really difficult because it’s a medium that I love. I love the art of painting the picture for the audience, leave them wanting more and layering sound to help the product. There’s a real freedom of expression in radio… Based on my family structure and Dan’s upcoming retirement, this is as good a time to move forward and start building something post Dan Patrick Show.”

O’Connor admits Patrick’s decision to retire did speed up the process of determining his next steps. In fact, he doesn’t clearly remember whether Patrick informed his production staff in 2023 that it would be his final contract.

Growing Digitally

The concept for O’Connor to focus more on digital content outside the program began a couple of years ago during sponsored trips to sporting events across America. The experience sparked new interest from the audience, which wanted more real-life content surrounding the personalities on the program.

“I’ve always talked to Dan about the other 21 hours of the day and how we create content out of those 21 hours. I’ve always been a builder, and I like building new projects to see what works,” said O’Connor. “By combining listening to our audience looking for more real-life content, it’s a project that I’m really excited to be building to enhance connection with the show.”

After seeing success with the road trips, the program had a proof of concept. It’s also a project that O’Connor says he thoroughly enjoyed and wanted to expand. However, balancing those trips with the daily demands of producing the program proved too difficult.

“I wanted to do both, but having a foot in both buckets wasn’t fair to either process,” noted O’Connor. “Dan noticed I really enjoyed making the content, and he felt I was good at it. He saw a real future there and insisted I dive headfirst into it and make a full go at it. Create content for the show, build a new side of the business, and check in on the radio show whenever it fits.”

Looking ahead, O’Connor is focused on growing the program’s digital platforms. With less than two years remaining before the final Dan Patrick Show, there are still plenty of questions about the direction of the other members of the famed ‘Danettes.’

O’Connor notes that he hasn’t spoken with his fellow producers about their futures following the show’s conclusion. However, he continues to have conversations with Patrick about potential opportunities beyond the program.

“I’ve spoken to Dan many times about continuing to work with him after he retires,” said O’Connor. “If you look at the things he’s doing around the show, and not just in the show. It’s clear he doesn’t plan on doing the daily radio show every day. But I think that’s all he’s retiring from. I know Dan, and he likes to stay busy. He doesn’t like not having something to do. I’ve spoken to him about possibilities in podcasting after the show ends and actively having those conversations all the time.”

Saying Goodbye to Dan Patrick

The countdown continues, as the final program will take place in Atlanta the week prior to Super Bowl LXII. Patrick told Barrett Media in March that he plans for the week to be business as usual. Covering the Super Bowl from every angle imaginable with signature interviews to bring the audience closer to the game itself.

O’Connor doesn’t share that approach. In fact, he hopes the week becomes a career retrospective that celebrates Patrick’s impact on sports media.

“I want him to get sixty points like Kobe [Bryant]. Go big,” explained O’Connor. “I want it to be a week of appreciation for Dan. All of his friends to check in, and maybe some of the white whales of guests that we’ve never had on the show that week. I want it to be a huge celebration of Dan and the show. I hope Andrew Perloff can make it, along with fitting as many people in for the week. That’s what I’d like to see.”

Dan Patrick Show
(L-R): Patrick “Seton” O’Connor, Todd Fritz, Dan Patrick, Marvin Prince, Paul Pabst Courtesy: Derek Futterman, Barrett Sports Media

As the days until the curtain drops for a final time, Seton O’Connor is looking ahead in search of his next project. In many ways, O’Connor’s next chapter mirrors the origin story of the very show that helped define his career. A leap into the unknown. Fueled by instinct, creativity, and a willingness to build something from the ground up.

The attic may be long gone, replaced by a state-of-the-art studio and a nationally revered brand, but the spirit that powered those early days still lingers in the DNA of the Dan Patrick Show.

As the calendar inches closer to February 2028, the end of one era is undeniable. However, for Seton O’Connor, it’s less about an ending and more about evolution. A chance to apply everything learned over two decades to a new frontier.

If the past is any indication, the next “room” he’s building won’t just expand the house—it may very well redefine it.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

What Mike Breen Could Learn From Joe Buck Ahead of a New York Knicks NBA Finals

John Mamola
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What Mike Breen Could Learn From Joe Buck Ahead of a New York Knicks NBA Finals

Mike Breen has been calling the NBA Finals for the last 21 years. That’s slightly fewer years than he has spent as the local television play-by-play voice of the New York Knicks. For the first time in Breen’s career, those two jobs will intersect on the NBA Finals stage as the Knicks return to the championship round for the first time since 1999.

