The diagnosis wasn’t what Ross Tucker was hoping for. He had just received the news that an injury in a NFL preseason game against the Baltimore Ravens had left him with a herniated disk in his neck that had bruised his spinal cord. He pondered what to do next, even though he had already beaten the odds as a former Ivy League star that enjoyed seven years in the NFL. Tucker looked up at the doctor and calmly asked what he should do next. The answer was sharp and to the point.
“I think you’re 28 and you went to Princeton,” the doctor said. “You should get a real job.”
Tucker still laughs he was told that in 2007 and never took it to heart. Instead of doing something like finding a real job, Tucker, instead, finds himself at places such as Ralph Wilson Stadium in Buffalo doing radio color commentary for NFL playoff games like he was on Saturday. Playing in the NFL was a dream for him, but sports media has always been his dream job. He’s blessed that not one, but two, dreams have come true in his professional life.
“Most people don’t have their dream come true,” said Tucker. “Sometimes I feel guilty because I had both of my dream jobs come true.”
But neither of them almost happened. That’s because the Princeton grad initially accepted a job with Lehman Brothers on Wall Street during his senior year of college. He thought, well, If my parents paid for IVY League, I might as well make a lot of money. But then fate intervened with a long NFL career. The once short and chubby kid who thought his ticket into sports was being a broadcaster, was now being paid to play at the highest level.
“For most guys it’s all about playing and then, all right, I guess I’ll get into the media now,” Tucker said. “I actually think I gave up playing in the NFL in the sixth grade, because I was a chubby kid. I thought, well, that’s not going to happen. I’m going to have to be like my dad and be a broadcaster.”
Even though Tucker was going through the grueling nature of being an NFL offensive lineman, his dream of being in sports media was never totally out of sight. He was still the same guy that grew up dreaming about writing for Sports Illustrated and calling football games in the booth. So, as he saw his career winding down, he decided to take action. During his last year in the NFL in 2007, the league introduced a Broadcast Boot Camp with NFL Films and the Players Association. Tucker pounced at the opportunity. He instantly made contacts with Howie Deneroff, his current boss at Westwood One and Steve Cohen with Sirius XM, who was his boss for over 11 years.
“I came away from it thinking, man, I love this,” Tucker said. “I have to do this.”
But Tucker also realized he wasn’t a future Hall of Famer or even a perennial Pro Bowler that seemingly automatically gets the color commentator gig for a major network as soon as they retire. Instead, he found a different area of sports media that had been previously untapped by former players.
“My big takeaway was that no former players were writing,” Tucker said. “A lot of guys could do 15-second spurts on TV or even the radio side of things, but nobody wanted to write. I remember thinking I had to write 20-page papers on Machiavelli and a 128-page senior thesis on Title 9. I could easily write a 1,000 words on what it’s like to be at the bottom of a pile when there’s a fumble.”
Princeton may have not prepared him for sports media, but it gave him the writing skills he needed to break through. His idea was sound and made a whole lot of sense, but he didn’t know the right person to help make it happen.
That changed one afternoon at Redskins Park. Well-known NFL writer Peter King was at the team facility that day and Tucker took notice. He knew King was the perfect person to help push his idea through and get him started. But in a strange turn of events, it was the athlete, not the writer, that was nervous about introducing himself. Tucker took three steps towards his car and stopped.
“I thought, no, I’m going to introduce myself and tell him my idea,” Tucker said. “I walked back into the building and into the media room, which players didn’t do. I told him I read him every Monday and wanted to write. He loved it.”
From there, King was very much a mentor to Tucker. So much so, that he let Tucker write the “Monday Morning Quarterback” column for the September 2007 Sports Illustrated issue all about his career being over. Comcast read the article and soon showed interest in using Tucker’s services, as well as other media outlets. Make no mistake about it, King’s gesture helped fuel Tucker’s sports media career.
But as things go in sports media, Tucker’s early gigs weren’t paying enough to even cover the gas needed to drive to his new opportunities. He drove from his home in Central Pennsylvania to Philadelphia, two hours each way, for a show on Comcast Sports Philadelphia that paid him 100 bucks. At the same time, he was doing radio color commentary for Princeton football for 150 bucks a game. His mile reimbursement for road games was often higher than his actual game check.
But after two years of grinding in his dream job, ESPN came calling with a deal he couldn’t turn down. The network wanted to hire him to write and host their daily football podcast. This was what he was working for. This was it. But there was one problem.
“At the time, I promise you, I had no idea what a podcast was,” laughed Tucker. “None whatsoever. This is 2009 and all I knew was that they were going to pay me to talk football.”
