MLB’s national TV numbers climbed across the board in 2026. Commissioner Rob Manfred says NBC, in particular, stood out with the network’s return to baseball coverage.
What We Know: NBC carried 14 Sunday Night Baseball games in its debut season, averaging 2.7 million viewers, the package’s best mark since 2007 on ESPN. Five games topped 3 million, including three straight in late July and early August. Meanwhile, FOX Sports posted its strongest MLB season since 2021 at 2.4 million viewers. ESPN/ABC’s 30-game slate averaged 1.2 million, down from 1.8 million last year on Sunday nights.
What They Said: Rob Manfred, MLB Commissioner (via Sports Business Journal): “NBC, from Day 1, was about reach for us and they certainly delivered that. Equally important, they leaned into baseball. The promotion surrounding things like Opening Day has just been phenomenal.”
What Remains Unclear: Still, discoverability remains a “huge” issue for fans according to Manfred. He’s counting on the MLB app and a “more streamlined lineup” to help fans find games. Local rights are still in flux, too, though the 14 clubs under MLB’s in-market umbrella saw an 8% audience bump this season. Whether that group grows before 2028 remains an open question.
What It Means: NBC’s bet on reach paid off for MLB in 2026. As a result, rising numbers across NBC, FOX Sports and even ESPN’s slimmed-down package give the league leverage entering 2028 rights talks. Netflix’s youth-skewing audience adds another selling point beyond actual viewership and ratings. Expect MLB to lean further into this multi-partner model rather than consolidate around one network.
How did MLB viewership do in 1st season of revised landscape? Check out those, and how Commissioner Rob Manfred feels about the numbers https://t.co/AUlGZIzH0j
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Time evolves standards in media and entertainment. Certain norms become extinct, yet our acceptance of what was once considered profanity changes with time. There used to be a time when testing the boundaries was shocking. When Howard Stern was the “King of All Media,” pushing those boundaries was part of what made him controversial. Today, more is said and done publicly than ever before. It has become normalized within our daily media culture. Sports is no different.
In the last week, there have been hosts smoking weed on camera, drinking beer bongs and swearing on live television in front of national audiences. Yet, is there any enforcement of the standards governing live television? Are there fines and suspensions being levied? Or do we need to wait for someone to file a complaint with the FCC first? Welcome to the Wild West of sports media.
There was a lot made of Pat McAfee being allowed to swear on ESPN when the network signed the former punter to a licensing agreement. That was three years ago. Yet, there hasn’t been a fine or suspension. Last week, McAfee was enjoying some “sage” during a break on ESPN. It’s not the first time he has been on camera enjoying the herb. But again, nothing.
Sure, the FCC doesn’t oversee cable networks like ESPN. It’s not an over-the-air broadcast station.
When Nick Wright shotgunned a beer out of a celebratory Buffalo Bills beer horn on First Things First, even his co-hosts appeared a little startled by the notion.
“There’s new rules about what you’re allowed to smoke or drink on TV,” Wright said.
“Can you do that legally?” asked Wright’s co-host, Chris Broussard.
Good question. Can you legally drink alcohol on live television? I don’t know. Can you?
This weekend, Tom Brady, who makes $37.5 million per season at FOX Sports, blurted out, “Oh s**t” to a national television audience. Yes, he immediately apologized for the remark. But was it profane, or was it simply Tom Brady getting comfortable in the broadcast booth?
That question gets to the heart of the issue. What qualifies as unacceptable content has changed dramatically. Yet the regulatory framework governing traditional broadcast media has not evolved at the same pace.
The FCC restricts the broadcast of profane material during hours when there is a reasonable risk that children may be in the audience. Those rules apply to broadcast television and radio, but not in the same way to subscription-based services such as cable, satellite television or satellite radio.
That’s what the FCC says. But you don’t need a subscription to watch The Pat McAfee Show on YouTube. You don’t need a subscription to download a podcast from virtually any platform. You don’t need to pay for access to watch countless creators push the boundaries of language and content every day.
If the biggest distinction in applying these standards is whether a consumer receives the content through a traditional broadcast signal or an internet connection, the regulatory framework deserves another look.
