Let’s not misinterpret why Serena Williams was crying. It wasn’t because reporters were pushing her toward retirement with cold questions as she sat glumly, four years since her last Grand Slam title, wearing a diamond necklace that recognized her as “QUEEN.”
No, she was breaking down and abruptly leaving the news conference in Melbourne because she no longer can be QUEEN.
It’s only a winnable game, this business of going out on one’s own terms, if obstacles aren’t clogging the legacy train. Tom Brady still hasn’t encountered an impediment to winning Super Bowls, but Williams, nearing 40, is trapped in an unfulfilling end game dominated by a younger and, somehow, potentially better version of herself. The new badass of women’s tennis, Naomi Osaka, already is 4-for-4 in major finals at just 23 after winning the Australian Open — which happens to be the number of Slam titles that Williams has been stuck on forever, one shy of the sport’s all-time record. Eerily, 23 also was the uniform number of Michael Jordan, another legend who didn’t realize it was time to go before it was too late.
“If I ever say farewell,” she said, “I wouldn’t tell anyone.”
She won’t have to say a word. It’s already clear how this story ends, the succession to her throne already established.
We needn’t prosecute Williams if she wants to march on in her one-legged catsuit, in awkward pursuit of one or two more trophies. It’s her life, not ours. But the tears provide evidence of her pain, a burden that is harder to watch as Osaka assumes control with an impenetrable perspective for one so young. Have you listened to her speak? She exudes traces of Zen, having overcome her own tears when she crumbled emotionally two years ago at Wimbledon, no longer having fun after ascending to No. 1 in the world. Tennis is known for breaking phenoms, and Osaka could have cracked following the moment that changed the sport forever, when she won her first U.S. Open amid boos as Williams infamously melted down in warfare with a chair ump doing his job. Born in Japan to a Japanese mother and Haitian father, Osaka grew up on Long Island and in Florida, yet she was treated like an outsider that day by boorish New Yorkers. Who was she to disrupt Queen Serena?
“Honestly, for me, when everything happened in New York, I got really scared, because I felt like it put me into this light that I’ve never been in before,” she said.
Instead of fading away, Osaka found peace — and, after two coaching changes and 12 subsequent losses, a keeper in Wim Fissette, who devised a plan that refined her pulverizing serve and groundstrokes. She also matured into womanhood and embraced the lessons of 2020, the horrors of COVID-19 mixed with racial unrest, wearing seven different masks with names of Black police brutality victims during her U.S. Open matches. When she arrived in Australia and had to quarantine in a hotel with other contestants, she didn’t complain like the planet’s top male player, the insufferable Novak Djokovic. She simply stayed in her room and tried not to binge-eat while plotting how to use the pandemic to her advantage.
The greats have done precisely that.
Brady. LeBron. Naomi.
“I think the thing that I’m most proud of is now how mentally strong I’ve become,” Osaka said. “I used to be really up and down. For me, I had a lot of doubts in myself. But I think the quarantine process and seeing everything that’s going on in the world — for me, it put a lot into perspective. I used to weigh my entire existence on if I won or lost a tennis match. That’s just not how I feel anymore.”
She sounds like she’s on a couch with a therapist. Except, Osaka is winning the inner conflict with her soul. “What I’ve learned on and off the court is it’s OK to not be sure about yourself,” she said. “For me, I feel like I’ve always forced myself to, like, be `strong’ or whatever. I think if you’re not feeling OK, it’s OK to not feel OK. You have to sort of go within yourself and figure things out in a way.”
But as long as she’s out there on a court — whipping forehands and making endorsement fortunes like no one since, well, Serena — Osaka sees no point in wasting time. “I have this mentality that people don’t remember the runners-up,” she said. “You might, but the winner’s name is the one that’s engraved.” If that approach sounds familiar, she reminded us of her muse by wearing a Kobe Bryant jersey to a news conference, as she does in other defining moments. “I truly think it gives me strength,” she said.
So how is Williams supposed to overcome this hurricane? She can’t. Despite claims of being lighter on her feet after an offseason of training, she simply couldn’t move at times as Osaka’s strokemaking ran her from side to side. With her unforced errors climbing toward 24, she lost focus and faith, screaming after a missed forehand, “Make a shot!” We forget, in witnessing her machine-like grip on her craft for two decades, that Williams experienced what she called life-threatening complications during her 2017 pregnancy, and that she left the tour to gather herself. When she returned, there was Osaka, who had idolized Serena and aspired to become the same force.
