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Chicago duo buys iO theater, plans to resume improv shows and classesDarel Jevenson July 20, 2021 at 12:48 am

Don’t turn the lights out on the iO theater just yet.

The North Side comedy house’s longtime owner, Charna Halpern, said Monday that she has sold the building and the iO brand to a pair of local real estate executives.

The buyers, Scott Gendell and Larry Weiner, intend to reopen the space at 1501 N. Kingsbury St. and resume offering improv shows and classes there, she said.

In its 40 years in business, iO (formerly ImprovOlympic) built a reputation for nurturing creativity and helped shape future stars including Tina Fey, Amy Poehler, Stephen Colbert, Chris Farley and Mike Myers. For many years it was the educational outlet for the volatile visionary Del Close, an actor and director highly regarded for his eye for talent.

Gendell and Weiner were not available for comment, but in a statement issued through Halpern, the longtime friends said they planned to “continue the cultural gem that is this iconic theater.”

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Chicago duo buys iO theater, plans to resume improv shows and classesDarel Jevenson July 20, 2021 at 12:48 am Read More »

Ohio Valley Conference exploring possible additions for departed memberson July 20, 2021 at 12:27 am

Prairie State Pigskin

Ohio Valley Conference exploring possible additions for departed members

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Ohio Valley Conference exploring possible additions for departed memberson July 20, 2021 at 12:27 am Read More »

A Sea Change for a time of upheavalCatey Sullivanon July 19, 2021 at 9:15 pm

It begins, as many wonderful things do, with the sea. Enter the outdoor space at Pilsen’s BRNDHAUS-PLZEN, and the squawk and swoop of real-life gulls merges with those of Sea Change, the latest offering from the wildly creative minds behind Cabinet of Curiosity.

Throughout the roughly 70-minute production featuring music, puppetry, dance, and storytelling, directors Michael Cotey and Frank Maugeri’s seven-person cast evokes the vastness of the coastal oceans; places where worlds we know nothing of will continue long after we’re gone, just as they did long before we were here.

The script–penned by Lindsey Noel Whiting, Kasey Foster, Bethany Thomas, Liz Chidester, and Seth Bockley–deals with matters ranging from the patriarchal bullshit that sea sirens and mermaids have to put up with (Howard Pyle et al. left out a few things, it would seem) to the ever-tightening vise of climate change. Each of the loosely connected scenes are embedded with a song or two, some haunting, some delightfully silly, all threaded together with an overarching, profoundly feminist sensibility.

The production was originally created as an indoor spectacle, but COVID-19 changed that.

Opening night came with bonus drama as Maugeri and his team of vocalists/actors/dancers/puppeteers scrambled to make their open-air space just a bit more watertight. As thunder clouds roiled overhead and mist escalated into rain, the crew scrambled to set up a waterproof space for the drum kit and the electric violin as well as a tent for the crowd gathering.

“I’m being punished for my sins,” Maugeri announced before delivering one of the most engaging curtain speeches I’ve heard in 30 years. But even with some of the sound and lighting tech compromised or altered opening night, Sea Change was a magical experience, that threat of rain creating a sense of heightened community.

The cast (Kasey Foster, Sadie Rose Glaspey, Manae Hammond, Allison Grischow, Olivia Rose Comai, Sofia Balabanova-Gebreab, and Time Brickey) works with the elaborately vivid creations of puppet and object designers Ellie Terrell, Jillian Gryzlak, Jesse Mooney-Bullock, and Milam Smith, sharing the stage with underwater creatures as small as a seagull and as massive as a great blue whale.

Designer Shawn Ketchum Johnson’s set is essentially an ark fashioned from a series of (what appear to be) shipping containers. Ensemble members haul open the heavy doors throughout, revealing the ship’s inner workings or portholes that provide unexpected views of the deeps.

