Apple is preparing to allow third-party AI chatbots—such as OpenAI's ChatGPT, Google's Gemini, and Anthropic's Claude—to integrate directly with CarPlay through an upcoming software update, according to a Bloomberg report citing people familiar with the matter.
This change would let drivers use voice commands to interact hands-free with these advanced AI tools while on the road. For instance, users could ask ChatGPT for nearby restaurant recommendations, have Gemini search for affordable flight options, or query other chatbots for complex or open-ended questions that go beyond Siri's current capabilities.
The feature is expected to roll out within the coming months, potentially aligning with broader iOS updates. However, Apple is maintaining strict controls: these third-party chatbots will not replace Siri as the default assistant, and the Siri button on CarPlay interfaces cannot be removed or reassigned. Instead, drivers will need to open the specific third-party AI app (via voice or other controls) to access it. App developers can optimize their experiences so that launching the app automatically initiates a voice-based chat mode for smoother in-car use. The AI apps will handle queries but won't control core vehicle functions or iPhone features.
Until now, CarPlay voice interactions have been limited exclusively to Siri. This move represents a notable shift for Apple, which has traditionally restricted CarPlay to approved categories like navigation, media, and communication, while opening the door to more powerful generative AI options amid competition from rivals.
In related CarPlay developments, Apple launched CarPlay Ultra, the next-generation version that extends the interface across all vehicle displays for deeper integration, last year. It currently remains exclusive to select high-end Aston Martin models, but is expected to expand to certain Hyundai and Kia vehicles later in 2026. Separately, Tesla is reportedly working to add support for standard CarPlay (not the Ultra version) in a potential future software update.
The Winter Olympics, the 2026 Milano Cortina Games in Italy, officially began with their opening ceremony on Friday at Milan's San Siro Stadium (with simultaneous events in Cortina, Livigno, and Predazzo).
NBC provided U.S. coverage through live streaming on Peacock starting around 2 p.m. ET and a primetime broadcast on NC at 8 p.m. ET. Hosting duties featured Mary Carillo and Terry Gannon, joined by former Olympic snowboarder Shaun White (particularly during the Parade of Nations).
Savannah Guthrie was originally scheduled to co-host but was absent due to a family emergency—the ongoing search for her missing 84-year-old mother, Nancy Guthrie, who disappeared in Arizona. Carillo stepped in on short notice, and the team addressed Guthrie's absence on air with messages of support and prayers.
NBC aimed to address past viewer criticisms (such as excessive commentary during the 2024 Paris Summer Games), and the broadcast was seen by some as an improvement despite logistical challenges. However, viewer reactions remained mixed, with many American audiences expressing frustration over elements like pacing, filler content during the Parade of Nations, or overall presentation.
The Good
Hosts and additions: Shaun White brought an athlete's perspective and enthusiasm (though he overused words like "amazing" early on). Mary Carillo and Terry Gannon provided solid commentary. Some praised NBC for being nimble with last-minute host changes and for a broadcast seen as an improvement over the cluttered Paris 2024 one.
Ceremony highlights captured well: Performances like Andrea Bocelli's thrilling "Nessun Dorma," Mariah Carey's "Volare" (with no lip-sync issues this time), tributes to Italian culture (e.g., Armani fashion homage, Canova sculpture-inspired dances), and energetic segments (like Sabrina Impacciatore's clown routine and time-travel production number) were engaging. NBC's coverage included expert insights and avoided some past pitfalls.
Overall event vibe: Many appreciated the ceremony's playful, Italian flair—elegant yet over-the-top, celebrating art, music, and culture in a sleek way.
The Bad
Constant commercial interruptions: This was the biggest complaint. Viewers slammed the broadcast as "unwatchable" due to frequent ad breaks cutting into the ceremony, making it feel disjointed and frustrating compared to the live Peacock feed or international broadcasts.
Commentators talking over moments: Some fans begged NBC to "stop talking" or "let us just watch," feeling the narration interrupted the spectacle unnecessarily.
U.S.-centric elements: Shaun White's promotion of his Snow League (with Saudi ties) came off as mild sportswashing to some. The broadcast focused heavily on American angles, which is typical but drew ire.