Now, it’s a matter of when Williams realizes she can’t get to 24 as Osaka is collecting all the Slams. She is a human being who has suffered injuries for three years — knees, a left Achilles, a pectoral muscle, circulation issues in her legs and feet — and while Osaka has slipped up on the Wimbledon grass and Roland Garros clay, there’s a sense Serena no longer can seize a flaw. Having achieved so much, she understandably prefers not to end her career just shy of a goal. Djokovic, who now has 18 Slam titles and is chasing his own history (the 20 of Roger Federer and Rafael Nadal), put it best when he said of himself and Williams, “When you’re chasing big things that are related to the history of the sport, obviously it has a lot of weight, a lot of pressure. And regardless of the amount of years you have played on the tour and the experience that you have, you still feel it on your shoulders.”
Yet isn’t 24 just a number when Williams long has been validated as the greatest ever in her sport? The holder of the record, Margaret Court, won the Australian Open 11 times in her native country back when elite players didn’t venture Down Under for the event. Her place atop the leaderboard is diluted, further muddled by her public anti-LGBTQ opinions — “the work of the devil,” Court has said — that have made her a detestable figure in some tennis circles. Is it possible Williams, as an advocate of gender equality, is driven to topple Court for social reasons?
Her coach, Patrick Mouratoglou, says Williams doesn’t think she needs 24 as career validation. Just the other day, Serena herself said, “My life is way more than a trophy.” But another recent glimpse shows her in Miami, giving a video tour of her new home to Architectural Digest. When she reaches the trophy room, she spots a piece of runner-up hardware and says, “We’ll put that one in the trash. We don’t keep second place.”
In Melbourne, Williams didn’t even finish second. Another young American, Jennifer Brady, lost the final to Osaka in straight sets. So much was made of how Williams greeted Osaka at the end of their semifinal, with her hand over her heart, as if saying goodbye to Australia and hello to her successor’s reign. Osaka has made it clear she doesn’t want to see Williams go, owing so much to the legacy of Serena and older sister Venus, two Black girls from Compton who shunned the sport’s White establishment and were home-schooled to glory by their father. Osaka, among 12 Black women in the 2020 U.S. Open singles draw, wrote in a recent column in The Telegraph (yes, she writes her own columns): “My young aspirations owe so much to Serena and Venus. Without those trailblazers, there would be no Naomi, no Coco (Gauff), no Sloane (Stephens), no Madison (Keys). Everything we did was inspired by them.”
When asked about Serena’s future last week, Osaka grew wistful. “It’s kind of sad when you say it like that, because for me, I want her to play forever. That’s the little kid in me,” she said. “As long as Serena’s here, I think she’s the face of women’s tennis.” And make no mistake, Osaka still can be a little kid, such as when she signed a TV camera lens immediately after beating Williams. “Mari, stop sending weird images in the group chat,” she wrote, directing a message to her older sister.
But Naomi is the predominant one-name icon now, capable of winning majors as long as she wants to keep playing. Said Jen Brady: “She’s such an inspiration to us all, and what she’s doing for the game is amazing in getting the sport out there. I hope young girls at home are watching and inspired by what she’s doing.” Osaka likely won’t want to play until she’s 39, but that doesn’t mean she won’t be remembered — like Tiger Woods juxtaposed against Jack Nicklaus — as having played the best tennis ever in the female ranks.
Perhaps that realization already has tapped Williams on the brain. On Instagram, just before leaving Australia for possibly the last time as a player, she thanked local fans in a note. “I am so honored to be able to play in front of you all,” she wrote. “Your support — your cheers, I only wish I could have done better for you today. I am forever in debt and grateful to each and every single one of you. I love you. I love you. I love you. I adore you.”
Hours later, after ruling the final with a serve that reached 122 mph, Osaka was saying after her 21st straight victory, “For me, I feel like every opportunity to play a Slam is an opportunity to win a Slam. So I think maybe I put that pressure on myself, but honestly, it’s working out in my favor right now.”
She was handed a pour of champagne. Not a drinker, she reluctantly took a sip and made a sour face, having been told growing up that alcohol is a no-no. “Like it’s ruining your body or your liver,” she said. “I just want to give myself an advantage for as long as I can.”