More content is consumed online than ever before. Every social and streaming platform offers endless options for audiences to consume unfiltered dialogue. Yet broadcast radio and television talent remain guarded, with delays at the ready and restrictions that their competitors do not face.
It’s time for change.
Broadcast Freedom
If satellite radio and digital media have taught us anything, it’s that what was once considered profane can now be considered authentic. Audiences have the ability to determine when something goes too far. On-air personalities are capable of understanding what is and isn’t acceptable when engaging with an audience.
That doesn’t mean anything should go. There should always be standards, accountability and an understanding that certain content has no place in certain programming environments. But those standards should reflect the reality of the modern media landscape.
If networks and broadcasters continue pushing the boundaries across television, cable and digital media without meaningful consequences, it’s time to stop pretending broadcast media should play by a different set of rules.
The media landscape, audience, and definition of what is considered offensive or profane has changed. Yet broadcast radio and television remain bound by standards created for a media environment that no longer exists. If talent across cable, satellite radio, podcasts, YouTube and streaming platforms can speak freely without consequence, broadcast talent shouldn’t have to operate with one hand tied behind its back.
The industry has already evolved. The rules simply haven’t caught up. If broadcast media is going to compete for the same audience, it should at least be allowed to play by rules that reflect the media world we actually live in.
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Miranda Khan is back home, and she’s bringing a fresh take to the afternoon airwaves. The Kansas City native launched Miranda’s Right on KCMO Talk Radio last week. The show airs from 4-7 PM.
Khan arrives with a résumé rooted in television. Previously, she worked at Newsmax and in local TV in West Palm Beach. Now, she’s trading tight segments for longer conversations with listeners.
“It’s almost surreal,” said Khan. “It’s just a blessing. There’s something about coming to your hometown and doing it here.”
Khan spoke about the move just one week into the job. Her comments reveal why she made the leap and what she wants Miranda’s Right to become.
Why the Leap From TV to Radio?
Khan’s decision traces back to 2016, when she lost her sister. Until then, career ambition drove most of her choices. Afterward, her perspective shifted.
“It was a life-altering experience,” Khan said. “I realize nobody sits on their deathbed saying, ‘I wish I would have just worked more.’ I really wanted to take that pain and put it into purpose.”
As a result, radio’s conversational format appealed to her. Khan has appeared on radio shows before, but she’d never hosted one.
“In TV, it moves so quickly,” the new KCMO Talk Radio afternoon host shared. “In radio, it’s more casual and laid back. It’s not 30-second sound bites. You can sit and have a conversation.”
Additionally, Charlie Kirk’s death pushed her toward a new platform.
“He created a movement, he believed in it, and he put his face above everything else,” said Khan. “That really motivated me. It really did.”
Meanwhile, live calls and texts give her direct access to listeners. She also welcomes disagreement. That interaction is a major draw.
“I don’t want this show to be about me,” Khan said. “I want it to be about all of us. And you’re a part of that. I want to hear from you. I want you to share your voice, even if you disagree with me.”
How Kansas City Roots Help
Her hometown ties also give Khan a head start. However, she moved away decades ago, so the market looks different now.
“It definitely helps,” said Khan. “Obviously, I’d come back and visit family and friends, and a lot has changed. I remember how it was and how it is now, so it’s kind of like Back to the Future. You come back and some things are the same, but others are different. But the core still remains.”
Her longtime friends are also tuning in. In fact, she considers them family.
“We call each other ‘sis,'” Khan said. “We’ve known each other for decades. It’s an exciting time, and I feel very blessed to be a part of it.”
A Full Meal for the Afternoon Drive
Khan hopes Miranda’s Right gives listeners something different every day. Specifically, she uses a full meal analogy to explain the format.
“I describe the show as a full meal,” said Khan. “You’ve got some red meat in there and, since we’re in the Midwest, your potatoes. A few appetizers, a little bit of everything.”
Next, politics will remain on the menu. However, Khan wants a Midwest perspective to set the show apart.
“It’s a show that will discuss politics, obviously through a conservative Midwest lens,” Khan said. “I think that gives some people a different flavor.”