In Bockley’s The Lookout, we meet the man in the crow’s nest, a gent who loves his job high on the mast, ever on the alert for whales, pirates, rocks. He’s supposed to be minding the boiler as well, but he’s not, despite the troubled queries of a stranded seagull, a bird who knows a boiler-about-to-blow when they hear it. The boiler issue is a recurring theme throughout and while it sounds like a metaphor with the subtlety of a clawhammer, it actually works; the point is made, the seagull sidekick is comic gold.

When a gigantic whale glides slowly into sight–increasing to seemingly impossible dimensions not entirely unlike that Christmas tree in The Nutcracker–it’s as thrilling as a whale watch off Cape Cod. Noel Whiting’s Whale Song is also as troubling, because more and more, these magnificent creatures are falling victim to warming seas and hunters.

The whale here has a great deal to say about current conditions in a scene that unscrolls like a moving comic book while cast members slowly crank a series of handles. We meet Dave, an ordinary man who puts himself in an extraordinary situation, in what turns out to be rather an anti-Moby Dick. The scene is an elegiac reminder of just how fleeting the life of a species is in the grand scheme of things.

In Thomas’s A Mermaid’s Tail (If There’s a God), we get a drolly tragic, utterly unromantic autobiography of sorts from a mermaid/sea siren. The puppetry is intricate: As the larger-than-human-sized mermaid takes a deep dive into the man-made mythos rules that dictate her life and death, she slowly, resignedly sheds her scales. In the end, all that’s left of her is seafoam. And maybe, that’s all that’s left for any of us when you get right down to it. There are worse ways to end up.

Foster’s alternately whimsical and chilling More (which includes music by Charlie Otto) stars the moon, as a troubled shark grapples with some pointedly human issues involving the brutality of supply and demand on planet Earth. The moon–who has seen more than a few species flame out–has some good advice. Whether the flesh-and-blood creatures below will heed it remains an open question.

On a more lighthearted note: Whatever you do, do not sleep on the jellyfish scene. They’ll almost make you believe you’re underwater, in the best possible way. v






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A Sea Change for a time of upheavalCatey Sullivanon July 19, 2021 at 9:15 pm Read More »

Blackhawks ‘excited about the quality’ of possible 12th overall picks at 2021 NHL draftBen Popeon July 19, 2021 at 10:56 pm

For the second consecutive year, the Blackhawks’ amateur scouting team has dealt with countless odd challenges while preparing for the 2021 NHL Draft.

Last year’s draft postponement to October left them fewer months to scout this year’s prospects, mostly via video. Canadian junior leagues held little to no games and all prospect interviews occurred over Zoom. The draft itself will be conducted virtually, with the Hawks gathered at another makeshift war room inside Fifth Third Arena.

But Hawks scouting director Mark Kelley feels confident as the Hawks — even while waiting for Wednesday’s expansion draft results — make their final preparations for the first round Friday (7 p.m., ESPN2) and second through seventh rounds Saturday (10 a.m., NHL Network).

“It’s almost been so strange that it feels like normal,” Kelley said Monday. “What we’re always trying to find out is how many players we think can affect a franchise… Once we get through that and we look at the first round, this draft mirrors most every other draft.”

The Hawks officially hold the 12th pick, but it’ll function as the 11th pick because the Coyotes’ actual 11th pick is forfeited. They also own two second-round picks (44th and 62nd), two fourth-round picks (105th and 108th), one sixth-round pick (172nd) and two seventh-round picks (204th and 216th).

Draft experts have described a growing consensus on the top nine skaters and top two goalies, but Kelley noted “not everyone is seeing the draft the way it’s being put in print.” He feels it’s more like a consensus top eight overall players.

Either way, the Hawks will most likely choose among the best in the second tier.

“It’s a little bit like last year at 17th — we’re going to need a little bit of help from other teams to look at [our options] differently,” he said. “[But] anytime you’re picking at 11th, you’re excited about the quality of player that’s going to be evaluated. Right now, we’re trying to get a sense for what we feel the teams ahead of us are going to do, and we’re getting close on that.”