And how long might that be? “I feel like the biggest thing I want to achieve is — this is gonna sound really odd — hopefully I play long enough to play a girl that said that I was once her favorite player or something. For me, I think that’s the coolest thing that could ever happen to me. … I just think that that’s how the sport moves forward.”
Spoken like the new QUEEN, with no interest in abdicating until she says so. Let the dethroned shed the tears.
Jay Mariotti, called “the most impacting Chicago sportswriter of the past quarter-century,’’ writes a weekly media column for Barrett Sports Media and regular sports columns for Substack while appearing on some of the 1,678,498 podcasts in production today. He’s an accomplished columnist, TV panelist and radio talk host. Living in Los Angeles, he gravitated by osmosis to film projects. Compensation for this column is donated to the Chicago Sun-Times Charity Trust.
Beyond The Mask: Henrik Lundqvist Embraced 2nd Career in Sports Media
“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal.”
Plucking the strings of an acoustic guitar, Henrik Lundqvist found himself beneath the bright lights once again, poised to put on a worthy performance. Just as he aimed to stop pucks from going in the net as the star goaltender of the New York Rangers for 15 seasons, Lundqvist sought to captivate viewers as half of a musical duo featuring former NHL forward Paul Bissonnette.
Their performance of “Good Riddance” by Green Day was in tribute to Rick Tocchet, a former NHL on TNT studio analyst who recently departed the network to serve as head coach of the Vancouver Canucks.
Lundqvist serves as a studio analyst for TNT’s coverage of the NHL, breaking down players and teams throughout the broadcast and bringing his own unique style to the set. His pursuit of a post-playing career in sports media was no guarantee from the moment he retired in August 2021; in fact, he never intended to stop playing the game and competing for a Stanley Cup championship at that time.
During the 2019-20 season, Lundqvist had lost playing time to young goaltenders Igor Shesterkin and Alexandar Georgiev, and by the year’s end, his deal was bought out by the team. In an effort to continue playing, Lundqvist signed a contract with the Washington Capitals – marking the first time in his NHL career that he would not step between the pipes for the Rangers.
Lundqvist never played a game for the team though, as it was discovered in a medical exam that he would need open-heart surgery to replace his aortic valve while also having an aortic root and ascending aortic replacement. Less than two months after the successful five-hour operation, he was back on the ice rehabbing and attempting to make a full recovery – but a few months in, he began to feel unexpected chest pain. Following a medical checkup, Lundqvist was told he had inflammation around his heart. It was a significant setback that required him to step off the ice, take off his goaltender equipment and rest for several months.
After discussions with his family and friends, Lundqvist determined that the risk of taking the ice outweighed the rewards and officially stepped away from the game. Rather than conjuring hypothetical scenarios wherein he did not experience the misfortune and played for the Capitals, Lundqvist looked to the future amid the ongoing global pandemic and thought about how he could best enjoy his retirement.
“I was just mentally in a very good place,” Lundqvist said. “I didn’t have a choice; I guess that makes it easier sometimes when the decision is made because you can’t go back-and-forth – ‘Should I?’ ‘Should I not?’ Yeah, I wanted to play but it was just not meant to be for me.”
Before any definitive resolution on his future endeavors was made though, the Rangers announced that the team would retire Lundqvist’s No. 30 in a pregame ceremony during the 2021-22 season, making him just the 11th player bestowed that honor in franchise history. As a five-time NHL All-Star selection, 2011 Vezina Trophy winner, and holder of numerous franchise records, Lundqvist had the accolades to merit this profound distinction.
Moreover, he was an important component in growing the game of hockey and contributing to the greater community, serving as the official spokesperson for the Garden of Dreams Foundation and founder of the Henrik Lundqvist Foundation. He also was a two-time recipient of the organization’s prestigious Steven McDonald Extra Effort Award, honoring the player “who goes above and beyond the call of duty.”
Throughout the night, attendees regaled Lundqvist with chants of “Hen-rik!” and were treated to flashbacks of some of his memorable career moments. The night was of monumental importance for Lundqvist, during which he expressed his gratitude to the Rangers’ organization, former teammates and fans. Then, Lundqvist — referred to as “The King” — promptly took his place among team legends beneath the concave ceiling of “The World’s Most Famous Arena.”