For as long as I’ve worked in sports media, there has been one consistent complaint from sports fans when it comes to national broadcasts. Fans almost always believe there is a bias against their team on the national call. While no broadcaster has ever provided proof or admitted to that notion, the perception continues to persist. Expect it to resurface during the NBA Finals.

However, Breen is a professional. He’s been the voice of the Finals for more than two decades. He’s also served as ESPN/ABC’s lead NBA broadcaster for just as long, including during playoff series involving the Knicks. The four-game sweep of the Cleveland Cavaliers is the most recent example.

With the Knicks returning to the Finals comes added expectations from fans and especially from those in sports media. While criticism of Breen’s performance is rare, it will likely surface in the coming weeks. Still, Breen is no stranger to the role. He understands the added spotlight that comes with being the voice of the NBA Finals.

That spotlight grows even brighter when the team he covers every season is involved.

Adapting for “Bias”

So, the question becomes whether Breen will alter his approach in any way to cater to the expected criticism of bias. Would it be a mistake for Breen to approach this Finals differently than he has in previous years?

Perhaps the best example I can provide comes from someone else currently working within ESPN’s walls.

Joe Buck was on the call for FOX Sports in 2006 when the St. Louis Cardinals defeated the Detroit Tigers to win their first World Series since 1982. The 2006 Fall Classic marked the eleventh World Series Buck called in his career. He would ultimately call twenty-four.

However, the 2006 series marked the second time Buck called a Cardinals World Series. Just two years earlier, the Boston Red Sox erased the “Curse of the Bambino” by defeating St. Louis.

Buck is a St. Louis native who grew up idolizing his father, Jack Buck, who called Cardinals games for decades. He followed in his father’s footsteps into the broadcast booth while also becoming FOX’s national voice for baseball.

Years after delivering the final call of the Cardinals’ 2006 championship, Buck admitted he regretted changing his approach. In a 2024 interview, Buck acknowledged that he overthought the moment and adjusted too much in an effort to eliminate any perception of bias.

“I hear them win the 2006 World Series. My voice is so flat and so monotone and so not excited because I’m trying to prove to everybody in Detroit I’m not rooting for the Cardinals,” said Buck via the Nothing Left podcast. “Look, here’s the most boring call ever to end a World Series. It was a good learning moment for me because I heard it back. I was like, ‘Man, that’s just not fair. That’s not fair to fans in St. Louis.”

Buck said he took the bait. He bought into the idea that viewers were simply waiting for a moment to accuse him of bias.

“I don’t think Twitter was around in 2006, but it got in my head,” explained Buck. “I’m sad that it did because it was the Cardinal’s first World Series in over two decades and the guy calling it on TV who grew up rooting for the Cardinals went so far the other way that it’s just not a good call.”

If lessons can be learned from prior experience, Mike Breen should pay attention to the one his ESPN colleague shared.

Meeting the Moment

The audience tuning into the NBA Finals doesn’t need Breen to become someone different for two weeks in June. Fans don’t need him forcing neutrality to satisfy social media critics waiting to dissect every inflection or signature “Bang!” call.

They need the same broadcaster who has earned the trust of basketball fans for more than two decades.

That’s what made Buck’s reflection years later so powerful. In trying too hard to avoid criticism, he lost the authenticity of the moment. Moments are why fans remember great broadcasters in the first place.

Breen has spent a lifetime building credibility as one of the best play-by-play announcers in sports. That credibility wasn’t built because he sounded robotic or detached. It was built because he consistently delivered the emotion, energy, and gravity that the biggest games deserve.

The Knicks reaching the Finals doesn’t change that responsibility. If anything, it reinforces it.

Fans may still complain. Some will inevitably hear bias no matter what comes through their television speakers. That’s part of modern sports discourse. However, the worst thing Breen could do would be to let outside noise alter the style and instincts that got him to this stage in the first place.

The Finals are supposed to sound big. The emotions should feel real. And if the Knicks happen to win a championship with Mike Breen on the call, the moment should sound every bit as memorable as the journey that led there.

