SEGG Media (NASDAQ: SEGG, LTRYW), a technology company at the intersection of sports, entertainment and gaming, announced that Lottery.com and Sports.com-sponsored drivers Callum Ilott, Louis Foster and Sebastian Murray will compete at the Java House Grand Prix of Monterey at WeatherTech Raceway Laguna Seca. Foster, driving the #45 Droplight Honda for Rahal Letterman Lanigan Racing, enters the event with an average starting position of 8.4 over the last five races and aims to convert his strong qualifying pace into points. Ilott returns to the circuit where he secured his career-best IndyCar finish of P5 in 2023, while Murray makes his comeback to INDY NXT after being medically cleared following a crash at Mid-Ohio. SEGG Media leadership will be on-site to advance its Young Drivers Academy Program as part of its long-term commitment to developing elite racing talent across INDYCAR and international series.

To view the full press release, visit https://ibn.fm/m2lRS

About SEGG Media Corporation

SEGG Media is a global sports, entertainment and gaming group operating digital assets such as Sports.com and Lottery.com. Focused on immersive fan engagement, ethical gaming and AI-driven live experiences, SEGG Media is redefining how global audiences interact with the content they love.

NOTE TO INVESTORS:?The latest news and updates relating to SEGG are available in the company’s newsroom at http://ibn.fm/SEGG

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COMTEX_467628603/2801/2025-07-28T13:24:02

Boise State Esports is entering a new era – one built on the foundation of eight years of innovation, growth and competitive excellence. The program is officially graduating from the College of Innovation and Design to become part of Boise State Athletics. What began as a grassroots effort is now a nationally recognized powerhouse – poised to expand its reach, deepen its impact and create even more opportunities for student-athletes in the years ahead.

It all started in 2017, and in the most humble of spaces: a classroom. But it was never a small idea. The program was born from the vision of Chris “Doc” Haskell – also nicknamed the “Grandfather of Esports” – and backed by the innovation-focused spirit of the College of Innovation and Design.

Haskell joined forces with Brett Shelton, a professor of educational technology to explore the possibilities of competitive gaming in higher education. Together, they pitched the idea to the College of Innovation and Design. Gordon Jones, then-dean of the college saw the potential immediately – a program true to the college’s mission of investing in the future and building from bold ideas.

With the college’s support, the program launched under the Department of Educational Technology, but transitioned fully to the College of Innovation and Design in 2018, just one year after its founding. The program’s physical journey mirrored its growth. From a shared computer lab in the Education Building, it moved to a temporary home on the second floor of Albertsons Library. Then, in 2019, construction was completed on the now-iconic Boise State Esports Arena.

The downtown arena was originally a shared space with the Venture College. But during the COVID-19 pandemic, the Venture College shifted to virtual operations and the Esports program expanded to take over the entire arena – marking another key milestone in its growth.

Over the past eight years, Boise State Esports has grown into one of the winningest esports programs in the country. With more than 1,500 competitive matches under its belt, the program boasts multiple national titles, dozens of conference championships and a global reputation for excellence.

Eight Years of Milestones

• 2017: The program launches with a League of Legends match in the Student Union Building. Early broadcasts are run out of Doc Haskell’s office.
• 2018: Boise State enters regular-season play and competes in an exhibition match in Las Vegas against UNLV.
• 2019: The Boise State Esports Arena is completed, welcoming fans and competitors alike.
• 2020: The program thrives despite pandemic disruptions. Boise State becomes one of the first universities to broadcast Valorant.
• 2021: The Broncos enjoy their best season yet, winning the Mountain West and a Madden national championship.
• 2022: Boise State becomes a national powerhouse, claiming championships across the country, especially in Overwatch.
• 2023 (Spring): Boise State competes at worldwide championships and hosts high-profile tournaments on campus.
• 2023 (Fall): A new state-of-the-art broadcast studio is added to the downtown arena. Boise State hosts the NACE Starleague national championships.
• 2024: Multiple teams make it to May Madness finals, bringing home four Mountain West Championships and securing national recognition in Rocket League, Overwatch, Valorant, and CFB25. 

An innovation incubator

The College of Innovation and Design has been more than a host – it has been an incubator and accelerator for the esports program. From the very beginning, the college offered the program a home, the flexibility to grow and access to the kind of support needed to thrive in uncharted territory.

In 2017, collegiate esports was still a new idea. Boise State was one of the first universities in the country to take the leap, and the college believed in that vision and invested early. Their support allowed the program to experiment, evolve and ultimately establish stability. The addition of funding from Idaho Central Credit Union allowed the program to begin offering scholarships, creating access for more students to participate.