“When I look back at my career, I know, to me, it was all about preparation; how I practiced and how I prepared for each game at practice,” Lundqvist said. “There’s no regrets, and I hope people, when they think about how I played, [know] that it was 100% heart and commitment to the game.”
Before this ceremony though, Lundqvist and Rangers owner James Dolan had held several meetings with one another. The purpose of these conversations was to determine the best way for Lundqvist to remain involved with the team, its fans, and the community. In the end, he was named as a lead studio analyst on MSG Networks’ broadcasts of New York Rangers hockey before the start of the 2021-22 season: the start of his foray in sports media.
This past summer, Lundqvist negotiated a new deal with Madison Square Garden Sports and Madison Square Garden Entertainment in which he maintained his in-studio responsibilities while increasing involvement in other areas of its sports and entertainment ventures. In this new role, Lundqvist supports the business operations for both companies, assisting in digital content development, alumni relations, and partner and sponsor activities.
When Lundqvist is not in the studio or the office, he can often be found at Madison Square Garden taking in New York Rangers hockey, New York Knicks basketball, or one of the arena’s renowned musical performances. Usually, when he is in attendance, he is shown on the arena’s center-hung video board as an “NYC Celebrity” and receives a thunderous ovation from the crowd.
“The network is just part of it, but it feels great to come there,” Lundqvist said of Madison Square Garden. “Every time I go there – to see the people that I’ve known for so long – but also I love that place; I love The Garden. I think the energy [and] the variety of things that happen there is something I really appreciate. It feels really good to be a part of that.”
Sitting alongside former teammate and studio analyst Steve Valiqutte and sportscaster John Giannone, Lundqvist appears in the MSG Networks studios, located across the street from the arena, for select New York Rangers games. From the onset, he brought his allure and expertise to the set and appealed to viewers – so much so that national networks quickly began to take notice.
“I enjoy watching hockey [and] talking hockey, but the main thing to me is the team; the people that you work with,” Lundqvist said. “The guys on the panel [and the] crew behind. I really enjoy that part of it and having a lot of fun off-camera.”
One month later, Lundqvist was on his first national broadcast for the NHL on TNT where he and Bissonnette famously performed a cover of “Nothing Else Matters” by Metallica that went viral on social media. It had been known that Lundqvist was a musician, famously performing on Late Night with Jimmy Fallon in his Rangers uniform to celebrate the end of the 2012-13 NHL lockout.
In fact, during his retirement ceremony, the Rangers gifted him with a custom-made guitar painted by David Gunnarsson, the same artist who used to paint Lundqvist’s goalie masks.
Aside from occasional music performances, Lundqvist brings an esoteric base of knowledge to the NHL on TNT panel as its only goaltender. Whether it be through player breakdowns, interviews, or dialogue with other analysts, Lundqvist has a perspective to which few professional hockey players can relate. There are various goaltenders among local studio panels surrounding live hockey game broadcasts, and Lundqvist is in a unique situation with MSG Networks in that he and Valiquette are both former goaltenders. Yet on Turner Sports’ national coverage, he is the only voice speaking to this different part of the game.
“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal,” Lundqvist explained. “Yes, you need to stop the puck, but a huge part of being a goalie is analyzing what’s going on. We can never really dictate the play so you need to analyze what’s happening right in front of you.”
In broadcasting at both the local and national level, Lundqvist is cognizant of the differences in each network’s studio programs. Lundqvist says appearing on the MSG Networks studio panel is more about being direct with the viewer, whereas the NHL on TNT views its panel as being conversational in nature. With Turner Sports, Lundqvist also asks his colleagues about the different teams around the league since he is most familiar with the Rangers both as a former player and studio analyst.
“I’m closer to the Rangers; I see more of what’s going on,” Lundqvist stated. “When you work [national] games, maybe you focus in on teams on the West Coast or [part] of the league you don’t see as often. You try to talk to the other guys on the panel and the crew and figure out things that are interesting about those teams.”
Hockey is a team sport, and Lundqvist felt grateful to play with his teammates and face his competitors over the years. Now as an analyst though, it is his job to analyze their games and critique them when necessary; however, he does not try to be excessively critical.
Lundqvist knows the trials and tribulations associated with the sport and can relate to scenarios many players face on a nightly basis. Therefore, he thinks about his own experience before giving an opinion, especially a critique, instantiating it with comprehensible, recondite knowledge and/or by recounting a similar situation.