Beyond politics, she plans to cover whatever’s drawing attention. That includes trials, viral videos and the Chiefs.
“I want people to feel full when they listen, like they got a little bit of everything,” the new KCMO Talk Radio afternoon host shared. “And it doesn’t sound like another show.”
Furthermore, Khan wants to avoid the tone of a typical political show.
“Sometimes you watch these political shows and they just discuss the same topics and repeat the same talking points,” said Khan. “It’s almost like a lecture. I don’t want this to be me screaming at you.”
Instead, she wants the show to feel like a conversation.
“I just want to share my opinion and my insight as a girl who grew up in the Midwest,” Khan said. “This is how I see it, and I want to invite people into the conversation.”
Above all, Khan wants listeners to enjoy themselves.
“Most of all, I just hope people get to laugh too,” said Khan. “I don’t think there’s enough laughter in this world.”
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Classic hits should be the biggest format in America. At least, that’s my feeling after spending a couple of days in Vegas. It was a quick trip because I wanted to see the Eagles one more time. Their current run at the Sphere is billed as their last concerts ever. Don Henley announced this was show 54 at the Sphere for them, and he hoped they would make it to show 72. For a kid who bought the 45 of “Take It Easy,” how could I let this pass?
It was my second time seeing them at the Sphere. I was there for their first run in this incredible venue. Let me say, if you’ve never been to the Sphere, it’s an experience like no other. I’ve not only been lucky enough to see concerts there, but also the Delta Airlines presentation at CES when they “parked a plane” in the room. Amazing.
On to the music and the audience. Yes, I’m sure it was older than the crowd down the Strip for BTS at the iHeart Music Festival. However, I was on the upper end of the age spectrum in the Sphere on Friday. The music was like comfort food — all songs written in the 70s, and everyone knew the words. You’re going to say, of course they all knew the words. After all, if someone is paying big bucks to see the Eagles, they were going to be fans. I tried to have as many conversations as possible on the way out and asked how they became familiar with this music.
Some said their parents. Some said an older sibling. Many said Spotify. When I asked about radio, those who used it generally said, “Radio doesn’t play the Eagles.” When I got back to my room, I pulled up Mediabase and saw that “Hotel California” — the song that opened the show — was the 60th most played at Classic Rock and 74th at Classic Hits. The Eagles also ranked in the bottom of the Top 30 most played artists. They’re not in Michael Jackson rotation, but yes, they are still a part of the format.
Younger Listeners Are Discovering Classic Hits
The next day, as I walked through the hotel into the elevator, “Dancing in the Moonlight” — the 1972 hit by King Harvest — was playing. Three young women who likely were at BTS the night before joined me. They were singing along with the song. I asked them how they knew the song. One said TikTok. My weekend was now ruined. Everywhere I went for the next 24 hours, I listened for what was playing and looked for people mouthing the words.
Las Vegas hotels and casinos — at least the ones I visited — play songs that many Classic Hits stations have long forgotten. Generally, the people I watched reacted to this music the same way a classic hits programmer would want their listeners to respond. While I did not happen to hear “Eye of the Tiger,” one of the biggest songs in the Classic Hits format, I did hear “Steal Away” by Robbie Dupree. This song didn’t show in the top 1,000 in Mediabase. I also heard some Eagles songs that they played at the concert but are no longer on the radio.
Streaming Has Changed Everything
I will go back to something I mentioned months ago in this column. When I saw that national radio host and social media star Bru had a Spotify listening age over double his actual age, he told me it was because he likes Yacht Rock. The streaming services — and Sirius to an extent — have made a vast universe of music available to anyone. Not just those who grew up with it. Songs that are 50 years old are now suddenly favorites of people much younger.
As programmers, we’ve become slaves to PPM methodology. We know listening occasions are 9 to 12 minutes long. We want to make sure we’re playing 2 to 3 of the biggest hits of all time when we get one of those occasions. Perhaps it’s time to take advantage of the Guy Zapoleon “spoke” theory of programming. Go a bit deeper and older into the library in those weaker spokes on the format clock.