The two goalies, Jesper Wallstedt and Sebastian Cossa, are interesting storylines as both are expected to land around 11th. The Hawks picked goalie Drew Commesso in the second round last year, but that doesn’t rule this possibility out.

Cossa’s 17-1-1 record and .941 save percentage in Canadian juniors last season “gets your attention,” Kelley said. And the Hawks have a “deeper history” of scouting Wallstedt, who went 12-10-0 with a .907 save percentage in the far tougher Swedish league — a “very, very good year.”

Among available forwards, Matthew Coronato, Cole Sillinger and Chaz Lucius have long been considered the Hawks’ most likely picks unless someone like Kent Johnson falls on Friday.

Kelley said he’s impressed by “how much better [Coronato] got as the year went on,” how Sillinger can “shoot the puck as well as anyone” and how Lucius “scored at a rate that would rival anyone that has gone through” the U.S. National Team Development Program.

Russian center Fyodor Svechkov‘s stock has risen sharply of late, however, due to a dominant performance (10 points in seven games) at the Under-18 Championships. He may now be on the Hawks’ radar, too. Kelley exclaimed about how Svechkov’s play is “just so solid on both ends of the ice.”

Among defensemen, there’s a perceived gap between the top four (all of whom should go in the top eight overall picks) and the next tier, but Kelley believes the “falloff isn’t far.”

Corson Ceulemans and Carson Lambos sit atop that next tier. Kelley likes Ceulemans’ “physical presence,” but the Hawks know Lambos — a “mobile defenseman that can get up and down the ice” — better because he played in their Finnish scout’s hometown.

Other, less likely 11th-pick possibilities include forwards Brennan Othmann, Fabian Lysell, Isak Rosen, Xavier Bourgault, Zachary Bolduc, Aatu Raty and Nikita Chibrikov and defenseman Daniil Chayka.

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Blackhawks ‘excited about the quality’ of possible 12th overall picks at 2021 NHL draftBen Popeon July 19, 2021 at 10:56 pm Read More »

If the White Sox have a weak spot, it’s their defenseJohn Grochowski | For the Sun-Timeson July 19, 2021 at 11:25 pm

The White Sox have earned their American League-best 56-36 record (through Sunday) at the plate and on the mound.

Their 5.12 runs per game rank third in the AL behind the Astros (5.35) and Blue Jays (5.21), and they have been the AL’s stingiest team with 3.77 runs allowed per game (to 3.99 for the runner-up Astros) and with a 3.55 ERA (to 3.59 for the runner-up Rays).

In the field, there’s room for improvement. By old-school fielding percentage, the Sox’ .981 ranks 13th among the AL’s 15 teams. But they fare better by numbers that capture more of the defensive picture.

With a .693 defensive-efficiency ratio, 32 points behind the Astros but two points above average, the Sox rank eighth in the AL.

Their minus-12 defensive runs saved suggests they’ve allowed 12 more runs than an average defense facing equivalent contact. That ranks 10th, with the Rays leading at plus-56.

Runs saved are compiled for each player. The Sox’ leader has been pitcher Dallas Keuchel with six runs saved, followed by outfielder Adam Engel with five runs saved in center.

On the North Side, the Cubs are struggling with a 46-47 record (through Sunday) but have a .709 defensive efficiency and are on the positive side with 24 runs saved.

The major problem with fielding percentage is that it doesn’t account for defenders’ range. Imagine two defenses face 100 balls in play, equivalent in location and velocity. One team turns 90 balls into outs but makes 10 errors. It has a .900 fielding percentage. The other makes plays on only 80 balls, turning them all into outs, makes no errors but allows 20 hits. It has a 1.000 fielding percentage.

The better defense is the one with the lower fielding percentage that turned 10 extra balls into outs.

Defensive-efficiency ratio tackles that problem by focusing on the percentage of balls in play turned into outs. The formula is 1 – (hits plus reached on error minus home runs) / (plate appearances minus walks minus strikeouts minus hit-by-pitches minus home runs).

