PWHL Scales Broadcast Operation in Season 3, Relying on World-Feed Model and Key Vendors

Primary production partners Dome Productions and Raycom Sports once again played a key role

The PWHL's broadcast ambitions are scaling fast, and, in Season 3, the league's production operation proved it could keep pace. The 2025-26 season, which concluded last month with the Montreal Victoire winning their first PWHL title, saw the addition of two franchises, a third more regular-season games, and a deeper rightsholder roster in both the U.S. and Canada.

At Canadian Tire Centre during the PWHL Finals: (from left) Raycom's Rob Reichley, PWHL's Mike Brock and Jeremy Langer, Raycom's Bill StaffordThe young league's ambitious third season of broadcasting was made possible by a world-feed production model that aims to create a standard of quality across the board.

I think [this season] validated our approach to production from day one, says Jeremy Langer, VP, broadcasting and scheduling, PWHL. We set a standard with our first game that the PWHL players and our game are high-quality product. The live game production must meet the minimum standard of what fans expect in a broadcast. We are always working to refine that show, but the north star is producing a great product for the fans that keep coming back and, every time we have a chance, to introduce a new fan to our sport.

World Feed Is Back

Although the volume may have grown in season three, the PWHL's production strategy remained largely the same. The league continued to deploy a world-feed model that relies on Dome Productions and Raycom Sports, the PWHL's primary production partners in Canada and the U.S., respectively.

I think our creative and technical approach has remained largely unchanged, says Langer. We did add the elements for the new teams and do update elements for the playoffs and finals but not in a new pay-off' way.

The agility provided by the world-feed production proved valuable across the board, especially in cases like a Minnesota at Montreal broadcast that aired on FOX9+ in Minneapolis. Because Dome produced a neutral world feed of the broadcast, the on-air product worked perfectly for both markets.

Talent for English-language world feed during the Finals: (from left) rinkside reporter Rob Pizzo; play-by-play announcer Kenzie Lalonde; analysts Becky Kellar, Alison Lukan, and Cheryl Pounder; panel host for Finals/play-by-play announcer Jamie Hersch; and Jeremy Langer.According to Langer, the world feed was most valuable coming out of the Olympics, when ION picked up for national broadcast the league's Takeover Tour game in Detroit (produced by Raycom) and, when both teams were in Canada, the PWHL Finals (produced by Dome).

Both [the Takeover Tour and Finals on ION] were national broadcasts in the U.S., and a minimum standard needs to exist when we have the moment to be on that stage, says Langer. It was the same show. ION's feedback was, Wow, no notes. That's a great production.' We can't deliver on that moment if we don't have the infrastructure and the reps at the standard we've set for professional women's sports on TV.

A Mix of Old and New

Despite a 33% increase in the number of regular-season games in 2026, the PWHL continued to rely on local crews to handle national shows. Meanwhile, Mike Brock, who as an executive producer for Dome Productions had served the PWHL in its first two seasons, joined the league full-time this year as coordinating producer and continued to oversee its world-feed productions of each game.

[Brock's] leadership was critical to ensuring that we would have one voice leading the storytelling in all markets, says Langer. We needed that because these are not home broadcasts; all PWHL games were distributed on national TV in Canada and on stations in the U.S. that carry NHL, NBA, and MLB.

Production teams were largely based in the markets of each PWHL club. Graphics were handled remotely, however, and some travel was required to supplement the teams in instances of local conflicts. Although the league has gotten into a groove for typical regular-season games, its Takeover Tour broadcasts remain tricky from a staffing standpoint.

Getting people to Takeover Tours is by far our biggest challenge, Langer says. All of our folks want a chance to be a part of them because they are special for the players, for fans in and out of the markets, and for the profile of the league. We have to pick and choose who can go. Thankfully, the venues we've been in are largely NHL venues, so the variability is not wide.

Graphics integration for all game broadcasts was handled remotely in Canada this year, and Langer expects the league to continue to push the REMI envelope in an effort to remain efficient without sacrificing production quality.

One element that won't be moving offsite anytime soon are announcers. Langers is a big fan of having announcers onsite because it signals to the audience that this game matters.

The league continues build its talent roster, including for the booths in its new markets - Seattle and Vancouver - last season. The additions included Seattle Torrent play-by-play caller David Korzeniowski, who coincidentally was moving to Seattle with his family before the expansion team was even announced.

We have been quite fortunate to be able to find people who understand what it means to be stewards of our players and fans, says Langer. Many of the folks working Kraken broadcasts were thrilled to take on the PWHL broadcasts as well, so we had pros' pros just waiting for us. And, in Vancouver, we've had some great local folks and had to fly some analysts in from time to time.

The Dome, Raycom Partnerships

Dome and Raycom are great partners, says Langer. They understand where the league started and where it's going. We've benefited from their white-glove

LINK:	https://www.sportsvideo.org/2026/06/10/pwhl-scales-broadcast-operation...
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