The Real Question
Here’s the real question: Are we responding to those short listening spans by playing a limited playlist? Or have we created shorter listening occasions with so little variety?
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There isn’t much that Joe Giglio hasn’t done during his career in sports media. From writing for Bleacher Report and other outlets to hosting national radio programs, Giglio currently calls middays on Philadelphia’s SportsRadio 94WIP home. For the past three years, alongside co-host and Philadelphia Sports Hall of Famer Hugh Douglas, the tandem has witnessed the highs and lows of sports in the ‘City of Brotherly Love.’
Every individual market has its own unique elements. What defines Philadelphia sports is, without question, a level of passion unlike any other market in the country. Every play, loss, win and hire earns the maximum spotlight. Creating plenty of questions surrounding nearly every aspect of Philadelphia sports. Those questions led Giglio to conceptualize a new venture. Writing a book about some of the biggest “what if” questions in Philadelphia sports history.
“This was the first time I’ve written a book. It was challenging in a unique way,” explained Giglio. “The fun part was each chapter was its own thing. So, it didn’t feel overwhelming. The idea of writing a book when I first came to an agreement to do it did feel overwhelming. Can I really do this on the side of a full-time job? But I went one chapter at a time, which made it less challenging.”
A Journey To Publication
Giglio is no stranger to the written word. He’s published articles and columns for several publications over the years. However, shifting from a single piece of 1,000 words or less to more than 65,000 words gave him a newfound respect for authors in the process.
The new book, titled What If? Tackling the Biggest Unanswered Questions in Philadelphia Sports History, asks many of the same questions that come up regularly among Philadelphia sports fans. Giglio takes a historical perspective. Examining what might have happened if a pivotal moment had gone in the opposite direction and how the fallout could have changed the impact of the moment itself.
“I always thought ‘what if’ questions tend to linger. The ones I put in the book always come up a lot. But there’s no right or wrong answer for them because we have no idea,” said Giglio. “There are 25 different ‘what if’ moments in the book. Five to seven immediately came to mind. Others I had to go back and think, ‘People aren’t thinking about this.’ But something happened along the way that would have changed a lot about Philadelphia sports.”
From asking what if the Philadelphia Athletics never left town to examining what might have happened if a penalty flag thrown in the Super Bowl hadn’t been used, Giglio provides his perspective on how those events could have changed the landscape of Philadelphia sports.
Each hypothetical is its own story, utilizing research and events from the past to craft a narrative about an alternative future. Giglio did it without artificial intelligence playing a role in shaping his potential outcomes.
“I’m not a big user of AI. In the contract with the publishing company, it included a clause not to use AI. I’m not sure if that is a thing with this publishing company or becoming a bigger thing all around,” noted Giglio. “Everything I created was literally from my head and what I thought could happen. But I am interested in asking AI about the same ‘what if’ questions to see if its outlook would match mine.”
The process took Giglio a year and a half, with nine months dedicated to writing. Finding a balance between writing the book, hosting a daily radio show and maintaining his home life as a husband and father became part of the challenge.
“I really enjoyed it, and can see myself doing it again,” said Giglio. “I have thought about variations of this book. When I was going through it, I thought this is Philadelphia’s version of this. But think about how many NFL, NBA and Major League Baseball ‘what if’ questions there are. I could see myself doing something like this, but I haven’t landed on a yes or no.”
King James Impact On Philadelphia
With a mid-October release scheduled, the book will become available to the public around the same time another Philadelphia “what if” question will begin to be answered. For much of the summer, Philadelphia sports fans asked themselves: What if LeBron James signed to close his career here?
After months of speculation, James announced in July that he would be taking his talents to the Philadelphia 76ers.
“We were live on the air when the LeBron James news broke. It was nuts. The excitement and tone of the listeners was palpable. It was a combination of the world’s most famous athlete choosing Philadelphia, plus the 76ers now having an actual chance to win a title,” said Giglio.
With James now playing in Philadelphia, Giglio admits the content approach and balance will change somewhat as the 76ers and Eagles compete for attention. While others in the market may approach content as a 50/50 split between the Eagles and 76ers, Giglio doesn’t feel James’ presence should cause such a drastic change in the content model for fans.