“I’d much rather give them positive feedback obviously because I know it is a tough game,” Lundqvist said, “and sometimes it might look like an easy mistake, but if you can give the viewer a better explanation of why he did that, they might have a different view of that mistake.”
Now metaphorically being beyond the goalie mask, Lundqvist’s vision of the game has evidently shifted. He discerns just how intense the schedule is and the rapid pace of the game, axioms he was aware of while playing but inherently avoided thinking about. He has implemented his refined viewpoint of the game accordingly into his analysis, simultaneously utilizing the mindset and savvy he cultivated on the ice. It is, quite simply, a balancing act.
“I think people can be pretty quick to jump on guys and critique them,” Lundqvist said. “That’s where maybe you take an extra look and try to understand why it happened and give those reasons. I think that’s where it helps if you played the game [for] a long time and just love the game [because] you have a pretty good understanding of why guys react a certain way.”
The challenge tacitly embedded in the jobs of most studio analysts – Lundqvist’s included – is in presenting the information to the audience in a manner through which it learns without being confused. It is a delicate craft that takes time and genuine understanding to master, especially related to promulgating hockey analytics as Valiquette does on MSG Networks and within his company, Clear Sight Analytics.
“There’s a lot of educated viewers out there, but there’s also a lot of people that maybe don’t watch as much hockey,” Lundqvist said, “so you want to find that middle ground where you kind of educate both sides.”
By broadcasting both locally and nationally in addition to working in a specially-designed business operations role, Lundqvist is staying around the rink in his retirement while facilitating the growth of hockey. Despite the profusion of young talent, dynamic action and jaw-dropping plays, viewership of the sport on ESPN and TNT’s linear channels has dropped 22% from last season, according to a report by Sports Business Journal.
For Lundqvist though, he does not feel much has changed from playing regarding his responsibility to advance the reach and appeal of the sport. He played professionally for 20 years, beginning his career in his home country of Sweden, primarily in the Swedish Elite League (SEL). In the 2004-05 season, his final campaign before arriving in New York City, Lundqvist had won the award for most valuable player. Furthermore, he was recognized as the best goalie and best player, leading Frölunda HC to its second Elitserien championship in three seasons.
His NHL debut came five years after he was selected in the seventh round of the 2000 NHL Entry Draft by the New York Rangers but unlike many rookies over the years, he came polished and prepared to embrace the lights of Broadway. Following an injury to starting goaltender Kevin Weekes, Lundqvist was inserted into the starting lineup and, from that moment on, virtually never came out.
By the end of his first year, he had been named to the NHL All-Rookie Team and was a Vezina Trophy finalist for best goaltender. Additionally, he remains the only goaltender to begin his NHL career with seven consecutive 30-plus win seasons.
“I think the league is doing a great job of growing the game,” Lundqvist said. “In the end, it comes down to the product and right now, it’s a great product. I feel really good about, the best way I can, to promote the game [by] talking about it, but… it feels like I’ve been doing that for 20 years.”
One means through which Lundqvist attempts to grow the game is within the studio demos he performs with the NHL on TNT, displaying different facets of the game in a technical manner. The show also embraces the characteristics of their analysts and implements them in lighthearted segments, such as zamboni races, putting competitions, Swedish lessons and, of course, musical performances.
“I’m huge on mindset and the pressure,” Lundqvist said. “I love to talk about that type of stuff and give the viewer a better understanding of what goes through their heads. In terms of personality, I don’t know if I can say [that] I’m a serious guy because I love to have fun and laugh and do fun things.”
Lundqvist thoroughly enjoys what he is doing both locally and nationally, and he ensures he surrounds himself with people he wants to be around. There are plenty of other broadcast opportunities for former hockey players, such as moving into the booth as a color commentator or between the benches as a rinkside reporter. At this moment though, he is more focused on being immersed in his current roles, performing them to the best of his ability while ensuring he allocates time to spend with friends and family.
“I see myself more as an analyst in the studio more than traveling around and being in the rink,” he said. “I think that’s another thing with the schedule; it works really well with my schedule to have one or two commitments with the networks, but then I have other things going on in my life that I commit to.”
Plenty of comparisons can be drawn between playing professional hockey and covering the sport from the studio in terms of preparation and synergy. Yet the end result is not as clearly defined since “winning” in television is quantifiably defined as generating ratings and revenue. Undoubtedly, Lundqvist is focused on doing what he can to bolster hockey’s popularity; however, he also wants to enjoy this new phase of his career being around the game he loves.