Win or lose.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

CBS News Radio Deserved Better From Longtime Audacy Affiliates

Garrett Searight
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CBS News Radio Deserved Better From Longtime Audacy Affiliates

I have a friend who’s a veterinarian. She adores her job. Being a Negative Nancy, I once asked her what the worst part of her job is. She didn’t hesitate. She said it’s when pet owners bring their dogs or cats to the office to be put down, and then leave before it’s over. You wouldn’t believe the sadness and confusion in their eyes, she told me, as they understand their lives are about to end — and the one source of comfort isn’t there to be with them as it happens.

That’s an apt description for how CBS News Radio ended last week, largely without being heard on Audacy’s all-news and news/talk stations.

CBS News Radio was synonymous with the heritage brands now under Audacy’s umbrella. Obviously. Many of those stations used to be owned by CBS, so the connection ran deep.

Even after Entercom — now Audacy — took over those brands, the two remained important partners. CBS News Radio needed the large-market access Audacy’s stations provided. Audacy’s stations needed a reliable network news partner like CBS News Radio.

Until they didn’t.

A Parting That Made Sense — Even If the Timing Didn’t

Audacy switched its stations to ABC News Radio. That’s an obvious choice, and I’ve got no qualms with it. The business logic is sound, and ABC News Radio’s a strong operation. Network affiliations change. That’s radio.

My issue isn’t with the decision. I understand the reasoning. It’s with how the end actually transpired. Going into a holiday weekend, when one network was ceasing operations completely, you want to make sure everything’s set up correctly. Otherwise, chaos will ensue at one of the more inopportune times possible. That rationale makes sense on the surface.

But idealistic as it might sound, flipping the switch early left CBS News Radio dying in a room by itself — with sharply decreased exposure during its final hours. The transition essentially pulled the plug before the patient was gone.

Some stations did air the final moments. I listened on the Audacy app to WWJ 950 in Detroit while driving on a road trip, catching the end of the network at 11:31 PM ET. It was something. It just wasn’t enough.

A Bastion of News Radio Deserved a Proper Send-Off

CBS News Radio wasn’t some regional curiosity. It was a pillar of American broadcast journalism — one that shaped how millions of listeners understood the world around them for decades. A network with that kind of legacy deserved better than a quiet fade into a long weekend.

Both sides would’ve been well-served to see things through to the end. The audience would’ve been better served, too, in my opinion. It would have been a strong reminder to the audience that radio is the most intimate medium. It’s especially intimate at night. Ask any radio professional how they fell in love with the business, and there’s a real decent chance their answer includes something related to nighttime programming.

The moment deserved some pomp and circumstance, in my opinion. Instead, a bastion of news radio ended with a whimper. Maybe that’s simply how it was always going to go. Heritage doesn’t guarantee a graceful exit in this industry. Ratings, revenue, and operational logistics win out every time.

Still, it stings a little. It was sad to listen to. Knowing that not as many people were there as probably should have been. Sort of like those dogs and cats — alone in a room, wondering where everyone went.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

How Playlisters Quietly Took Over the Music Industry

David Hill
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How Playlisters Quietly Took Over the Music Industry

Playlisters may be the new radio programmers, but finding them can feel nearly impossible. That realization hit me while walking through SXSW during the late 2000s, long before “playlisters” became a common term in the music industry. The convention itself was already transforming. The center of gravity was quietly shifting toward technology, startups, digital media, and emerging platforms.

For years, I traveled to South by Southwest for the same reason many radio and music people did. I wanted to discover emerging bands, reconnect with industry friends, and drink a lot of beer while wandering through Austin. At the time, the music side of SXSW felt like the center of gravity for the entertainment business. Labels, programmers, artists, promoters, and media people packed clubs, patios, bars, and daytime parties across the city.

But quietly, something started changing.

The money moved first. Then the sponsorships followed. Eventually, the attention and energy shifted too.

That year, I decided to spend time on both sides of the convention. I bounced between music showcases and digital panels. What surprised me wasn’t simply the growth of the tech side. It was where all the momentum suddenly lived. The giant daytime parties, rooftop gatherings, sponsored lounges, media attention, and investor conversations increasingly centered around technology companies and startups.

The party had moved.

And honestly, it felt like watching the future happen in real time.

Who Are the Playlisters Controlling Music Discovery Right Now?

Fast forward to today, and music may be going through another version of that same transition. Only now, the conversation isn’t about radio losing relevance. Radio programmers still matter tremendously, especially for branding, market visibility, audience trust, and building cultural moments around artists and stations. But there’s now another layer sitting beside the traditional system.