“The Sixers are kind of just there till the Eagles are done. During the NFL season, you keep an eye on them because it’s all focus on the Eagles. This season will be different because we’ll have two eyes on the Sixers, not just one,” explains Giglio. “We’ll certainly talk more about the 76ers, and it will make the discourse when we get into February and March better.”
Finding A Formula For Succes
Giglio leans on the audience to help navigate the direction of the content. He sees each listener as a customer. If they want to discuss the Eagles, the program obliges with content designed to satisfy that demand. Giglio says the formula works, and the ratings prove as much. While there is criticism on social media and competing radio stations about the content mix and approach, Giglio doesn’t tend to give it much attention.
“I let the audience tell us what they think is right,” said Giglio. “With so many ways to consume our content today, I do wonder about the entry point for those who criticize. Is it someone who listened to the full context of the conversation, or is it something they caught in their algorithm? I do know that the audience we know is there for our show likes what we do.”
With so many avenues for discovery, providing engaging content is vital for future growth and success. While he’s never considered elevating to a brand manager position, Giglio remains a student of the industry. He understands that audiences coming to radio on their own are no longer something broadcasters can count on in today’s media landscape.
“It’s great that a lot of sports radio brands have moved to putting their content out there, and everywhere. People aren’t going to seek you out unless you’re part of their routine. You have to throw yourself at them, and maybe they’ll stick around with you,” said Giglio. “I think we’ve found a lot of great avenues as an industry. But now it’s about finding ways to stabilize it.”
For Giglio, that search for stability in a changing media landscape comes back to the same thing that inspired his first book: the questions.
Every day on the radio, Philadelphia sports fans debate what happened, what could have happened and, inevitably, what might happen next. Those conversations have fueled Giglio’s career behind a microphone and now, in a different way, on the page.
“I hope people enjoy going down paths they may not have expected,” says Giglio. “I like to read. A lot of sports books I read, you know what happened already. You know the ending. The one thing about my book is you don’t know the ending. Take the ride and see where it goes. Then I close by asking if it would have been worth it to change the moment, for the good or the bad. It’s reflective in the end and asking a ‘what if’ to the reader that I enjoy.”
What If? Tackling the Biggest Unanswered Questions in Philadelphia Sports History gives Giglio the opportunity to take those conversations beyond the immediacy of the daily sports cycle and explore the possibilities that have lingered with fans for decades. There may never be definitive answers to those questions, but perhaps that is precisely why they continue to matter.
In a city where every game can create a new argument and every decision can become part of sports history, there will always be another “what if.” Giglio simply decided to take some of Philadelphia’s biggest questions, step beyond the immediate answer and give them the time, research and imagination they deserved.
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A couple of years ago, my family and I decided we needed to do something special. Taylor Swift was touring, and honestly, we wanted to see her perform. So we started looking at U.S. tickets…Yeah. That wasn’t happening.
So we did what music tourists do — we looked elsewhere. What if we looked internationally?
Taylor Swift was playing in Paris, and here’s the thing — the tickets were significantly cheaper than anything we could find in the States. Suddenly, an idea that sounded absolutely ridiculous on its face — let’s fly to Europe to see a concert — actually made economic sense. The savings on the tickets helped subsidize a family vacation to Paris.
I didn’t know it at the time, but I was participating in something that now has a name: music tourism.
Think about what that one decision created. We didn’t just buy concert tickets. We bought airline tickets. We paid for hotel rooms. We ate at restaurants. We used rideshare services. We visited attractions. We bought merchandise and souvenirs. My family injected real money into another country’s economy because Taylor Swift was playing a concert there.
But that’s only one version of what music tourism actually looks like.
Muscle Shoals: Sometimes the Music Already Happened
I’ve traveled to Muscle Shoals, Alabama. And here’s what’s interesting — you don’t need a major concert happening that night to be a music tourist.
The attraction is where the music was made.
People travel to Muscle Shoals because they want to walk into FAME Studios or Muscle Shoals Sound and stand in the spaces where records they love were created. They want to touch the history. They want to feel connected to the artists who’ve stood in those same rooms.