Today, many universities are trying to replicate what Boise State built. But the College of Innovation and Design was there first – acting as the launchpad for what has become a nationally renowned program. The college’s history of fostering successful initiatives, such as Games, Interactive Media, and Mobile Technology, Human-Environment Systems, and Leadership Certificates, is part of what makes the College of Innovation and Design special. Esports is now the first non-credit-bearing program to successfully “graduate” – a major milestone for the college.

In the past year, the esports program has received institutional support from the president’s office and expanded its professional staff, further cementing its place as a core part of Boise State’s innovation ecosystem.

Tyler Perry played a hand in Ryan Coogler securing a groundbreaking deal.

Award-winning director Coogler released “Sinners” in theaters on April 18. According to Forbes, the horror film, which had a $90 million production budget and featured Michael B. Jordan, Hailee Steinfeld, and Miles Caton, garnered $365.9 million worldwide. The film marked a reset for Coogler, who previously worked on sequels for “Black Panther” and “Creed.”

One of ESPN’s first visitors to its new studios for flagship programs “Get Up” and “First Take”? That would be Whoopi Goldberg. Turns out, one of the hosts of “The View” is a big sports fan, and her show tapes just down the hall from ESPN’s morning shows at Disney’s new Manhattan digs.

In the basement of the new Hudson Square building, near SoHo in Lower Manhattan, you can find studios for “First Take,” “Get Up,” “Unsportsmanlike,” “The View,” “Live with Kelly and Mark,” “Tamron Hall” and “Good Morning America” — the first time Disney united the ESPN and ABC live shows under one roof.

ESPN vacated its Seaport Studios NYC home earlier in 2025 after seven years. “Get Up” debuted from its new studio on June 9, and “First Take” followed from the studio next door on June 23. The Disney side departed its uptown offices and studios slightly earlier, with “The View” its first studio show to broadcast from the new home.

“There’s this new level of integration that comes from being within a Disney building like that,” said Mike Foss, ESPN senior vice president, studio and entertainment. “The first month has been exceptional, but we’re really only beginning to tap into the potential of that space, which is really exciting.” Foss is a 2025 SBJ Forty Under 40 honoree.

The hope is for more cross-pollination between ESPN and Disney talent on-air, especially with the proximity of the studios. Joe Buck and Malika Andrews have appeared on “Good Morning America,” and other ESPN shows are jockeying for guest appearances at Disney’s new New York headquarters, officially named the Robert A. Iger building.

In less than two months since its opening, “Sunday Night Baseball: Statcast Edition,” “NBA Today” and “ESPN FC” can all claim to have aired from 7 Hudson.

“One of the goals when we opened Seaport was to make it a true content factory,” said Chris Calcinari, ESPN senior vice president of content operations, noting that over the years shows including “SportsCenter,” “NFL Countdown” and “NBA Today” all broadcast from the downtown studios.

“Our goal is just to create the same environment at 7 Hudson, where all those shows get excited to come to New York. I’m really looking forward to the fall and seeing what else we can do there,” said Calcinari.

Much of the 19-story, 1.2 million-square-foot building is glass, bringing in plenty of natural light. A cafeteria and common space houses a Starbucks, and that area can also be used to host live studio shows. 7 Hudson also has a large screening room and a company store.

Disney signed a 99-year, $650 million lease for the space in 2018. Four existing structures were demolished, making way for Disney’s complex, which now takes up an entire city block.

On set

On a Thursday morning in July, the ladies of “The View” walked past the studio for “Get Up” heading to the green room. According to folks at ESPN, it’s not uncommon to see guests and talent from the ABC shows, as green rooms are shared.

“You can’t plan for that stuff or design for that stuff, but the fact that you have all these elements together, you’re inviting this chemistry to just manifest organically,” said Foss.

A lot of ESPN talent tends to take time off in July, which typically is a slower sports month. The day Sports Business Journal was on set, Dan Graziano filled in for Mike Greenberg on “Get Up,” and Courtney Cronin subbed in for the “First Take” crew. NBA talk was heavy in both shows, with topics including Cooper Flagg’s Summer League debut (and the price of a ticket), and Nikola Jokic’s future.

The studio for “Get Up” pays homage to New York, with memorabilia from the subway scattered throughout. Of course, Greenberg’s Northwestern football jersey is framed.

“You step into both of those studios now, and they really embody and reflect the shows,” said Foss. “We’ve had a really nice runway to build and prepare for this move, and you really see it manifest in the finished set pieces.”

Calcinari concurred, saying the “Get Up” studio “screams New York,” adding, “We’re really trying to make that studio look like New York, with subway tiles and the LEDs displaying scenes of New York City.”

“First Take” has three distinct looks and utilizes 360-degree camera angles while shooting, making it more difficult for visitors to observe filming than “Get Up.”

Those looks include the main “First Take” desk area, which is shot in the round with a large LED wall behind them to support scenic, graphic or video elements. Then there’s the South Wall area, which the show used for “NBA Today” during the NBA Draft. That spot also has a large LED wall. The third is the West Wall, which has an LED wall that talent can either be seated or stand in front of.