Defensive runs saved charts every play for batted-ball location, velocity, good plays, bad plays and more. It asks whether a fielder makes more or fewer plays than an average fielder facing the same situations.

An average defender or an average defensive team would have zero runs saved.

Beyond Keuchel and Engel, Leury Garcia has taken a utility route to four runs saved — one run each at third base, shortstop, left field and right field.

For the Cubs, Javy Baez at short and Nico Hoerner at second each have five runs saved and catcher Willson Contreras and right fielder Jason Heyward have three each. So does Matt Duffy, whose runs saved all are at third, despite having played only 168 innings there.

In sum, the Sox are one of the best teams in baseball, but their defense could be tighter.

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If the White Sox have a weak spot, it’s their defenseJohn Grochowski | For the Sun-Timeson July 19, 2021 at 11:25 pm Read More »

Teatro ZinZanni revives Loop theater with laughs, thrills and a slo-mo pieCatey Sullivan – For the Sun-Timeson July 19, 2021 at 11:48 pm

It didn’t take long Thursday night at Teatro ZinZanni for The Caesar — a.k.a. the dinner theater production’s emcee/ringmaster/clown-in-chief — to get loud about the return of in-person, live theater to Chicago’s Loop.

Three times, the last with the audience roaring along, The Caesar (Frank Ferrante) roared toward the heavens: “We are here!” Part battle cry, part defiant declaration, all unbridled exuberance, it was a fittingly raucous and celebratory moment.

Well, as celebratory as one can get with COVID-19 still lurking. While vaccinations are mandatory for all staff and performers affiliated with the show, there is no such mandate for patrons. Masks also are not mandated (but are encouraged for the unvaccinated) for audience members like the ones who entered the grand Spiegeltent on the 14th floor of the Cambria Hotel for Thursday’s opening night — the first the Loop has hosted since the lockdown last March. Two friends of mine were quickly moved to another table after they found out they’d been seated with an unvaccinated couple in the near-capacity, 200-person dining room where the show is punctuated by a meal created by the Goddess and Grocer’s Debbie Sharpe. Opening night, there weren’t many empty seats, nary a vestige of social distancing and few masks.

ZinZanni originally opened back in July 2019 only to fall victim, along with the rest of the theater world, to COVID-19 pandemic shutdowns the following year. Certain key elements — namely Ferrante and master clown/co-director Joe DePaul — remain intact. The rebooted and retooled acts are fantastically over-the-top and more than diverting enough to make you momentarily forget we’re emerging from a pandemic. Truly, there’s nothing like top-drawer aerial artists, contortionists, a one-person ode to King Kong, a golden chariot pulled by fluttering doves, a couple seducing each other with lettuce, and a pie floating in extreme slo-mo toward an unsuspecting Cleopatra to take your mind off your troubles.

Teatro ZinZanni's Duo 19 features aerialists Cassie Cutler and Oliver Parkinson.
Teatro ZinZanni’s Duo 19 features aerialists Cassie Cutler and Oliver Parkinson.
Provided

The aforementioned Spiegeltent is reminiscent of a lobby/bar/theater space serving decor that’s “Eyes Wide Shut” by way of Liberace’s mansion and a Moulin Rouge floor show. With RuPaul’s “Sissy That Walk” featured prominently in the preshow music, the champagne bar, the regular bar and a gift shop selling pricey tiaras take on the feel of a catwalk.

There are kinks, so to speak, during the nearly three-hour production directed by ZinZanni founder Norm Langill, with Ferrante joining DePaul as a co-director.

The biggest issue: Way. Too. Much. Audience interaction. Non-professionals, a.k.a. people you wouldn’t pay to see, take up about 20 minutes of stage time. A bit involving a dance-off among three audience members has a great denouement, but it was a long, repetitious time coming. Audience interaction inevitably brings out some himbo who thinks they’re funnier than the professionals and while Ferrante is a master at breaking the fourth wall, (“You look like every Republican senator I’ve ever met.”), he resorted to shouting “SIT THE HELL DOWN” when a guy in front didn’t get the directive the first few times.