That’s a completely different kind of music tourism than Paris.
In Paris, I traveled thousands of miles to hear the music happening right now. In Muscle Shoals, I traveled to see where the music came from.
Those are two entirely different economic stories, but they’re both music tourism.
Athens: I Was Doing This Before I Knew It Existed
My brother played in a band called Kilkenny Cats back in the late ’80s in Athens, Georgia. So I spent a lot of time there — going to the 40 Watt, seeing shows at the Georgia Theatre, hanging out with the music community that made that city special.
I wasn’t thinking about it as “music tourism” back then. I was just going to Athens because Athens had music you couldn’t experience somewhere else. I was eating there, drinking there, seeing bands, buying tickets, and spending money in the local economy because a music community existed there.
Nobody called me a “music tourist.” I was just a guy who kept coming back to a city that mattered because music made it matter.
But that’s exactly what I was.
Kansas City: Sometimes the Destination Is a Neighborhood
I’m in Kansas City now, and I’ve spent time at 18th & Vine — the historic jazz neighborhood that’s this incredible cultural hub.
You don’t need Taylor Swift at 18th & Vine. You don’t even need one particular artist headlining a show. The culture itself becomes the attraction.
Jazz history. The clubs. The museums. The performances. The restaurants. The identity and the legacy surrounding that neighborhood — that’s enough reason for someone to spend an afternoon, an evening, or a weekend there. That’s enough reason to travel.
The Economic Story Nobody’s Really Talking About
Here’s what interests me about this.
We’re so focused on digital metrics — streams, monthly listeners, followers, TikTok views, playlist adds. All legitimate measurements. All important numbers.
But they don’t measure what happened when my family got on an airplane to Paris. Spotify doesn’t count the hotel room. YouTube doesn’t count dinner before the concert. A monthly-listener number doesn’t measure somebody flying to Alabama to tour a recording studio. An Instagram follower doesn’t tell you what someone spent during a weekend in Athens.
There’s an entire economic footprint that those metrics just ignore.
A fan can generate money for airlines, hotels, restaurants, rideshare companies, museums, bars, venues, and entire neighborhoods — all because they want to experience music in a specific place.
Suddenly a small venue or a historic studio has economic significance far beyond its ticket revenue. Suddenly preserving a recording studio isn’t just an artistic issue — it becomes economic development.
Think about the destinations that matter because of music history: Muscle Shoals. Athens. 18th & Vine. Memphis. Macon.
They’re places people choose to visit because music happened — or continues to happen — there. That means the decision to support a small venue or cultivate a local music scene affects more than just the local music community. It affects tourism. It affects hotels and restaurants. It affects the entire local economy.
I Was Already a Music Tourist
I went to Paris because I found cheaper Taylor Swift tickets. I went to Athens because my brother played in a band. I visited Muscle Shoals because I love music history. I’ve spent time at 18th & Vine because I’m in Kansas City.
Different trips. Different eras. Different kinds of music. Different reasons.
But they’re all the same thing. They’re all music tourism.
Look, maybe I’m late to the definition party. But I’d be willing to bet there’s a whole bunch of people reading this who had no idea this is what they were doing either. If you’ve ever traveled somewhere because of music — to catch a show, to visit a historic studio, to experience a music scene — you were doing it. You just didn’t have the label.
I’ve been a music tourist my entire life. I just didn’t know there was a name for it until now.
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Let’s start with the obvious: Is Donald Trump’s ban on CNN, Politico, and MS NOW a problem? Yes, absolutely, undeniably. The president of the United States believes he’s so above reproach that he can “ban” media outlets from the White House, and that’s as sad as it is embarrassing. Frankly, the whole thing should make anyone who values a free press uneasy, regardless of party.
Trump announced the ban Friday on Truth Social. By Saturday morning, reporters from all three outlets said they couldn’t get onto White House grounds. Just as embarrassing, plenty of people argued the outlets deserved it. Apparently, they’d been too mean-spirited, or too inaccurate, about the president. Give me a break. That’s a different discussion for a different day.
Meanwhile, the people working at CNN, MS NOW, and Politico have covered Trump every day for more than a decade. It’s truly astonishing that they still haven’t figured out how to do it.