Hosting the podcast was one of the best things that’s ever happened in his sports media career. After growing the audience for three years at ESPN, he eventually went out on his own and started the Ross Tucker Football Podcast. Tucker was able to bring over the large audience to his own podcast network in 2013, where he still does a 30-minute show, five days a week.
The show has grown into one of the best and most successful football podcasts on the internet, featuring sponsors such as DraftKings, 1-800-Flowers and many more. Most of his clients have been with him since day one because of his willingness and ability to create a relationship with his business partners.
“I’m proud because it’s not easy to grow like we have the past seven years,” Tucker said. “Most podcasts in the Top 20 are affiliated with a major network. It’s not as easy to grow as an independent. But the biggest key for me has been consistency. I think that’s what’s really helped our growth.”
Along with putting out 200 Ross Tucker Football podcasts a year, Tucker co-hosts weekly shows like Even Money, Fantasy Feast and the College Draft as part of his podcast network. In addition, he’s also a game analyst for the Philadelphia Eagles, CBS Sports and Westwood One, as well as a host on Bet Sweats for Radio.com and Entercom. He’s even still active in writing and one can read him on The Athletic.
Tucker has always felt blessed, and judging by his resume, he should be. But this year more than ever, he’s just thankful to be in the position he’s in. Maybe it’s because, with the uncertainty of 2020, he had no idea how many games he would actually get to call, but sitting in the radio booth of Ralph Wilson Stadium last Saturday gave him a bittersweet feeling. He felt incredibly lucky to be able to witness the Bills clinch a spot in the AFC Championship Game and do 26 football games, split evenly between college football and NFL, but there was a sadness to it being his final game of the year in the booth.
“There’s nothing like being in the booth,” Tucker said. “I have the greatest affinity for the Bills. I played for five teams and had the best experience there. It’s a very special place for me. I got a text message Saturday from a teammate Saturday saying ‘I’m so glad you got to be there for this.’ He was just glad somebody from our era was there. And that was the loudest 6,700 people I have ever heard in my life.”
From laughing in the booth at Daniel Jones tripping, to openly being upset about Jaret Patterson at Buffalo U being snubbed at a chance to break the single-game rushing and touchdown record, Tucker doesn’t hide his emotions on the broadcast. And he shouldn’t, because it’s his single best quality as a broadcaster.
Thank God for Peter King.
Covid Is A Convenient Excuse For Lowering Our Standards
“I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show.”
I was probably four hours deep into my all-day football binge on Saturday when I started to think about the overall quality of what I was seeing. This isn’t a column about whether college football is secretly better than the NFL. This is about our industry.
While you may not notice a difference in the presentation on CBS’s top line SEC broadcast or on FOX’s Big Noon Saturday game, it is clear how few resources are being allocated to some of the games further down the networks’ priority list. ESPN doesn’t even send live broadcasters to its Thursday night college football game for instance.
Covid-19 was the beginning of this. It forced every business in the broadcast industry to re-evaluate budgets and figure out how to do games when travel and the traditional set up of broadcast booths simply were not on the table.
This isn’t a problem limited to game coverage either. Plenty of hosts still are not back in their radio studio. Plenty of guests on ESPN’s and FS1’s mid day debate shows are still appearing via Skype and Zoom connections. It is as if we have started counting on our audience not expecting quality any more.
I want to be perfectly clear. I get that this pandemic isn’t over. I get that in many cases, networks and stations are trying to avoid overcrowding studios and in some cases, make accommodations for top-level talent that refuse to get vaccinated. “It’s survival mode,” is the answer from corporate.
Do we still need to be in survival mode though? We are 18 months into this pandemic. The majority of Americans are vaccinated. The ones who aren’t are actively making a choice not to do what they need to in order to put on the best possible show they can.
I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show. I am sick of seeing hosts on crystal clear HD cameras in a high tech studio talk to someone on a dirty webcam that can’t be bothered to even put in headphones so they don’t sound like they are shouting down a hallway.
A good example is the late Highly Questionable. I really liked that show when it was done in studio. I liked a lot of the ESPN talent that popped up on the show even after Dan Le Batard left. I couldn’t watch any more of the show than the two minute clips that would show up on Twitter. I didn’t want to see Bomani Jones behind a giant podcast mic. The low res camera that turned Mina Kimes’s house plant into a green blob gave me a headache. The complete disregard for quality made a decent show hard to watch.
There was a time when the accommodations we made for Covid-19 were totally necessary. Bosses and broadcasters did whatever they had to to get a show or a game on the air. At this point, I am starting to wonder how much of the concessions are necessary and how much are the result of executives that “good enough” is the new standard.
It is totally reasonable to argue that in an age where microphones and editing software are cheap, slick production doesn’t carry the weight it once did. That is true for the podcasters and TikTokers that are creating content in spare bedrooms and home offices. If you’re ESPN or FOX or SirusXM, that slick production is what sells the idea that your content is better than what people can make at home on their own.