That layer is playlist culture.

Playlist curators, Spotify ecosystem consultants, TikTok music strategists, DSP insiders, creator economy operators, and algorithm-focused marketers now carry enormous influence over music discovery. A single independent playlist curator can sometimes accelerate a song’s momentum faster than traditional radio alone. But unlike radio’s long-established structure, playlist culture feels far more elusive.

Finding a playlister today feels like what finding a program director never did.

In radio, everybody knew who the major players were. Big-market program directors walked into convention bars and became instantly recognizable. Music directors had public identities. Relationships happened face-to-face over years of conferences, music meetings, concerts, and station events.

Playlist culture doesn’t operate that way.

Some playlisters are independent curators. Some quietly work alongside labels or distributors. Others function more like influencers than traditional music gatekeepers. Some intentionally remain anonymous. Others operate almost entirely online and rarely appear publicly at all.

That’s what makes this current moment so fascinating.

They control what millions hear daily, yet most in the industry can’t find them.

Where exactly are these people gathering? Are they attending traditional music industry parties? Are they hanging around showcases and convention bars the way radio programmers once did — and still often do? Or are the real conversations now happening somewhere completely different?

Because from the outside, it almost feels like the playlist economy built its own hidden convention culture.

The networking still exists. The gatekeepers still exist. The influence still circulates socially. But much of it now happens through private Discord servers, Telegram groups, Slack channels, Instagram DMs, encrypted group chats, and invite-only creator communities.

The modern music business became decentralized.

And honestly, that changes the social chemistry of the entire industry.

Why Playlisters Operate in the Shadows While Radio Stays in the Open

The old music business depended heavily on physical proximity. You physically entered the ecosystem. You stumbled into relationships accidentally. Some of the biggest career opportunities in radio and music happened because somebody randomly met somebody at a daytime SXSW party. They were holding a warm beer and escaping the Austin heat.

Today, the ecosystem feels more fragmented and difficult to access unless you already know somebody inside it.

At least in the old days, you knew where the party was.

Now the real networking may be happening inside a private Discord server nobody talks about publicly.

And maybe that’s the strange irony in all of this.

The playlist world inherited many of the same dynamics radio always had. Influence. Gatekeeping. Tastemaking. Relationship building. Career leverage. The difference is that playlist culture evolved into a quieter and more elusive version of itself.

Meanwhile, radio still possesses something playlist culture often struggles to create consistently: public identity, shared experiences, personalities, local connection, and visible communities. Radio programmers still help shape scenes, brands, and emotional audience relationships. Algorithms alone rarely accomplish that.

But the social center of gravity inside music discovery clearly shifted.

The party never disappeared.

It just moved into different rooms.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

The 47th Annual Sports Emmy Awards Recognize Sports Television’s Best

Jason Barrett
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The 47th Annual Sports Emmy Awards Recognize Sports Television’s Best

The National Academy of Television Arts & Sciences (NATAS) announced the winners of the 47th Annual Sports Emmy Awards Tuesday night. Lincoln Center’s Frederick P. Rose Hall hosted the show, which recognizes and celebrates excellence in sports television and digital coverage. The entire event was streamed live on YouTube. Media professionals can rewatch the show and all of the key moments by visiting YouTube.com/@TheEmmys.

What We Know: Roy Wood served as host of the show. A total of 47 category winners were announced according to NATAS. Many of sports media’s top stars were in the building. Among them were Pat McAfee, Pablo Torre, Mina Kimes, Laura Rutledge, Rich Eisen, Chris Berman, Nick Wright, Chris Broussard, Scott Hanson and many more. ESPN earned an industry-leading 63 nominations.

The ceremony featured presenters from across the sports community. Included were: Andrés Cantor (Telemundo), Ian Eagle (CBS Sports), Rich Eisen (NFL Network), Scott Graham (NFL Films), New York Sirens athlete Elle Hartje, NBA Champion Dwight Howard, Brian Kenny (MLB Network), MLB Champion Pedro Martinez (TNT Sports), Mark Shapiro (TKO Group Holdings), Jonathan Scott (TNT Sports), Jenny Taft (FOX Sports), Pablo Torre (Pablo Torre Finds Out), Colleen Wolfe (NFL Network), Nick Wright (FOX Sports). 