“In sports, you win or you lose,” Lundqvist explained. “With TV, you want to be yourself [and] you want to get your point out – but at the same time, if you do it at the same time you’re having a good time, I feel like that’s good TV.”
Once their careers conclude, many athletes think about pursuing a post-playing career and oftentimes end up taking on a role in sports broadcasting. On MSG Networks alone, there are plenty of former players who take part in studio coverage on live game broadcasts, such as Martin Biron of the Buffalo Sabres, Bryce Salvador of the New Jersey Devils, and Matt Martin of the New York Islanders. At the national level, Turner Sports employs Paul Bissonnette, Anson Carter, and Wayne Gretzky for its studio broadcasts, while ESPN’s top studio crew includes Mark Messier and Chris Chelios.
All of these former professional hockey players had an obligation to regularly speak with media members, answering questions about games and the season at large. Lundqvist maintained a professional relationship with journalists and beat reporters, and he most enjoyed taking questions when the team was doing well. Regardless of what the end result of a game was though, he had a responsibility to divulge his thoughts and, in turn, be subject to criticism and/or negative feedback.
His stellar career and persona all came from emanating a passion for the game – and it continues to manifest itself beyond the television screen. Listening to those passionate about the game discuss it usually engenders euphony and lucidity to viewers, analogous to the sound of the puck hitting the pads or entering the glove. It is a timbre Lundqvist created 27,076 times throughout his NHL career (regular season and playoffs) in preventing goals, and one he now aims to explain en masse.
“The reason why I kept going to the rink and put all the hours in was because I really enjoyed it,” Lundqvist said. “If you decide to go into media or whatever it might be, I think the bottom line is [that] you have to enjoy it and make sure you have good people around you.”
Derek Futterman is a features reporter for Barrett Sports Media. In addition, he serves as the production manager for the New York Islanders Radio Network and lead sports producer at NY2C. He has also worked on live game broadcasts for the Long Island Nets and New York Riptide. He previously interned for Paramount within Showtime Networks and wrote for The Long Island Herald. To get in touch, find him on Twitter @derekfutterman.
Should the NBA Nationalize Local TV Rights Like MLS?
The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.
Diamond Sports has been anything but a diamond in the sports world. As subscribers leave cable and satellite for streaming services, companies are dropping RSNs nationwide because they are too expensive to carry. This has caused an impending bankruptcy for the company, which owns the local rights to dozens of sports teams nationwide. It is also putting the NBA, NHL, and MLB at major financial risk.
In the short term, it is known that teams will still broadcast on their RSNs even if they aren’t getting the paychecks they were promised in previous rights deals. This will affect teams’ ability to pay players and could even create an unfair advantage among the haves of the sports world like the Yankees and Lakers and the have-nots. The NFL doesn’t face the same problems that the other leagues are facing because its rights have been nationalized.
With the NFL’s continued television dominance, college conferences also bundling up games together for more money, and the MLS guaranteeing themselves television revenue after packaging local and national rights together, could we see the other leagues follow suit? It is an option that is much easier said than done but it seems like we are moving closer to it becoming reality.
The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.
The biggest problem the NBA and other leagues would face are that the local rights to all of its teams don’t expire at the same time. If the league were to sign a deal that included giving all local rights to a streamer, the amount which the league was getting paid would be very unique year after year. It would be crazy for a streamer to pay a huge chunk of money to the NBA all at once if the number of teams they have local rights to changes every year.
It would also be insane to pay an astronomical amount if the streamer is only getting the local rights to small-market teams like the Cavs and the Pistons. A major market team like the Lakers doesn’t renew their local rights until 2032. We’re still in 2023. How does that affect the league’s operating costs?
The NBA would also have to figure out whether teams whose rights don’t expire yet deserve to be included in the pot of money garnered from selling local rights to a streamer. Whether they are or they aren’t, does it put each team at different competitive advantages and/or disadvantages when trying to acquire free agents or front-office personnel?
One of the most interesting puzzles to figure out is what influence a league owner like Washington’s Ted Leonsis has in this potential measure when all is said and done. Leonsis just acquired complete control of the regional sports network — currently named NBC Sports Washington — that broadcasts Wizards and Capitals games for millions of dollars, although the exact amount remains undisclosed.