It’s soundproof studios, 4K cameras and futuristic graphics packages that make the standard setters in the industry special. Maybe your average Joe Six-Pack can’t put it into words. He just knows that a lot of home-produced content sounds and looks like play time compared to what he sees or hears on a network.
Sure, the anchors are the signature of SportsCenter’s heyday, but it was the stage managers, producers, and other behind-the-scenes staff doing their jobs that really made the show thrive. Those people cost money. The details they took care of may be something 90% of viewers will never notice. They will just know that they are watching a really good show. Those difference makers cannot do their jobs to the best of their abilities if everyone is being piped in from a different FaceTime feed.
In the early days of the Covid-19 pandemic we did whatever we had to. As broadcasters, we made compromises. As an audience, we accepted compromises. We were desperate for familiar entertainment and if Zoom is what it took to get it, that was just fine. There was no cure, no vaccine, things were scary and we were all anxious not knowing how long it would all last.
More than 18 months later, things may not be back to normal, but we are considerably less desperate. There are signs of normalcy in the world. Make the commitment to bring back the standard that won you so many fans in the first place.
If Netflix Wants Live Sports, F1 May Be Just The Beginning
“Netflix will shrewdly need to continue to rethink its strategy because its first-mover advantage and long-time industry leading dominance is no longer guaranteed.”
In the past, Hollywood dealmakers and stockbrokers wondered whether another studio or streamer would catch Netflix. Its dominance stemmed from being a first-mover and not having a serious competitor until Amazon and Disney ten or more years after their launch. However, Netflix would eventually have to compete for content, original and licensed, other platforms that offered less expansive ad-based options, and additional content like live sports or a very popular series or movie premiere.
Arguably, the pandemic accelerated the move to digital and it allowed competitors to gain subscribers because people were spending more time at home. More subscribers and additional streaming options for consumers has not caused Netflix to faulter, but it has caused Netflix to rethink its sports strategy. For years, Netflix was dead set again streaming live sports because of their cost and commercials—Netflix does not have advertisements on its platform currently.
Netflix’s popular Drive to Survive docuseries about the Formula 1 (or “F1”) racing circuit, which was renewed for a fourth season, and the Michael Jordan/Chicago Bulls The Last Dance represents a golden era and renaissance of sports documentaries. As much as fans of feature films and television series enjoy learning about actors during and off camera they similarly want to know about sports stars, their coaches, and franchises. In other words, the business of sports is booming in valuation and behind-the-scenes content.
Recently, Netflix CEO Reed Hastings stated that the popularity of Drive to Survive has caused the company to rethink its stance on purchasing live sports content. The broadcast and streaming rights to Formula 1 will become available via ESPN and Sky Sports in 2022 and 2024. Netflix, will have some competition to secure F1 rights, which will drive up the cost. It was also reported by Front Office Sports that the Netflix CEO would require a level of exclusivity for sports rights that other platforms do not normally require. The exclusivity is likely required because Netflix will want to justify the purchase price and to keep-in-line with what Netflix customers expect—exclusive content on the platform.
With Premier League club Manchester United looking to secure a broadcast deal for selling its rights outside of the traditional league format, it might be the perfect acquisition for Netflix. An exclusive team vs. an entire league would also be less expensive and more targeted. One aspect of uncertainty for all streamers is their subscribers overseas, particularly in untapped China. The international market is far from settled or established. Netflix also has a large operation in India so possibly cricket via the Indian Premier League (“IPL”) could be a rights purchase to consider.
In 2018, the original content on Netflix only accounted for 8%. This means that 92% of the content on the platform just a few years ago was all owned (at least partially) by someone else. That statistic has changed because Disney+, Paramount+, Peacock, HBO Max, Apple+, and many others have since been created and stocked or restocked with content. Controlling interest in Hulu was even purchased from FOX by Disney. Disney and Amazon now both rival Netflix in terms of subscribers. Netflix will shrewdly need to continue to rethink its strategy because its first-mover advantage and long-time industry leading dominance is no longer guaranteed.
As Comcast-owned NBCUniversal CEO Brian Roberts recently said, purchasing sports rights can be difficult. Sports rights are expensive. Exclusive sports rights are even more expensive. Sports rights only become available every five to ten years. Networks and streamers are highly competitive to secure those rights with the hope of landing viewers, subscribers, and advertising dollars.
Will Netflix get into sports rights bidding? In the past, the digital entertainment giant has been steadfast is its non-sports approach. However, the market has changed and is flooded with more competitors now. Netflix has to change to meet its customer and the market needs.