What They Said: “In an era defined by endless content and increasingly individualized media consumption, sports television remains one of the few experiences that still consistently brings people together in real time,” said NATAS President and CEO, Adam Sharp. “Tonight we honor the extraordinary professionals whose talent, creativity and innovation bring those dramatic victories, enduring heartbreaking defeats to life.”

What Stood Out: Greg Olsen was named Outstanding Personality/Event Analyst. Olsen beat Tom Brady, Troy Aikman, Bill Raftery and Cris Collinsworth. Anytime Olsen finishes ahead of Brady it generates industry headlines. Mike Tirico and Sunday Night Football stood tall in the Outstanding Live Sports Series and Outstanding Sports Personality – Play-by-Play categories. Tirico finished ahead of Joe Buck, Joe Davis, Ian Eagle and Jim Nantz. SNF prevailed over FOX NFL Sunday, Monday Night Football on ESPN/ABC, Monday Night Football with Peyton and Eli, and Thursday Night Football on Amazon Prime Video.

ESPN’s Katie George also shined. The talented newcomer earned the Sports Emmy for Outstanding Sports Personality: Emerging On-Air Talent over JJ Watt, Matt Ryan, Jason Kelce, Richard Sherman and Andraya Carter. NFL Live on ESPN also had a big night winning Outstanding Studio Show: Daily. It was the show’s second straight win and ESPN’s 10th victory in the category.

And the Winners Are…

Outstanding Live Sports Special: Championship Event
FOX MLB: World Series
Toronto Blue Jays vs Los Angeles Dodgers
FOX
Outstanding Live Sports Special: Non-Championship Event
FOX MLB: The 95th All-Star Game
FOX
Outstanding Live Sports Series
Sunday Night Football
NBC | Peacock
Outstanding Sports Playoff Coverage
FOX MLB: The American League Playoffs
FOX | FS1
Outstanding Edited Sports Event Coverage
4 Nations Face-Off: Unveiled
NHL Productions [NHL Productions | Radan Films | NHLPA]
Outstanding Edited Sports Special
Not So Fast, My Friend: A Lee Corso Special
ESPN
Outstanding Edited Sports Series: Hosted
E60
ESPN
Outstanding ESports Championship Coverage
2025 Call of Duty League Championship Weekend
OpTic Texas vs Vancouver Surge
ESL FACEIT Group
Outstanding Sports Documentary: Short
Final Finishers
East 89th St Productions [Tribeca Studios | Bluff Road Films]
Outstanding Sports Documentary: Long
Champions Of The Golden Valley
Olympics.com [Olympic Channel | XTR Studios | Sturgefilm | Tideshift | Optimist |
Taleem]
Outstanding Sports Documentary Series
Cocaine Quarterback: Signal-Caller for the Cartel
Prime Video [Amazon MGM Studios | Unrealistic Ideas]
Outstanding Sports Documentary Series: Serialized
Quarterback
Netflix [NFL Films | Omaha Productions | 2PM Productions]
Outstanding Sports Studio Show: Daily
NFL LIVE
ESPN
Outstanding Sports Studio Show: Weekly
College GameDay
ESPN
Outstanding Sports Studio Show: Limited Run
Road to the Final Four
CBS | TNT
Outstanding Sports Journalism
Save: The Katie Meyer Story
E60
ESPN
Outstanding Sports Feature: Short Form
Behan Strong
NCAA March Madness
CBS
Outstanding Sports Feature: Long Form
Tim Green – A Voice Reclaimed
NFL Films Presents
FS1 [NFL Films]
Outstanding Sports Open/Tease
America’s Team: The Gambler and His Cowboys
Netflix [Skydance Sports | NFL Films | Stardust Frames Productions | Netflix]
Outstanding Interactive Experience: Sports
Fan Optionality on Prime Video
Prime Video Sports
Prime Video [Amazon MGM Studios]
Outstanding Digital Innovation: Sports
World of Red Bull in Apple Immersive
Red Bull Media House [Apple]
Outstanding Technical Team: Sports Event
FOX MLB: World Series
Toronto Blue Jays vs Los Angeles Dodgers
FOX | FS1
Outstanding Technical Team: Sports Studio
NBA on Prime Video
Amazon MGM Studios [Amazon MGM Studios]
Outstanding Sports Camera Work: Short Form
The Harder Choice
The 126th Army-Navy Game
CBS
Outstanding Sports Camera Work: Long Form
I Skied Down Mount Everest
Red Bull Media House [East Studio]
Outstanding Sports Editing: Short Form
4 Nations Face-Off: For Crest and Country
NHL on ESPN
ESPN
Outstanding Sports Editing: Long Form
Celtics City
HBO Max [Ringer Films | Words + Pictures | Left/Right | NBA Entertainment]
The Dick Schaap Outstanding Sports Writing Award: Short
Form
Wimbledon
ESPN
Outstanding Sports Writing: Long Form
In Season with the NFC East
Hard Knocks
HBO Max [NFL Films]
Outstanding Music Direction: Sports
Home Turn
Daytona Beach, FL
NASCAR Studios [Bluefoot Entertainment]
Outstanding Sports Audio/Sound: Live Event
FOX MLB
FOX | FS1
Outstanding Sports Audio/Sound: Post-Produced
Hard Knocks
Training Camp with the Buffalo Bills
HBO Max [NFL Films]
Outstanding Sports Graphic Design: Event/Show
NBA on NBC & Peacock
NBC | Peacock
Outstanding Sports Graphic Design: Specialty
Believers: Boston Red Sox
ESPN [ESPN | Religion of Sports | Artists Equity]
Outstanding Studio Or Production Design/Art Direction: Sports
The NFL Today
The Virtual Time Machine: Rebuilding the Legacy of The NFL Today
CBS
The George Wensel Technical Achievement Award
FOX MLB: The Postseason
UmpCam AR: Strike Zone System
MLB | Major League Baseball [Fox Sports | Bolt6 | Virtual Eye]
Outstanding Promotional Announcement: Sports
Unforgettable Awaits
2025 NBA Finals
NBA Entertainment [Translation]
Outstanding Public Service Content: Sports
Champion
Super Bowl LX
NFL | 72andSunny [Morton Jankel Zander, Inc.]
Outstanding Sports Personality: Studio Host
Ernie Johnson
TNT | CBS
Outstanding Sports Personality: Studio Analyst
Alex Rodriguez
FOX | FS1
Outstanding Sports Personality: Play-By-Play
Mike Tirico
NBC | Peacock
Outstanding Sports Personality: Event Analyst
Greg Olsen
FOX | NFL Network
Outstanding Sports Personality: Sideline Reporter
Tracy Wolfson
CBS | TNT
Outstanding Sports Personality: Emerging On-Air Talent
Katie George
ESPN
Outstanding Sports On-Air Personality In Spanish
Miguel Gurwitz
Telemundo | Universo | Peacock
Outstanding Sports Studio Show In Spanish
ESPN FC
ESPN
Outstanding Sports Feature Story In Spanish
Los Colores del Istmo
Mundo Originals
Mundo NFL [SWAY | Cobra Films

