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Can ESPN Solve Its Grantland Problems?

Jason Barrett

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In the five short months since ESPN president John Skipper bounced Grantland founder and boss Bill Simmons out of ESPN, many on the Grantland staff have experienced five long months of chaos and aftershock. Last week saw the exodus of five key Grantland editorial figures, and that followed the departure in September of Pulitzer Prize–winning writer Wesley Morris, who just last year, turned down a job offer from The New York Times to continue working at Simmons’s side. Morris is now critic at large at The New York Times.

If that wasn’t enough, multiple sources have confirmed that one of the staffers who left, deputy editor Sean Fennessey, was offered Simmons’s old job as Grantland’s editor in chief, the post currently held by Chris Connelly. Fennessey turned ESPN down, deciding instead to join Simmons in a new digital venture, along with other ex-Grantlanders Juliet Litman, Mallory Rubin, and Chris Ryan. Dan Fierman also left to serve as vice president and editorial director of MTV News.

For an ESPN management team that has been struggling to find the right moves in the aftermath of the Simmons explosion, Fennessy’s “thanks but no thanks” has to be a frustrating, and arguably humiliating, rejection. Despite declarations of support from Bristol Central, it leaves Grantland facing more uncertainty than ever.

Discussions on background with Grantland staffers past and present (ESPN executives associated with Grantland declined to talk on the record or on background for this column) reveal that the site is beset by a climate of fear, a cycle of mistrust, and a belief amongst several that staff are “treated like children.” An overall lack of communication with management has been beyond frustrating for the staff. Many heard about Connelly’s appointment on their Twitter feeds—precisely where Simmons had learned of his dismissal.

Since its 2011 founding, Grantland has served as a channel for Simmons to expand the Grantland staff’s distinctive point of view to journalism and criticism, a no-fear zone within the ESPN empire. That privileged position can safely be considered history. There is fear now, not only for the survival of the staff—with still more departures rumored imminent—but also for the survival of Grantland itself, unthinkable as that may have seemed even a year ago. Staff-wide angst continues to grow despite a Herculean effort by ESPN to dispense metrics suggesting traffic on the site is stronger than ever, implicitly arguing that Simmons’s departure had little effect on the almighty numbers.

But interpreting metrics for Grantland is a total quagmire, because there are simply too many ways of slanting the stats—e.g., sourcing, ignoring how often stories were featured on the ESPN.com home page, visibility on the mobile app, etc. ESPN management and staunch Simmons defenders could both take turns in front of a jury and make compelling cases that things are either better or worse than before Simmons’s departure.

The arguments over metrics are reminiscent of the restive squabbling earlier this summer about whether or not the site was profitable. On several occasions, Skipper reassured Grantland personnel concerned about profitability, telling them not to worry about dollars and that what ESPN needed was “soul,” along with “other things that matter,” apart from scores and statistics. (Speaking onstage at Vanity Fair’s New Establishment Summit last week, Simmons conceded that Grantland was not profitable: “It was probably like right around even.”)

Over the last two years, ESPN management had heard from Simmons many times that he didn’t think they were selling Grantland aggressively enough. ESPN sources place annual ad revenue for Grantland at about $6 million a year, including the Web site and a Simmons podcast, but since his departure from ESPN, Simmons has rolled out his own (and his owned) podcast, which, according to an industry expert, is probably worth north of $5 million in yearly revenue alone. Thus Simmons is now making for himself roughly the same as Grantland’s entire annual ad-sales revenue.

The key and practical predicament now is whether ESPN should continue with the site at all. Grantland was never the kind of enterprise ESPN would have attempted were it not for the fact that Simmons—for a while, ESPN’s highest-paid employee—wanted it. And in the beginning of the site, ESPN executives John Skipper, John Walsh, and Rob King paid a great deal of attention to it, and their star.

To read the rest of the article visit Vanity Fair where it was originally published

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ESPN Sees Larger Than Average Audience For Big City Greens Classic

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ESPN aired Tuesday night’s New York Rangers and Washington Capitals game. DisneyXD and Disney Channel aired an alternate broadcast that included players being 3D animated to resemble the cast of Disney Channel’s popular cartoon Big City Greens. It turned into a ratings win for the networks.

The alternate broadcast featured players animated in real time to mimic what was happening on the Madison Square Garden ice. Players were equipped with special chips in the padding to aid the animation, and special pucks were used to ensure a smooth transition from video to computer-animated graphics.