Formula 1 presents an interesting scenario for Netflix as a buyer and partner. F1 is a popular league internationally and growing in the United States. Two new F1 races in Miami, Florida, and Austin, Texas, in addition to season four of the Drive to Survive Netflix series are sure to drive traffic, pun intended, and interest in the racing sport.
Formula 1 is a sports league that will cost less to purchase streaming rights than a traditional American “Big 4” like the NBA, NFL, or MLB. Formula 1’s structure is also centered at the top so it would be easier to make an exclusive deal that Netflix seeks. The remaining questions being, will Netflix pursue Formula 1 sports rights to increase its streaming platform subscribers and compete with others? Second, will Netflix be the first to offer commercial free live sports programming—for a premium price—or offer in-screen ads and additional during-break inside looks, content, and analysis? Or will Netflix act more like a traditional broadcaster and offer advertisements to pay down its purchase price? One will know more after a few laps around the sun.
Manningcast Is Best Experienced As A Fan, Not As A Broadcaster
“I still would’ve watched the game had the alternate not been available, but with the Manning breakdown of each play, I was watching an otherwise meaningless game on the edge of my seat.”
Much has been written on this site already about the ESPN alternative to a traditional Monday Night Football broadcast, the Manningcast. Andy Masur asked if it worked and questioned the network pulling its audience in two different directions. Mark Madden said the concept undoubtedly works, but the content is poor.
Both articles are good reads. Both provide another level of insight from those in the industry and how they view this unique/high-profile concept. Industry views provide solid insight to the success and quality of the show itself, what works – what doesn’t. But if we can’t sit back and take our industry glasses off, and just look at this broadcast as sports fans, I feel we’ll never see it in clear view.
I’ll admit, for me, it took me no more than 5 minutes of watching week 1’s Ravens vs Raiders game to say “yeah, this isn’t meant for me”. I didn’t like the non-traditional approach of the broadcast, it felt like it lacked the energy of a traditional sportscast. The stadium volume was turned way down, the excitement was more in the conversation they were having with each other, rather than the game itself. It took me out of the moment of the game, rather than allowing me to get sucked in.
Now, in fairness, I kind of went into it with a narrow mind, thinking that would be the case. I am not someone who has the desire to flip around during the College Football Playoff broadcasts and catch the coaches corner or studio chatter, I want the game.
Bottom line is, I hated the Manningcast when I watched it in Week 1. I even went on the air the next day and trolled members of my audience that were effusive in their praise of it. In the limited sample I provided for myself, I had come to the conclusion that this broadcast wasn’t made for REAL football fans (insert caveman sound effect here) and that only the most casual viewer would want to watch this SNL wanna be of a football broadcast.
However, week 2, I decided I was going to be more open minded to it. I made it a point to break away from the traditional Packers vs Lions broadcast and watch the Manningcast, no matter how painful. I was completely wrong in my initial opinion.
Was Peyton Manning wearing a helmet and acting a little too zany for my taste in week 1? Yes. Is the guest connection quality well below what we should find acceptable in broadcasting? Yes. But that’s where I made the mistake. I was looking at this broadcast through the eyes of a broadcaster and not as a sports fan.
Peyton Manning’s charisma jumps off the screen, he is elite at describing what he sees on the field in a way that no one else can. Eli can be a little dry, but he’s low key funny. And they have real chemistry together, as they should. They are family after all.
The thing that hooked me the most was just how invested Peyton was in the plays on the field, he really gets into the game, truly invested in the success and failure of the quarterbacks. There was a moment in week 2 when Jared Goff threw the ball to an empty patch of grass 15 yards down the field and was subsequently called for intentional grounding. You could see Goff yelling at the referee, pleading his case. Peyton surmised, probably accurately, that Goff was telling the ref that the ball was thrown to the right place and that its not his fault the receiver didn’t run the correct route. Peyton then carried on and told stories of when this type of thing would happen to him when he played for Indianapolis and Denver. I was hooked.
I realized that I was far more invested in week 1 as a stand alone football game, I’m from Baltimore, I have a lot of love for the Ravens. Being invested in the game itself doesn’t lend as much flexibility. As a fan, you to want to hear about anything else but the action on the field. However, when watching two teams that I have no personal interest in, the Manning broadcast took on this new life. It created a level of interest for me as a REAL football fan that I otherwise would not have had. I still would’ve watched the game had the alternate not been available, but with the Manning breakdown of each play, I was watching an otherwise meaningless game on the edge of my seat. I felt like I had a front row view to a football clinic, held by two of the most accomplished players in league history.
Personally, I could live without the guests. I am not as entertained by the back and forth with Rob Gronksowski or Pat McAfee as it seems the majority of social media is, but the Manningcast does a brilliant job of bridging the gap between the hardcore football fan and the casual observer. It’s an absolute hit and I’ll be locked in for the next one.
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