Upgraded tech

While Seaport had been a good home for ESPN, the company had essentially maxed out its possibilities, and got major upgrades at Hudson Square. It also no longer has to compete with rooftop concerts at Pier 17.

“We’re in a much-improved technical facility,” said Calcinari, adding that the studio can do UHD (ultra high definition) and HDR (high dynamic range).

Both ESPN studios are the same size (2,100 square feet), and slightly smaller than Seaport. Both heavily use LED, a difference from Seaport. The studio for “Get Up” kept essentially the same design and look as its old home, but has an LED floor and a curved LED wall with a touch screen. The use of LED is the biggest change from Seaport, with both studios essentially LED screens all the way around, moving from the natural scenery to LED.

Each show uses six cameras with a mix of robo, jib and handheld. The studios also utilize a remote integration production model, meaning the control rooms and production teams are in Bristol.

“The core guts of executing the show [are] still back in Bristol,” said Calcinari.

Collaborative benefits

“From a communication standpoint, from a collaboration standpoint, both from the operation side and the content side and production side, because it’s a Disney building — the integration is just so much stronger and more aligned,” said Foss. “There were quirks that came with working out of Seaport — they were lovable quirks, but there were some hiccups and challenges to that.”

Added Foss: “Having all that streamlined, being able to have quick, immediate communication and infrastructure between Bristol and 7 Hudson, again, it’s [going to] make it so much sharper and more efficient in the way that we produce both of those shows, and other shows that obviously are going to come from there.”

The Hudson studios allow easier communication with ESPN headquarters in Bristol, where the bulk of the shows are still produced. According to Foss, a satellite studio such as Seaport existed “on its own island.”

“You [were] deprived of a lot of the other things that shows that are based in Bristol take advantage of all the time,” said Foss, pointing to ease in communicating with researchers, coordinating with talent bookers or bumping into Michael Strahan on your way to the cafeteria.

“There’s these intangible things that come from working in a bigger production space with other production groups and units that naturally afford you to elevate your own game and productions,” said Foss.

“There’s these intangible things that come from working in a bigger production space with other production groups and units that naturally afford you to elevate your own game and productions.”

—  Mike Foss, ESPN senior vice president, studio and entertainment

There aren’t concrete plans to shift further production from Bristol to the new studios, but having the New York space does create ease in attracting talent, and also the benefit of being near major events, such as the FIFA Club World Cup earlier this month.

“It’s not so much we’re shifting more or all shows into that space, but just having the ability to make these timely strategic decisions and have a space that can accommodate [at] the snap of a finger, that’s a huge benefit,” said Foss.

The connected fitness industry has spent the past decade digitizing traditional gym experiences, streaming classes, tracking basic metrics, and building content libraries. But a new wave of AI-driven workouts is challenging this entire model with something that can’t easily be replicated: artificial intelligence that actually thinks during your training session.

amp, a US-based fitness innovation startup, is launching what may be the industry’s most sophisticated AI Coach to beta users this month, with plans for broader deployment throughout 2025. Unlike existing smart home gym platforms that rely on pre-recorded content and static programming, amp’s adaptive fitness technology creates workout plans that evolve in real-time based on thousands of performance indicators.

The technical challenge behind adaptive fitness technology

Real-time processing meets predictive analytics

Most fitness tracking operates reactively – documenting what happened after exercises are completed. amp’s AI Coach takes a predictive approach, using machine learning models to anticipate what your body needs next based on subtle performance indicators that precede conscious fatigue recognition.

The technical architecture processes multiple data streams simultaneously through computer vision systems that track movement patterns via smartphone cameras, electromagnetic sensors that monitor cable tension and velocity, and accelerometers that capture micro-movements indicating form breakdown or readiness for progression.

This creates feedback loops that operate on millisecond timescales, enabling the adaptive fitness technology to modify resistance patterns during exercises rather than between them. If movement velocity decreases beyond optimal ranges, the AI Coach can reduce load before form deterioration compromises safety or training effectiveness.

Machine learning models that evolve with users

The sophistication of amp’s approach lies in its neural networks optimized for time-series biomechanical data. Unlike rule-based algorithms that follow predetermined decision trees, these models develop an increasingly nuanced understanding of individual user physiology over time.

The AI-driven workouts platform maintains detailed performance models across different exercises, recovery states, and environmental factors. When users begin sessions, the system already has predictive frameworks in place that account for likely performance based on training history, sleep data from connected wearables, and circadian rhythm patterns.

These predictions enable proactive programming adjustments. The adaptive fitness technology might pre-load lighter resistances if recovery indicators suggest suboptimal readiness, or recommend power-focused exercises when biomarkers indicate peak performance states.

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