An average of 589,000 viewers tuned into the game on ESPN. Meanwhile, nearly 175,000 watched the broadcast between Disney Channel and DisneyXD.

The figure for ESPN represents its largest NHL broadcast since a November 1st broadcast featuring the Pittsburgh Penguins and Boston Bruins.

The combined total for the broadcast — 765,000 — outdrew the World Baseball Classic broadcasts but did not top the NCAA Tournament’s First Four round that was broadcast on truTV.

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Greg Gumbel: I’m Lucky That I’ve Never Been Fired

“I worked for some people who didn’t like me, I’ve worked for some people I didn’t like. It’s a strange business, there’s no doubt.”

Ricky Keeler

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Greg Gumbel

This week, it was announced that Greg Gumbel will no longer be a play-by-play announcer for the NFL on CBS after working on CBS’s NFL coverage every year since 1998. Gumbel has had an illustrious career and he takes pride in the fact that one thing has never happened to him.

Gumbel was a guest on the Tell Me A Story I Don’t Know podcast with George Ofman (Part 2 from an interview back in September) and he told Ofman that while he has never been fired before, but he doesn’t think broadcasters should be embarrassed when they get fired because of what the business is.

“It’s the nature of the business. I honestly think I’ve been extremely fortunate in that I’ve never been fired in a business that is known for firings. Being fired in this business is no shame, no embarrassment because it’s a subjective business. Because this guy at this network likes my work, it doesn’t mean that this guy at that network does. It’s extremely subjective and if you can buy that and understand it the way it is, then it shouldn’t bother you at all.

“It’s never happened to me. If it had, it would not have surprised me. I worked for some people who didn’t like me, I’ve worked for some people I didn’t like. It’s a strange business, there’s no doubt.”

Gumbel has been the host of CBS’s NCAA Tournament coverage for the last 25 years and he knows it’s a job that he is very grateful to have.

“I know there are people who would give their right arm to be sitting there next to Clark Kellogg and Seth Davis on Selection Sunday or sitting next to Kellogg, Kenny Smith, and Charles Barkley when the tournament begins to talk about what we’ve just seen or what we are going to see. I am never, ever going to take for granted the fact that I have been very fortunate to be able to do that.”

One thing Gumbel tries to avoid whenever he is on air is the mispronunciation of someone’s name because he knows how it feels to have his name distorted accidentally by some people.

“Pronunciations are important to me. There’s been a lifetime of people who may not completely mispronounce my name, but distorting it a little bit from time to time. I never want to do that to an athlete. If I ever mispronounce an athlete’s name, I hear it from his family, I hear it from the school or the team and I apologize for it as soon as I can. I don’t think that is something light or should be taken for granted.”

Toward the end of the interview, Gumbel was asked by Ofman when he will know it will be time to end his career.

“Other people have given it more thought than I have. I think when that time comes around, it will hit me over the head more than I will think about it. There are people who ask me why I still do what I do. The very bottom line is I love it, I enjoy it.”

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Diamond Sports Group Misses Arizona Diamondbacks Rights Payment

It is believed that the missed rights payment by Bally Sports Arizona triggers a clause in the contract that reverts the television rights back to the Diamondbacks and Major League Baseball.

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Last week, Diamond Sports Group — operator of the Bally Sports-branded regional sports networks — claimed it had paid every rights fee it was contractually obligated, except for the Arizona Diamondbacks.

At the time, the company said it had a grace period until it needed to make a payment. That payment was due by Thursday, March 16th at 11:59 PM. That time has come and gone, and the company failed to deliver its fee.

It is believed that the missed rights payment by Bally Sports Arizona triggers a clause in the contract that reverts the television rights back to the Diamondbacks and Major League Baseball.

The Diamondbacks are not the only team affected by the situation. Bally Sports — which filed for Chapter 11 bankruptcy earlier this week — has also reportedly entered a grace period with the San Diego Padres. According to a report from Sports Business Journal, that grace period ends on March 30th, baseball’s Opening Day.

Previous reporting claims that contract is one the network hopes to get out from under. The company loses a reported $20 million per season on its television deal with the Padres. The Cincinnati Reds and Cleveland Guardians are the other two baseball franchises the network holds the rights to that it hopes to terminate deals for.

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