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Matt Pinfield launches new video series at 88.5 The SoCal Sound

David Hill
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Matt Pinfield launches new video series at 88.5 The SoCal Sound

Public radio station 88.5 The SoCal Sound has a new video series. “The Pinfield Sessions” pairs live music performances with in-depth artist conversations, hosted by legendary DJ Matt Pinfield.

What’s at stake: Public radio competes fiercely for audience attention in a crowded media landscape. Moreover, video content drives discovery and listener loyalty more than ever before. Pinfield built his reputation at MTV hosting “120 Minutes,” giving the station a credible, recognizable on-camera presence. Consequently, the series directly strengthens The SoCal Sound’s multiplatform identity and donor appeal.
What remains unclear: The release cadence beyond the initial May rollout hasn’t been confirmed publicly. Furthermore, no details exist yet about a potential national distribution push or podcast spinoff. How the sessions will be promoted across The SoCal Sound’s social channels also remains to be seen.
What it means: This move signals that public radio isn’t standing still. Instead, stations like The SoCal Sound are actively investing in video to stay culturally relevant. For Pinfield, ultimately, it’s a meaningful platform revival built around what he does best — connecting deeply with artists and music fans alike.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Radio Advertising Bureau Adds Sabina Widmann As Executive Vice President

John Mamola
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Radio Advertising Bureau Adds Sabina Widmann As Executive Vice President

The Radio Advertising Bureau (RAB) is growing its leadership team. Sabina Widmann joins as Executive Vice President, tasked with deepening member engagement and expanding broadcaster support services.