Trump has picked fights with the press before, and each one follows the same script. He announces a ban, the outlets fire back, and everybody argues about it for a week. That script keeps working for him.
Trump Knows How to Work the Media
Donald Trump isn’t dumb. He knows how to twist and manipulate the media like few figures we’ve ever seen. How you feel about that skill probably works as a Rorschach test, and Trump’s the Rorschach President. But the skill itself is undeniable.
Time and time again, Trump has taken to Truth Social to share the dumbest of opinions or policy ideas. He does it to mask a bigger, much more damning story that’s about to break. If he can turn all the attention onto something benign, he’ll do it. Yet the outlets covering him every day keep chasing whatever he dangles.
So when he picks a fight with three outlets, newsrooms should ask what he’d rather avoid. Of course, that doesn’t excuse the ban. However, it does mean these outlets should know the playbook by now.
Cover the Story. Don’t Become It.
People toss around “journalism 101” far too often. Still, you could argue that “You cover the story, you’re not the story” qualifies. And yet, here we are.
Yes, Trump being a jerk to those outlets is a story. But should it be the story? I don’t think so. Ignoring the ban isn’t the answer, but proportion would help.
Meanwhile, an affordability crisis is dragging on. Gas prices are skyrocketing. We’re struggling in a war that I’d have to assume Trump and Defense Secretary Pete Hegseth wouldn’t have lasted 12 minutes in. Plus, all of that ignores whatever Trump’s hoping to draw eyeballs away from.
Monday only made the problem louder. News organizations sued in federal court and banded together to pause video coverage of the president. The lawsuit is a fair fight. The camera blackout, however, keeps the press squarely at the center of the story.
Nobody’s Coming to the Rescue
Yes, it matters that the president is trying to block outlets from covering him. The ACLU and the other entities believe the move is unconstitutional, and that’s a fair argument. Yes, it should be a topic. But it shouldn’t be Topic A.
That’s especially true when the news media is as unpopular as it is. You’re not likely to get much sympathy from the audience because “the president was mean to us!” Frankly, they largely don’t care. Why? Because of all the other bad stuff going on.
Instead, the coverage loops. Trump posts, the panel reacts, and the outlet becomes the main character. Therefore, viewers see a fight between the press and the president rather than a story about their own lives.
Here’s a smarter approach. Report the ban clearly. Challenge it in court. Then return to the stories viewers actually care about.
It’s just wild that these people sit so close to the action and still miss the play. Then again, proximity might explain the tunnel vision.
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MTV and CBS just announced a major milestone. Taylor Swift will become the first recipient of the inaugural Artist-Director Honors at Sunday night’s MTV Video Music Awards.
What We Know Importantly, the newly created award honors artists who direct their own music videos. MTV specifically designed it for those whose “work behind the camera has expanded the possibilities of music video and advanced the art of visual storytelling.” Swift has directed all her recent videos and earned seven Best Director nominations. In fact, she’s won the award four times.
What They Said The networks emphasized they’re “celebrating a sustained and influential body of work from artists who have pushed creative boundaries and developed a clear directorial voice.” Swift’s directorial portfolio speaks volumes. For example, she’s helmed everything from “The Fate of Ophelia” to “Fortnight” (featuring Post Malone). Thus, her body of work demonstrates exactly what MTV seeks.
What Remains Unclear MTV hasn’t confirmed whether Swift will attend the ceremony at the Peacock Theatre in Los Angeles. Nevertheless, insiders expect her presence seems certain, especially with potential announcements looming. Speculation swirls around a possible “Taylor’s Version” album release. Meanwhile, fans wonder which video she’ll highlight during her appearance.
What It Means This honor elevates director-artists in music culture—that part’s legitimate. That said, the timing here is hard to ignore. A brand-new award, unveiled days before the show, with Swift as the inaugural recipient? It’s strategic. MTV clearly wanted her on stage, and this gives them a compelling reason. Her directorial work genuinely deserves recognition, so it’s not cynical to acknowledge both truths: Swift’s skills are real, and MTV’s timing may be calculated.