The irritants fade when the performers get the spotlight. The plot is incidental: We’re in The Caesar’s restaurant, where Cleopatra has decided to hang out after 2,000 or so years in a sarcophagus.

As The Caesar and Marco Antonio (DePaul) bombastically extol the beauty of Cleopatra (Storm Marrero), she emerges from the tomb, a royal for the ages. When Marrero launches into “Sympathy for the Devil,” it sounds like the music is welling up from somewhere ancient, an offering from the Gods of Belt. Marrero isn’t the only one with pipes. The single monikered Cunio boasts both an eerie falsetto and a rocker’s growl worthy of an arena, all while rocking six-inch ruby slippers.

Hula-hooping contortionist Vita Radionova turns centrifugal force into ethereal beauty as she morphs into a human slinky. Oliver Parkinson and Cassie Cutler (Duo 19) do a trapeze pas de deux to “Lucy in the Sky with Diamonds,” that is every bit as hallucinatory as you’d expect. Aerialist Lea Hinz and dancer Mickael Bajazet evoke old-time Hollywood with a delightfully Chaplinesque duet. A live, five-piece onstage band conducted by Bill Underwood adds intensity and drama to the acts.

The other area that needs work is the dining service. Our silverware arrived about 10 minutes after our entrees. By the time we had finished, the people sitting behind us hadn’t yet been served. Sharpe’s menu includes a choice of entrees, hummus and olives, Caesar salad and chocolate mousse; drinks and appetizers run $7 – $16.

The bit that leaves the biggest impression, however, belongs to DePaul, a clown worthy of Sir Toby Belch, or any other of Shakespeare’s magnificently foolish wits. It all starts as a random celebration of nonsense: There’s a shoe filled with celery, a to-the-skivvies striptease in a garbage can, a beheaded Barbie, a fleet of paper airplanes, a paper box. DePaul takes seemingly random lunacies and turns them into a one-person re-creation of one of the most iconic movie scenes of all time. When it suddenly comes into focus, you will be not only laughing, but outright guffawing and you won’t give a darn about missing silverware.

Catey Sullivan is a local freelance writer.

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Teatro ZinZanni revives Loop theater with laughs, thrills and a slo-mo pieCatey Sullivan – For the Sun-Timeson July 19, 2021 at 11:48 pm Read More »

Chicago comedy calendar for Monday, July 19-Sunday, July 25, 2021on July 19, 2021 at 11:40 pm

Comedians Defying Gravity

Chicago comedy calendar for Monday, July 19-Sunday, July 25, 2021

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Chicago comedy calendar for Monday, July 19-Sunday, July 25, 2021on July 19, 2021 at 11:40 pm Read More »

Alderman taking no chances with coveted ward superintendent’s positionFran Spielmanon July 19, 2021 at 10:03 pm

Mayor Lori Lightfoot has vowed to preserve the power aldermen cherish to hand-pick ward superintendents who can make or break their political futures. But Ald. Brian Hopkins (2nd) isn’t taking any chances.

At Wednesday’s City Council meeting, Hopkins plans to introduce an ordinance changing the law to make it clear that the job of ward superintendent is a Shakman-exempt position with hiring and firing controlled by the local alderman.

Superintendents have been hired by the Department of Streets and Sanitation, but essentially chosen by the alderman.

“The hiring authority was not formally in the aldermanic office. It was in Streets and San. It was just a courtesy that, all these years, the department always went along with the aldermanic recommendation. That’s a problem. Informal processes don’t really work with the Shakman consent decree,” Hopkins said.

“We had a court-appointed monitor for a period of time who made all those decisions. The mayor didn’t always agree with them, going back two mayors. And who’s to say we won’t eventually have another court-appointed monitor who has to look at our Shakman compliance? … It just makes sense to clean it up and to make sure the language in the statute is in full compliance with the spirit of the Shakman consent decree.”