What We Know: Widmann brings more than 20 years of experience across radio, media sales, multicultural marketing, and business development. Most recently, she held leadership roles at TelevisaUnivision, developing integrated marketing strategies across broadcast, digital, and audio platforms. She also previously served on executive committees for both RAB and the Southern California Broadcasters Association and co-chaired RAB’s multicultural committee. In her new role, she will oversee broadcaster initiatives, member services, and professional development.

What They Said: RAB President and CEO Mike Hulvey: “Sabina’s leadership experience, industry knowledge and understanding of broadcasters and the local communities which they serve make her an outstanding addition to the RAB team. Her passion for helping media organizations grow and evolve will further strengthen the support, education and resources RAB provides to its members.”

Sabina Widmann: “Radio and audio continue to play a vital role for our communities and advertisers. I look forward to working with RAB’s members and team to help provide meaningful resources, education and support that help broadcasters navigate continued change and growth.”

What Remains Unclear: RAB has not outlined a specific timeline for Widmann’s key initiatives. Additionally, details around how responsibilities have been restructured internally remain vague.

What It Means: This hire signals RAB’s intent to invest more directly in member-facing leadership. Her background also includes working closely with local broadcasters and advertisers in markets across the country. She helped stations develop revenue opportunities, strengthen client relationships and adapt to shifting audience and advertiser expectations. Furthermore, Widmann’s multicultural marketing background adds a dimension that could benefit stations targeting diverse audiences.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Byron Allen Betting on ‘Good, Clean Comedy’ in Replacing the Late Show With Stephen Colbert on CBS

John Mamola
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Byron Allen Betting on ‘Good, Clean Comedy’ in Replacing the Late Show With Stephen Colbert on CBS

Following the departure of The Late Show with Stephen Colbert, Comics Unleashed host Byron Allen Entertainment is positioning his show as the network’s next late-night solution. Allen, a comedian-turned-media-mogul, spoke with Puck Media about how he feels his approach will be a worthy competitor for a late night audience.

What We Know: Comics Unleashed has been on the air since September. Despite its relative youth, the show is reportedly already outperforming veteran competition. According to Allen, Nielsen data shows the program beats Seth Meyers on NBC in 43 of 56 markets. Meyers, notably, has been on air for more than a decade with NBC. Furthermore, Allen stated that Comics Unleashed boasts a 97% commercial break retention rate. A figure that stands well above the industry norm for comparable talk shows.

What They Said: Byron Allen on the approach to Comics Unleashed: “I said to the comedians, ‘I don’t want any political humor. I don’t want any racist humor, homophobic humor, antisemitic humor, sexist humor. Just do good, clean comedy that’s relatable and makes everybody feel included.’ Comedy built everything that has been built in media. Who gave us streaming? Dave Chappelle, Chris Rock, Adam Sandler. Comedy builds everything.”

Byron Allen on why his program works for the current status of late night television: “Late night is about a $500 million to $600 million-a-year business. Now we are two-thirds of that business. What you can’t do is spend $110 million to $120 million on Colbert. Then $30 million to $40 million on After Midnight. It doesn’t work if you’re spending $150 million to $170 million on content and promotion. So let me pay you millions of dollars. Let me deliver you two shows that we already know are doing well.”

What Remains Unclear: While Allen states he’s seeing success in a number of markets, his program did follow Colbert’s program on CBS. Colbert, as the highest rated late night host, did provide a proven lead in. That’s compared to now with local news as the lead in. The agreement with CBS and Allen also has not been officially revealed in terms or financial.

What It Means: It will be interesting to see how the Late Show audience gravitates to Allen’s program at first. While late night programming is becoming less of a destination for the live product, it will be interesting to see if digitally it can grow as well. There is also the political impact of this. If a no politics approach to late night comedy works, could the other shows take notice? Could they adapt for changing viewer appetite. Consequently, if CBS is looking to cut costs without sacrificing performance, Allen’s argument is difficult to ignore based on his own figures.

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FOX Sports Reportedly Earned FIFA World Cup 2026 Rights at Discount Over Qatar Tournament Schedule Change

John Mamola
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FOX Sports Reportedly Earned FIFA World Cup 2026 Rights at Discount Over Qatar Tournament Schedule Change

FOX Sports is reportedly paying less than $500 million for the FIFA World Cup 2026 broadcast rights this summer. According to reporting from the New York Times, the rights trace back to a secret meeting in 2014. Industry analysts say the deal is worth two to three times what FOX is actually paying for this year’s tournament.