The Ugly
Censorship/editing suspicions: Multiple reports noted that NBC's feed downplayed or muted crowd boos directed at U.S. Vice President JD Vance (and Usha Vance) when shown on the Jumbotron—despite clear audible reactions in stadium and on other broadcasts (like CBC). Commentators simply said his name neutrally as boos rang out elsewhere. This sparked accusations of sanitizing political moments for U.S. audiences, with Americans questioning why it was audible on foreign feeds but not NBC's.
General viewer fatigue: Online reactions (e.g., Reddit, social media) called parts "boring" or overly long, with ads exacerbating the issue. Some compared it unfavorably to more controversial ceremonies (like Paris 2024), though others found it classy and sophisticated.
NBC Sports has detailed the massive scale of its production for Super Bowl LX—featuring a rematch between the Seattle Seahawks and New England Patriots—set for Sunday, at Levi's Stadium in Santa Clara, California.
The network is mobilizing an on-site team of more than 700 people, supported by 145 cameras (81 for the game itself, including fixed pylon cameras, plus 64 for pregame), 130 microphones, 75 miles of cable, 22 mobile units, and a wide array of additional equipment and resources.
TV Technology has released a list oc NBC Sports’ coverage of Super Bowl LX “by the numbers”:
1st Super Bowl play-by-play assignment for Mike Tirico
2 SkyCams used by NBC Sports to cover the game (including “High Sky”)
2nd Seahawks-Patriots Super Bowl matchup presented by NBC Sports (Super Bowl XLIX)
3 Super Bowl games as a referee for NBC Sports rules analyst Terry McAulay
6th Super Bowl as game analyst for Cris Collinsworth (fifth featuring the New England Patriots)
9 Locations of NBC Sports’ hosts, analysts, and commentators around the Bay Area and Levi’s Stadium on Super Bowl Sunday
11 Combined Super Bowl victories among NBC Sports Super Bowl LX Pregame Show teammates Tony Dungy (XIII as a player with the Steelers, XLI as head coach of the Colts), Rodney Harrison (XXXVIII and XXXIX with the Patriots), Jason Garrett (XXVII, XXVIII, and XXX as a player with the Cowboys), Devin McCourty (XLIX, LI, and LIII with the Patriots), and guest analyst and former Los Angels Rams defensive tackle Aaron Donald (LVI)
16.5 Hours of combined Super Bowl LX and Winter Olympics coverage on NBC and Peacock on Sunday, Feb. 8
21 Hosts, analysts, and commentators around the Bay Area and Levi’s Stadium for Super Bowl Sunday
22 Mobile units on-site at Levi’s Stadium
23 Years between assignments as Super Bowl sideline reporter for Melissa Stark
75 Miles of camera and microphone cable
130 Microphones
145 Cameras used for Super Bowl (81, including fixed cameras on pylons, etc.) and pre-game (64) coverage
700 + NBC Sports employees on site in the Bay Area
396,000 feet of camera and microphone cable
$10+ million Record cost of a 30-second advertisement during Super Bowl LX
Overall, NBCUniversal will deliver more than 90 hours of Super Bowl-related programming this week across its platforms, including NBC, Telemundo, Peacock, and Universo.This event anchors NBCUniversal's self-proclaimed “Legendary February,” which also encompasses coverage of the Milan Cortina 2026 Winter Olympic Games and the NBA All-Star Weekend.
On February 8, the schedule brings together Super Bowl LX and the Winter Olympics in a historic convergence across NBCUniversal outlets. Viewers can follow pregame buildup, the full game with kickoff at 6:30 p.m. ET, the presentation of the Lombardi Trophy in Santa Clara, and several gold medal events from Milan and Livigno—all woven into the day's extensive live coverage.
The NFL is actively exploring deals to sell live game rights to non-traditional media companies and digital platforms, beyond its core broadcast and streaming partners.
NFL Media chief Hans Schroeder told CNBC Sport on Friday that the league will hold conversations with interested parties, including those who are smaller partners or emerging players in the media space wanting to become NFL live game partners."We're going to have those conversations," Schroeder said from Radio Row ahead of Super Bowl LX in San Francisco.
"We want to understand all our options and how to think about the best model for us, for our fans, for our teams going forward."
He described the high level of interest as fortunate and said the league will listen carefully to potential suitors.
