Culture
As CFP meetings resume, the battle for control of the sport's future persists
— Reporting by Andrew Marchand, Nicole Auerbach, Stewart Mandel and Chris Vannini
College football’s future could receive some needed clarity this week. At least, that is the hope of many involved in planning the sport’s much-anticipated expanded postseason.
ESPN has agreed to terms with representatives for the College Football Playoff on a six-year, $7.8 billion extension to televise the event through 2031-32. But the commissioners and the presidents that run the CFP have not yet agreed on any aspects of the format beyond the 12-team model in place for the next two seasons, setting up a pivotal few days of meetings.
The terms agreement negotiated between ESPN and the firm CAA Evolution, which represents the CFP, has been in place for months, but CFP leaders still need to vote on the deal for it to take effect. Those leaders’ inability to reach consensus on topics they were hoping to settle before signing has been described by some executives involved as a “mess.”
Commissioners have said that they’re treating the Playoff for the 2026-27 season as a blank slate, with no special allegiance to any formats or decisions made over the past decade. But that approach means there’s a lot to settle, from automatic berths to revenue distribution, and outside onlookers are eager to see progress.
Meanwhile, ESPN executives are growing impatient and, as Puck business writer John Ourand first mentioned, will consider pulling the offer if the CFP fails to get its act together soon.
The Board of Managers, the university presidents and chancellors who make up the organization’s highest governing body, will meet virtually on Tuesday. The commissioners (and Notre Dame leadership) who make up the CFP’s Management Committee will meet in person in Dallas on Wednesday. Can they reach a consensus on the details for 2026 and beyond that have held up forward progress so far? And if not, what happens?
“What’s the alternative? No Playoff?” said a source involved in the discussions. “That’s not feasible. That would be a disaster.”
One possible alternative is what many across college sports feared when the SEC and Big Ten announced their new joint advisory group: An eventual breakaway of the richest and most powerful leagues in college athletics. Even if only serving as an implied threat, it could give the two conferences significant leverage in negotiations that will determine the future of college athletics.
Those attending the two meetings this week are preparing for a battle that could become cutthroat and contentious.
“The corporate, bottom-line world does not have the same expectations of collegiality from colleagues as higher education,” one said.
And when it comes to CFP negotiations, they clash.
It’s been nearly three years since a four-person subcommittee first proposed a 12-team model. It’s been more than 17 months since the CFP’s Board of Managers forced the commissioners back to the table and officially approved it. Yet very few of its most consequential issues are resolved, despite dozens of meetings of the commissioners, mostly at Dallas Fort Worth International Airport hotels. Those on the inside know how bad it looks to those on the outside.
“It’s embarrassing,” said one commissioner. “It was embarrassing (how long it took) to get to 12.”
Big-time college athletics has seen dramatic change over the last three years, with Oklahoma and Texas joining the SEC, USC and UCLA moving to the Big Ten and the subsequent implosion of the Pac-12. There has also been considerable turnover among the power conference commissioners; only the SEC’s Greg Sankey has been at the helm longer than three years. The Big Ten and Big 12 hired leaders with professional sports backgrounds.
Some commissioners in the room acknowledge that the mighty Big Ten and SEC have the leverage to chart a course forward, but have yet to throw it around. Those commissioners also say they don’t know what, exactly, the Big Ten and SEC want out of the remaining debates. The hope is more clarity at the meetings Tuesday and Wednesday.
The Pac-12’s implosion has accelerated a push to modify the 12-team model to five conference champions and seven at-large berths for the next two seasons, from the original structure that included six of each. The board is expected to vote on the 5+7 plan during its virtual meeting on Tuesday, according to three sources briefed on the process.
Washington State president Kirk Schulz, the Pac-12 representative and lone holdout in the board’s most recent meeting, is expected to propose that WSU and Oregon State receive revenue and voting powers similar to Power 4 schools in 2026 and beyond. It’s unclear whether there is much support for that, especially since future revenue and governance plans have not been determined for anyone.
Two sources involved in the approval process said they expect 5+7 to be the starting point of the format debate for 2026 and beyond but acknowledged that it may not be the final resolution. Sankey has suggested on numerous occasions a world with no automatic berths at all. Big Ten commissioner Tony Petitti has suggested reconsidering bracket sizes that were previously passed over, such as a 16-team field, people familiar with that discussion have told The Athletic.
On the topic of revenue distribution, it’s safe to assume that leagues will be rewarded both for the number of teams that make the field and for how far those teams advance, much like the payout model for the men’s NCAA tournament, one source briefed on the discussions said. How much participation and victories are worth remains unresolved, as is the starting amount allocated to each league. Currently the Power 5 leagues split about 80 percent of the CFP revenue, and each conference receives roughly the same share regardless of its appearance or performance in the postseason.