What does Leonsis do with his network if his team’s games can no longer air there? Can his team opt out of participating in a potential league offering? Or if the games continue to air on his network but are simulcasted locally on the streamer that wins local rights on a national scale, does the streamer have the ability to pay less money for rights?
If so, does that make the deal as lucrative for the NBA? And what does that mean for retransmission fees that cable companies like Comcast pay to Leonsis and other RSNs they’re still carrying?
The league will face a similar problem with the Lakers, Bulls, Knicks and other franchises that either wholly own or partially own a part of the RSNs where they broadcast their games.
I don’t have the answers to any of these questions which is why they are written here in this column. Unfortunately for the leagues, they don’t have the answers either. But if the NBA figures out a way to nationalize their product even more and make streaming games more appealing by ending local blackouts, it’ll benefit the game more than it hurts the game.
NBA, NHL, and MLB games are still some of the highest-rated programs locally in many markets when you look at how they rate vs. other cable and broadcast offerings. But at this point, the ability to charge everyone for a program that only ten percent of subscribers are watching is a losing business proponent.
The leagues should start from scratch and sell a mass package of games for maximum profit. It gives fans a more centralized location to watch their favorite teams and puts the leagues on a much more steady path than where they could be headed sooner rather than later.
Diamond in the rough to sparkling jewel of light? Only time will tell.
Jessie Karangu is a columnist for BSM and graduate of the University of Maryland with a bachelor’s degree in journalism. He was born and raised in Baltimore, Maryland but comes from Kenyan roots. Jessie has had a passion for sports media and the world of television since he was a child. His career has included stints with USA Today, Tegna, Sinclair Broadcast Group and Sightline Media. He can be found on Twitter @JMKTVShow.
Do You Have Affirmations Of Gratitude?
“We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right?”
Having gratitude for your life is all the rage. If you, like me, have trouble starting your day with positive affirmations and maintaining a positive outlook about your job, read on!
We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right? Here is another version. Try a few affirmations of gratitude instead.
“I HAVE A JOB.”
With interest rates rising, inflation increasing, and spending down; corporations are laying people off. PayPal laid off 7% of its entire workforce. Amazon let 18,000 go. Alphabet (Google) said goodbye to 12,000 jobs. Radio sales managers need to hire people like you – experienced sellers with a track record of bringing home the bacon.
“I AM A PROBLEM SOLVER.”
You solve a problem for your company when it comes to revenue. You know people, and you sell advertising better than anything they can come up with…so far.
Yes, they are trying to replace you, but Zoom Info reports iHeart’s self-serve spot buying service, AdBuilder, is doing under 5 million in business. You have time to solidify your value. Be happy you are the rainmaker.
“I WORK IN THE PEOPLE BUSINESS.”
Sports talk radio is the ultimate companion to millions of listeners. They aren’t robots, and your stations improve their lives by talking about what they care about 24/7. Celebrate selling access to callers, Twitter followers and FANS who go to games. You also get to work with local celebrities that everybody knows but you know best. We all need a connection to other people and want to be seen and heard.
“I GET TO CHANGE HOW I FEEL ABOUT MYSELF.”
In this job, you determine your value, feelings about your work, and who you work with. You get to set a strategy and talk to the businesspeople you want to help and do business with. It’s like running your own business with a tremendous support staff. Try to do it independently, and you will appreciate accounting, traffic, production, and sales assistance. Those wins produce deposits in your bank account.
“I HAVE COMPETITION!”
That format competitor across the street does things differently and sometimes better than you or tries to imitate you and looks terrible. They motivate you to beat them to a new account or put a moat around your best clients so they can’t be touched. They keep you sharp and willing to try new things. Good competition schemes to take money from your station, and your management needs you to protect them. And they also provide a place for you to work one day. The FTC wants to eliminate non-competes so you can walk across the street this year.
Jeff Caves is a sales columnist for BSM working in radio, digital, hyper-local magazine, and sports sponsorship sales in DFW. He is credited with helping launch, build, and develop SPORTS RADIO The Ticket in Boise, Idaho, into the market’s top sports radio station. During his 26 year stay at KTIK, Caves hosted drive time, programmed the station, and excelled as a top seller. You can reach him by email at firstname.lastname@example.org or find him on Twitter @jeffcaves.