Schroeder did not name specific companies, but the move builds on prior experiments like last season's sale of a Week 1 game to YouTube for about $100 million—a one-off approach that could be repeated.
He highlighted the shift to streaming, noting that major digital platforms now reach broadcast-level audiences, creating more "optionality" compared to traditional TV, which has long been the league's preferred model due to its broad reach.
The NFL's current media partners—Disney, Paramount Global, Comcast’s NBCUniversal, and Amazon—are expected to begin talks later this year on new rights deals, four years ahead of the existing agreement's opt-out clause, according to people familiar with the matter. Schroeder supported Commissioner Roger Goodell's earlier comments that the league is open to early discussions.
The league is also expanding internationally, planning a record nine games next season. Schroeder said the NFL may sell a new package of some international games to a media partner as early as next year, calling it one of the options under consideration.
Nancy Guthrie, the 84-year-old mother of NBC's "Today" show co-anchor Savannah Guthrie, remains missing, following her suspected abduction from her home in the Catalina Foothills area near Tucson, Arizona, on the night of January 31. Authorities believe she was taken against her will, with evidence including her blood on the porch and a missing front door camera. No suspects or persons of interest have been publicly identified, but the investigation has expanded regionally.
The most recent development involves authorities investigating a new message related to her disappearance. The Pima County Sheriff's Department and FBI confirmed they are actively examining the message's authenticity after it was sent to a local Tucson news station (KOLD).
Details of the message have not been released, and it is unclear if it is connected to prior ransom notes or demands. This follows earlier reports of ransom-related communications, including at least one impostor demand that led to an arrest.
President Trump commented Friday that investigators have "very strong clues" and that "answers could come out very soon," though no official breakthrough has been confirmed.
The case continues to draw widespread attention, with ongoing searches, forensic analysis, and public appeals. Anyone with information is urged to contact the FBI or Pima County Sheriff's Department.
Cumulus Media announces that it has appointed 30-year Cincinnati media veteran Trey Dolle as Vice President/Market Manager for Cumulus Cincinnati. Cumulus Media serves the Cincinnati market through five powerful audio brands across its radio and digital platforms : 96 Rock/WFTK‑FM, 103.5 WGRR/WGRR‑FM, 94.1 WNNF/WNNF‑FM, 92.5 The Fox/WOFX‑FM, and Warm 98/WRRM‑FM — and also offers a range of digital marketing services for local advertisers.
Dolle, a lifelong Cincinnatian, was previously Vice President/General Sales Manager for Bally Sports/Fox Sports Ohio for 11 years. Prior to that, he was National Sales Manager for Fox Sports Ohio for three years. Dolle has also held roles as National/Local Sales Manager and Account Executive for Hearst Television Cincinnati’s WLWT-TV NBC. He started his career in radio as Account Executive for WUBE-FM and WKRQ-FM in Cincinnati. Dolle holds a B.A. degree in Communication Arts from Hillsdale College.
Trey Dolle
Dave Milner, President, Operations, Cumulus Media, said: “Trey Dolle brings to Cumulus Cincinnati three decades of media sales and management experience in the Queen City. We are pleased to have him at the helm of our vibrant Cumulus Cincinnati station cluster and know he will drive growth and create value for our partners and listeners with his deep understanding of the market and connection to the community.”
Dolle commented: “I am thrilled to join Cumulus Media Cincinnati. With our powerful brands and strong digital marketing service options, we have the ability to drive incredible results for our clients and I look forward to working with our talented team to do just that!"
Dolle is active in the Cincinnati community and has served as Board Advisor of the Southwest Ohio Council on Child Abuse, and was athletic commission president, Cardinal Pacelli School, and football coordinator for three area grade schools. He resides in the Cincinnati area with his wife and has four adult children.
iHeartMedia's KISS 107.1 in Cincinnati is launching a major morning show shake-up by bringing the nationally syndicated The Fred Show to its highly competitive 6–10 a.m. weekday slot, starting Monday,'
The popular program, originating from iHeartMedia's WKSC (103.5 KISS FM) in Chicago and hosted by Christopher “Fred” Frederick along with his ensemble cast of quirky on-air personalities, will now air on Cincinnati's top-rated hit music station (WKFS).