What We Know: FOX Corporation is reportedly paying less than $500 million to broadcast the 2026 FIFA World Cup. That figure has not been officially released by FOX or FIFA. Industry analysts value those rights between $1 billion and $1.5 billion. FOX plans to air 70 matches on its flagship network and 34 more on FS1, covering all 104 games total. Additionally, every match will stream live on the FOX One app and FOX Sports app — no cable subscription required.

What’s At Stake: According to the reporting by the New York Times, a meeting was held by FIFA’s board in March of 2014. In that meeting, which included some of the most powerful figures in soccer. A decision worth hundreds of millions of dollars to the sport’s governing body was needed to make a “problem go away.” According to the Times, that problem surrounded FIFA choosing Qatar to host the 2022 World Cup. Because of the hot summers that Qatar presents, FIFA moved the tournament to the late fall. Reportedly against language in regards to the agreed $425 million paid out by FOX for a “summer date” tournament.

To avoid legal action by FOX, former FIFA Secretary General Jerome Valcke reportedly made the deal’s terms unmistakably clear in an inquiry. “We agreed that we will extend with FOX for the same price as what they pay for 2022 plus inflation costs,” Valcke said about the rights for the 2026 tournament.

He further acknowledged the financial hit. “Potentially we are losing money and we are making less money because we are not running an open process in the U.S. market. Giving a chance to other channels to bid for and we just extend with FOX for the same amount of money.”

What Remains Unclear: Neither FOX nor FIFA has officially confirmed the exact dollar figure. Neither entity has commented publicly on the reporting.

What It Means: FOX essentially turned a scheduling dispute into a decade-long financial windfall. FIFA’s 2014 decision to move Qatar’s World Cup to November-December collided directly with FOX’s NFL rights — giving FOX legal leverage. Moreover, the no-bid extension locked in below-market rates just before U.S. soccer’s commercial value exploded. If the reporting is correct, the 2026 World Cup isn’t just a broadcast. It’s a bargain for FOX Sports that competitors may never see replicated again.

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Kenny Smith: ‘Inside the NBA’ Created What the Podcast World Is Now

John Mamola
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Kenny Smith: ‘Inside the NBA’ Created What the Podcast World Is Now

Inside the NBA analyst Kenny Smith made a striking declaration about his show’s cultural legacy. He credits the program with shaping the freedom and format that created the blueprint for what podcasting has become. Smith was a guest on The Pivot podcast.

What We Know: Inside the NBA debuted on TNT in 1989 — well before podcasting emerged as a medium in the early 2000s. The show pioneered unscripted, personality-driven panel conversation in sports television. Moreover, it was among the first television programs to blend basketball with pop culture, social justice, and fashion. That wide-ranging, candid formula later became the foundation of today’s most popular sports podcasts.

What They Said: Kenny Smith believes that Inside the NBA influenced the spark for sports podcasting: “I’m gonna say it. This is not offensive. We created what the podcast world is now. Because the way we behaved allowed people to have more of a freedom of speech.”

Kenny Smith on how Charles Barkley’s addition helped influence that blueprint for sports podcasting: “We were really good before Chuck came on. Chuck just threw gasoline on the fire. What Chuck has allowed people to see is a different side of me. Now I get asked questions that I never got asked before. He was one of those guys in the locker room — would be like, ‘Okay, you had 20 points.’ Then they go, ‘What about George Floyd?’ He was the only guy in the locker room they would ask.”

What Remains Unclear: Podcasting as a formal distribution medium didn’t take shape until around 2004. Consequently, whether Inside the NBA directly influenced podcast creators — or simply ran a parallel cultural track — remains an open question.

What It Means: There’s no questioning that Inside the NBA’s approach to basketball coverage has been truly influential. It singlehandedly drove interest in keeping NBA broadcast rights on the TNT Sports brand for decades. The show also became a central point for basketball fans to find attachment to a changing style of play leaning on the wisdom of the old guard. Smith’s comments arrive as Inside the NBA continues navigating its transition from TNT to ESPN. It’s debatable if the show still has the relevance it once had among basketball fans. With the second year ahead with it’s collaboration with ESPN, we will see if Inside the NBA can rebound from a shaky first year with the network.

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