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The major television networks have suspended pooled White House coverage following Donald Trump’s ban on three news organizations. However, Salem Radio Network says it won’t participate in any protest or boycott of the administration.
What We Know: Earlier Monday, ABC News, CBS News, NBC News, CNN, and Fox News announced they would suspend pooled coverage of President Donald Trump. The move followed Trump’s decision to bar CNN, MS NOW, and Politico from the White House. The networks said the television pool would stop covering presidential events, while other pool coverage would continue.
What They Said: “As longtime members of the White House Correspondents Association pool, SRN has notified the WHCA that our network will refuse to join this incredibly juvenile stunt, which is actually more like a RICO violation by mobsters than actions of legitimate American media. Access to the Oval Office and to the President of the United States’ pool events is a privilege, not a free pass to slant coverage against—or for—any occupant of the Presidency. With this action, the major networks have shown their bias, and petulance outweighs how they envision their responsibility to cover news under the First Amendment, for which they so quickly cry crocodile tears.” -Salem Radio Network Vice President of News & Talk Programming Tom Tradup
What Remains Unclear: The television networks haven’t indicated how long their suspension of presidential pool coverage will continue. Meanwhile, CNN, MS NOW, and Politico filed a federal lawsuit Monday seeking to restore their White House access.
What It Means: Salem Radio Network’s decision creates a distinction between the television networks’ collective action and the radio network’s approach. SRN says it will continue participating in the White House Correspondents Association pool rather than joining the television networks’ suspension.
WATCH: Salem Radio Network refuses to join the networks' White House pool boycott and torches it on the way out.@LarryOConnor reads the statement from Salem's VP of News and Talk Programming, Tom Tradup:
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Magellan AI data shows podcast advertisers increased their combined spending 9.2% in August. The top 15 advertisers spent nearly $61.9 million during the month.
What We Know: Magellan AI reports the top 15 podcast advertisers increased their combined spending from $56.7 million in July to $61.9 million in August. That represents a 9.2% month-over-month increase. The growth follows a 6% decline from June to July, while spending remained flat from May to June. Quince led the group with more than $7.6 million spent on podcast advertising. Meanwhile, all of the top 10 advertisers increased their spending compared to July. Sports accounted for the largest share of top genres, with seven advertisers spending the most in the category. Five advertisers made comedy their largest category, while news accounted for the remaining three. The 15 advertisers combined for $61.9 million in August.
What The Numbers Show:
Rank
Advertiser
August Spend
Month-over-Month Spend Change
Top Genre
1
Quince
$7,611,800
🟢 ↑ Increase
Comedy
2
Amazon
$6,435,400
🟢 ↑ Increase
Sports
3
BetterHelp
$5,916,100
🟢 ↑ Increase
Comedy
4
T-Mobile
$5,541,900
🟢 ↑ Increase
News
5
Toyota
$5,437,800
🟢 ↑ Increase
Sports
6
SimpliSafe
$4,246,300
🟢 ↑ Increase
News
7
Progressive
$3,813,300
🟢 ↑ Increase
Sports
8
PepsiCo
$3,741,600
🟢 ↑ Increase
Sports
9
DraftKings
$3,268,800
🟢 ↑ Increase
Sports
10
Google
$3,169,600
🟢 ↑ Increase
Sports
11
Shopify
$2,959,100
🔴 ↓ Decrease
News
12
Wayfair
$2,783,000
🔴 ↓ Decrease
Comedy
13
Helix Sleep
$2,379,500
🔴 ↓ Decrease
Comedy
14
Squarespace
$2,301,400
🔴 ↓ Decrease
Comedy
15
Verizon
$2,260,700
🟢 ↑ Increase
Sports
What Remains Unclear: The data doesn’t identify the specific campaigns or podcast programs driving each advertiser’s monthly change. It also doesn’t establish whether the August increase represents a broader shift in podcast advertising or a short-term fluctuation among the largest spenders.
What It Means: The August increase gives podcast advertising a stronger finish to the summer after two months of limited growth. Additionally, the concentration among sports, comedy, and news shows how the leading advertisers continue to distribute spending across major podcast genres.
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