This move introduces a proven, high-energy morning show to one of the market's most listened-to dayparts.
The Fred Show is renowned for its fast-paced humor, personality-driven bits, pop culture commentary, daily games, and strong listener interaction, elements that have built it a loyal following and helped it stand out in the crowded CHR (contemporary hit radio) format. Syndicated through Premiere Networks, the show delivers consistent laughs and engagement while playing the biggest current hits.
For KISS 107.1, already Cincinnati's #1 hit music station featuring artists like Justin Bieber, Olivia Rodrigo, The Weeknd, and more, this programming change represents a deliberate strategy to deepen its appeal to younger listeners (especially millennials and Gen Z) and solidify its dominant position in the Cincinnati radio market.
The addition replaces whatever previous local or different morning programming was in place, aiming to inject fresh national appeal and entertainment value into the crucial morning drive time. Listeners can tune in starting February 9 at 6 a.m. ET on 107.1 FM, via the iHeartRadio app.
The Washington Post is undergoing massive staff cuts, culling hundreds of journalists, as owner Jeff Bezos pushes to halt annual losses of about $100 million and achieve break-even status by the end of 2026.
According to a Financial Times report citing sources familiar with the matter, Bezos hopes these drastic reductions will stem the bleeding and refocus the struggling newspaper. People close to management indicated that reaching break-even could unlock fresh funding from Bezos, who would be more willing to invest in a self-sustaining operation. One source described it as a "clear path now to break even this year and to get fresh capital to grow."
The Post, acquired by Bezos in 2013 for $250 million, has faced ongoing financial pressures, with reported losses around $100 million annually in recent periods (including 2024 figures cited in related coverage). Recent strategic decisions—such as declining to endorse a candidate in the 2024 election and shifts in opinion coverage—have contributed to subscriber declines and audience shrinkage, exacerbating the challenges.
The layoffs, described in broader reporting as affecting up to one-third of staff across departments (not just the newsroom), include eliminations in areas like sports, international, and metro coverage. Former editor Marty Baron and others have criticized Bezos's role in the paper's troubles, while staff and unions have expressed betrayal and called for sustained investment in journalism.
Bezos remains committed to the Post and has rejected past offers to sell, per sources in the FT piece. The moves reflect a broader "strategic reset" amid industry-wide headwinds for legacy media, as rivals like The New York Times report stronger performance.
➦In 1908... one of the busiest actors in the Golden Age of Radio Bill Johnstone was born in Brooklyn.
Perhaps best remembered as the actor who succeeded Orson Welles as The Shadow (1938-43), Johnstone could also be heard as Inspector Cramer opposite Sydney Greenstreet in Nero Wolfe; Lt. Ybarra on Philip Marlowe; and in the title role on The Whistler.
From 1950 to 1953, he starred as Lt. Ben Guthrie in the CBS radio police procedural The Lineup. He died Nov. 1 1996 at age 88.
➦In 1915...comic actor Eddie Bracken was born in Astoria NY. After becoming a film star in the 40’s he made frequent appearances on network radio, and had two short-lived series under his own name. On TV he was seen in guest roles over more than 40 years, including serious drama series like Studio One & Playhouse 90. He died after surgery Nov 14, 2002 at age 87.
➦In 1915...First train-to-station radio message, Binghamton, NY.
➦In 1963...B. Mitchel Reed started at WMCA 570 AM NYC.
Born Burton Mitchel Goldberg in Brooklyn, New York, Reed held a B.S. degree in journalism and an M.A. in political science at the University of Illinois. After serving in the U.S. Air Force, he entered the world of radio while teaching political science at his alma mater.
Reed hosted the all-night Birdland Jazz Show at WOV (AM) in New York in 1956. A year later, he landed a job at KFWB in Los Angeles, playing jazz and calling himself "The Boy on the Couch." On January 2, 1958, KFWB became a pioneering Top 40 station known as "Color Radio/Channel 98," and the DJ's were known as "The Seven Swinging Gentlemen." The lineup included Bruce Hayes, Al Jarvis, Joe Yocam, Elliot Field, Bill Ballance, Ted Quillin, and Gene Weed. Reed held the 6-9 P.M. time slot. Under Program Director Chuck Blore, KFWB became the number one radio station in LA.