The Shakman decree banned political considerations in city hiring and firing, though some positions are exempt. A federal hiring monitor had been in charge of enforcing that ban, but a judge dismissed that monitor in 2014, and the job fell to Joe Ferguson, the soon-to-depart city inspector general.

After a two-year audit, Ferguson concluded the ward superintendent’s job title “does not meet the legal requirements for a Shakman-exempt designation and, therefore, should be subject to the standards and procedures, as well as political factor prohibitions, generally applicable under the city’s hiring plan.”

Lightfoot said last week she plans to steer clear of that “third rail.”

But, Hopkins said he’s not about to leave such an important issue to “the mayor’s judgment call.”

“It’s a key policy position that, in many ways, can make or break an alderman’s reputation. If you do a good job maintaining your ward and the streets are plowed, the trash is picked up, the trees are trimmed, the graffiti is removed, your voters will likely forgive you for a lot other things that you do that they might not agree with,” Hopkins said.

Hopkins’ ordinance turns longstanding practice into city policy. It states ward superintendents are “to advise the alderman of the ward to which they are assigned” on Streets and Sanitation operations, “allocation of discretionary infrastructure resources” and a host of other issues.

“Contingent upon the recommendation of the alderman of the applicable ward, ward superintendents shall be hired by the Department of Streets and Sanitation, provided that the individual meets the qualifications under this section and is otherwise eligible for employment with the city,” Hopkins’ proposed ordinance states.

“The alderman for the ward to which the ward superintendent is assigned may, at any time, request the removal of the ward superintendent in writing to the Commissioner of Streets and Sanitation.”

For the first time, the ordinance also spells out qualifications for the job.

Ward superintendents must have “at least five years of work experience in municipal refuse collection, street cleaning or snow removal operations,” with three of those years spent “in a supervisory role related to the responsibilities of the position.” Either that or “an equivalent of education, training and experience.”

They must also “possess a valid State of Illinois driver’s license.”

That’s particularly important because indicted Ald. Carrie Austin (34th) once hired her son, Kenny, as ward superintendent even though he lacked a valid driver’s license, which would be essential to drive around the ward to survey conditions.

In 2017, she argued there was nothing wrong with nepotism if the person getting hired does a decent job.

“If I can’t have somebody there that I trust, who am I gonna put there? Some lazy anybody? … My people deserve better than that. And most of the people in our ward pretty much know my family,” Austin said at the time.

“Why is it so wrong for you to have your family member, your cousin or whatever working? Are you saying they don’t deserve to work either? . . . It’s so unfair for you to lambast us all the time when we have our mothers, fathers, sisters, brothers, whomever on the payroll.”

The day after the Sun-Times disclosed Kenny Austin’s hiring, Carrie Austin paid her son’s delinquent child support payments, lifting his license suspension.

Ferguson refused to comment on Hopkins’ ordinance.

In a press release accompanying his audit, the departing inspector general recommended the Department of Human Resources “immediately remove” the ward superintendent’s job from the “exempt titles list” and conduct “all future hires … in accordance with the processes and procedures under the city’s hiring plan.”

That means minimum qualifications, a “competitive interview process” to identify the “best-qualified candidates” and prohibiting “political factors and considerations” from invading the selection process, he wrote.

“An improperly classified position can negatively affect training, productivity, and development not only within the role itself, but in public perception of political influence and bias,” Ferguson was quoted as saying.

“Shakman-exemption applies only to titles with the authority to make policies or involve duties with a certain threshold of political sensitivity. The ward superintendent title has neither.”

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Alderman taking no chances with coveted ward superintendent’s positionFran Spielmanon July 19, 2021 at 10:03 pm Read More »

Man critically wounded in East Garfield Park shootingSun-Times Wireon July 19, 2021 at 10:05 pm

A man was in critical condition after being shot Monday in East Garfield Park.