One source involved in the discussions said they expect the Big Ten and SEC to push for revenue shares larger than those given to the Big 12 and ACC, creating further separation between the two groups. The differentiation could be in the form of a larger percentage of revenue for the Big Ten and SEC on a per-league basis or on a per-school basis, the source said.
Then there’s the question of governance: Would the Big Ten and SEC, having newly formed a joint advisory group to “take a leadership role in developing solutions for a sustainable future of college sports,” push for more autonomy and/or more control of the enterprise? Decisions for 2026 and beyond won’t need a unanimous vote like they currently do, because the current contract does not roll over. And those two leagues could withhold support for the media deal until these issues are resolved to their liking.
ESPN “isn’t going to wait forever” for the Playoff to decide its future. (Photo: Stephen Lew / USA Today)
ESPN has not yet set a deadline for the CFP to ratify its deal, but as a source with knowledge of ESPN’s thinking said, “It isn’t going to wait forever.”
The current contract between the CFP and ESPN averages $609 million per year but escalates over time, which is why ESPN sees its new terms as a 28 percent increase, according to executives briefed on their discussions. The network is currently on the hook to pay around $800 million for each of the final two seasons of the original contract, and it values the four new first-round games at $100 million in total, making its outlay around $900 million over each of the next two years. If the new terms are ratified, the average payout over the life of the six-year deal comes to $1.3 billion a season through 2031-32, with the annual payment numbers escalating over the life of the contract.
ESPN also has the option to sublicense five CFP games per season, according to officials briefed on the terms of the agreement. At its discretion, ESPN can look at the market and decide if it wants to let other networks in for a fee at any point through 2032.
While ESPN has a terms agreement set, in the wake of multiple reports on the deal last week, some rival networks were being told by factions within CFP leadership they could submit a new bid, according to officials with knowledge of the discussions. But the likes of Fox, NBC and CBS have made no known offers. ESPN is still considered the clear frontrunner.
Fox and NBC, the two most likely networks to emerge as alternative destinations, have so far found the price of the potential CFP doesn’t pencil out, especially with the uncertainties surrounding the format. In the wake of the ESPN, Fox Sports and Warner Brothers Discovery “skinny bundle” partnership — in which the brands will offer their services direct-to-consumer for an estimated $40-$50 per month — NBC could possibly reevaluate a bid, but it would be quite a gamble by the CFP to wait and see whether NBC suddenly becomes interested, especially when the network would likely only be competing for a half package at best.
The CFP is part of ESPN’s five-year plan that includes a forthcoming new bid for NBA rights, a hope to continue its relationship with UFC and an interest in solving the regional sports network crisis affecting Major League Baseball, the NBA and the NHL. The $1.3 billion outlay per year sitting before the CFP is not a sum Disney CEO Bob Iger and ESPN chairman Jimmy Pitaro can find between the seat cushions of a Space Mountain ride.
ESPN already has CFP rights built into its books and would like to retain the full arsenal of college football’s main event as it launches its new venture with Fox Sports and WBD Sports this fall and ahead of its own standalone direct-to-consumer launch in 2025. The network recently re-upped to be the home of the Division I women’s basketball tournament and most other NCAA championships for $920 million over eight years, giving it potential control of the postseason for all of college sports except for the Division I men’s basketball tournament, which is owned by CBS and WBD Sports. If it were to walk away from the CFP, ESPN would still retain the long-term college football footholds of SEC and ACC exclusivity, Big 12 rights and, for the next two seasons, at least a majority of the CFP.
It is against that media backdrop that CFP leaders will meet this week, needing to sort through the “mess” and find a path to alignment in order to collect the billions that Iger and Pitaro have on the table.
“We’re 10 months away from the start of the expanded Playoff,” Notre Dame athletic director Jack Swarbrick told The Athletic. “There’s a lot to do. You don’t flip a switch. The clock is ticking.”
(Top photo: Chris Williams / Icon Sportswire via Getty Images)
Culture
Video: The A.I. threat to audiobooks
new video loaded: The A.I. threat to audiobooks
By Alexandra Alter, Léo Hamelin and Laura Salaberry
May 20, 2026
Culture
Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose
At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.
The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.
With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.
“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”
Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.
In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.
Your work has been categorized as Black romance, but how do you see yourself as a writer?
I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.
What intrigued you about the period of history you capture in the Hollywood Renaissance series?
I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.
What about that period feels resonant now?
The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.
How does this moment in your career feel?
I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.
Why would it all go away?
Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.
When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.
Why are you so firmly committed to defending the “happy ending” in romance novels?
It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.
I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.
You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?
First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.
How does this apply to being a very visible Black author in romance?
I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.
How do you define success for yourself at this point?
I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.
Culture
How Many of These Books and Their Screen Versions Do You Know?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.
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