He was known as "The Fastest Tongue in the West," for the speed in which he spoke to his audience. He left KFWB for WMCA in his home state of New York on February 7, 1963. He soon became part of a team of disc jockeys known as "The Good Guys," among them Jack Spector, a fellow alum from Boys High School in Brooklyn who had graduated two years ahead of him.
➦In 1963… the Vee-Jay label released the first Beatles single in the U.S. “Please Please Me.”
Vee-Jay's early releases were at first unsuccessful, but quickly became huge hits once the British Invasion took off in early 1964, selling 2.6 million Beatles singles in a month. Cash flow problems caused by Ewart Abner's tapping the company treasury to cover personal gambling debts led to the company's active demise; Vee-Jay had been forced to temporarily cease operations in the second half of 1963, leading to royalty disputes with the Four Seasons and EMI. The Four Seasons then left Vee-Jay for Philips Records, and EMI's Capitol Records picked up the U.S. rights for both the Beatles and Frank Ifield.
Dick Biondi, at WLS 890 AM in Chicago at the time and a friend of Vee-Jay executive Ewart Abner, played the song on the radio as early as February 8, 1963. "Please Please Me" peaked at #35, but did not show up on any of the major national record charts. The label re-issued the single in January 1964 to a much better result: it peaked at #3 on the Billboard Hot 100, just behind the group's "I Want to Hold Your Hand" and "She Loves You" released on Capitol Records.
➦In 1964...Pan Am Yankee Clipper flight 101 from London Heathrow lands at New York’s Kennedy Airport as more than 3,000 fans jammed the airport launching Beatlemania in the U.S. The Beatles, John Lennon, Paul McCartney, George Harrison and Ringo Starr arrived for their first U.S. visit (including an appearance two days later on “The Ed Sullivan Show”). The “Fab Four” controlled the top spot on the pop music charts for the next 15 weeks and owned the top of the album charts for 10 weeks.
The “Fab Four”–dressed in mod suits and sporting their trademark pudding bowl haircuts–were greeted by 3,000 screaming fans who caused a near riot when they stepped off their plane and onto American soil.
Two days later, Paul McCartney, age 21, Ringo Starr, 23, John Lennon, 23, and George Harrison, 20, made their first appearance on the Ed Sullivan Show. Although it was difficult to hear the performance over the screams of teenage girls in the studio audience, an estimated 73 million U.S. television viewers, or about 40 percent of the U.S. population, tuned in to watch. Sullivan immediately booked the Beatles for two more appearances that month.
A California-based Program Director has responded to a recent opinion column in the LA Times. The Op-Ed was writtewn by Gene Smoons, a founding member of the band KISS. Simmon called for U.S. radio stations to pay artists for airplay.
K.M. Richards has sent a rebuttal in the form of a letter to Editor. Richards, is program director for the syndicated radio format The Eighties Channel, whose flagship station is KRKE in Albuquerque.
The letter reads:
"As a radio programmer with more than 50 years of experience, and knowing that guest contributor Gene Simmons is not uninformed, I found his opinions to be incomplete at best (“Radio should be required to pay performers for their music,” Jan. 30).
"The key fact that he failed to be completely open about is that he, and other performing artists who are also songwriters, are already among those who receive a royalty from radio via the music publishing rights companies such as ASCAP and BMI — an arrangement that precedes my personal history in the industry by more than two decades. Simmons receives those royalty payments every time anyone (be it his band or another artist) performs a song on the radio that he at least co-wrote.
K M Richards
"In fact, two of the best-known KISS songs, “Rock and Roll All Nite” and “Shout It Out Loud,” show his name as the songwriter, and several more songs by his band also carry his authorship imprint. If that sounds like he is making an argument here for “double dipping,” I cannot disagree with that perception.
"Further, the up-and-coming artists who he purports to be worried about also, in overwhelming proportions, tend to write or co-write their own material and receive the same songwriting credits. And the streaming services that he admits many now use to discover new music are already subject to performance royalties, as he has himself acknowledged.
"Those same alternative platforms have decreased radio listening, resulting in the profit margins for stations being much lower than when I started in the business. Give us yet another mandated fee to pay, and the result will be counter to the intent: More stations will drop music formats in favor of royalty-free spoken-word formats. Is that what he wants?"