He was standing outside about 4 p.m. in the 3500 block of West Fulton Street when someone pulled up in a light-colored vehicle and opened fire, Chicago police said.

The 22-year-old was struck in the neck and taken to Mount Sinai Hospital in critical condition, police said. His name hasn’t been released.

No arrests have been made. Area four detectives are investigating.

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Man critically wounded in East Garfield Park shootingSun-Times Wireon July 19, 2021 at 10:05 pm Read More »

Peyton and Eli Manning team up with ESPN for MNF MegaCastJoe Reedy | Associated Presson July 19, 2021 at 9:40 pm

ESPN has finally landed Peyton Manning as a “Monday Night Football” commentator. It’s just not in a way anyone expected, and it won’t be for the full season.

Walt Disney Co. announced on Monday a partnership with Manning and his Omaha Productions company in which Peyton and Eli Manning will be part of a “Monday Night Football” MegaCast for 10 games a year the next three seasons.

Manning, who will be enshrined in the Pro Football Hall of Fame next month, has long been rumored as a “Monday Night Football” commentator since he retired after the 2015 season, but the sides were never able to reach an agreement. Now fans will be able to get his views, albeit in a different format and with his brother, who retired last year after leading the New York Giants to two Super Bowl championships.

The Manning’s MegaCast will debut the first three weeks of this season, including the Sept. 13 opener between the Baltimore Ravens and Las Vegas Raiders, with the remaining seven weeks to be announced. It will air on ESPN2 and be streamed on ESPN+ while the standard broadcast will be on ESPN and/or ABC.

The MNF crew of Steve Levy, Brian Griese, Louis Riddick, Lisa Salters and John Parry will return for a second season.

MegaCasts had been a staple of ESPN’s coverage of the College Football Playoffs before it expanded to the NFL last year. The Week 2 game between the New Orleans Saints and Raiders averaged 15.59 million viewers on ABC, ESPN, ESPN2 and ESPN Deportes, which was one of the most-watched MNF games of the season. ESPN also brought back the MegaCast for the wild-card round game between Baltimore and the Tennessee Titans.

ESPN chairman Jimmy Pitaro said in a statement that the MegaCast is designed to be a great complement to the traditional telecast. NFL Commissioner Roger Goodell said in April when the league finalized its new 11-year broadcast agreements that the networks would have more leeway for alternate broadcasts.

Amazon, which will become the exclusive outlet for “Thursday Night Football” beginning in 2022, had alternate presentations during its simulcasts with Fox last season. CBS did a kids-focused broadcast of the wild-card game between the Chicago Bears and Saints.

“Offering multiple viewing options for the next three seasons continues our innovation efforts and provides additional value for our fans,” Pitaro said. “Peyton and Eli will bring a different approach, delving into conversation about broader, big-picture topics while also honing in on the game, much like fans do when watching with their family and friends.”

The MegaCast will originate from a remote location. The Mannings will be joined by a host to be determined and will include other guests. While the game will always be visible, the conversation will be informal and is geared to be as if viewers are watching a game at home with friends.

“This partnership with ESPN and The Walt Disney Company reflects an ongoing, shared commitment to offering fans fun, innovative content,” Peyton Manning said in a statement. “ESPN+ has been a terrific partner for Omaha Productions as we built out The Places franchise and we’re excited to co-create a new MegaCast format that will have something for everyone.”

Peyton Manning already has a working history with ESPN. His “Peyton’s Places” series on ESPN+ was meant to be a one-off to celebrate the NFL’s 100th season, but is in its third season. The franchise has expanded to include “Places” series involving Abby Wambach (soccer), Eli Manning (college football), David Ortiz (Major League Baseball), Ronda Rousey (combat sports) and Vince Carter (NBA). Wambach’s series premiered this month.

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Peyton and Eli Manning team up with ESPN for MNF MegaCastJoe Reedy | Associated Presson July 19, 2021 at 9:40 pm Read More »