ESPN works to scrub Jason Kelce’s on-air ‘we’ habit with the Eagles

By 
, October 13, 2026 
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ESPN is coaching former Eagles star Jason Kelce to stop saying “we” about his old team on air, a habit colleague Pat McAfee called out and viewers keep noticing.

USA TODAY reported that Kelce has drawn criticism this season for using the word “we” when he talks about the Philadelphia Eagles, the club he long anchored at center before retiring in 2024.

The network wants the pronoun gone. Producer Jeff Dufine said as much while the crew prepared for the Eagles’ London matchup against the Jacksonville Jaguars.

Live television still catches the slip. During a Monday Night Football meeting between the Eagles and the Chicago Bears, ESPN colleague Pat McAfee jokingly flagged the habit on air.

Kelce had leaned on “we” again and again in the halftime analysis. He apologized after McAfee pointed it out.

Producer says the network is coaching the pronoun out

Dufine told The Philadelphia Inquirer the effort is real and ongoing.

"We’ve tried to get the ‘we’ out of him,"

He did not frame it as a character flaw. He framed it as a common leftover from the locker room.

Former players and coaches often talk that way about the teams they once played for or coached. ESPN’s fix, per Dufine, is simpler than a lecture.

"He sees the game really well,"

Dufine’s instruction to Kelce stays practical.

"Just tell me what you’re seeing and we’ll support you the best way we can throughout the course of the game."

That is the bargain: use the eye for football, drop the old jersey in the language.

Booth role grew fast after the countdown desk

Kelce has worked at ESPN since his 2024 retirement, mostly as an analyst on “Monday Night Countdown.” The jump into a full game booth is newer.

In 2026 the network placed him in the broadcast booth for its newly acquired international game package on NFL Network. Before the league’s first London game of the year in Week 4, he had not worked a full game in the booth for a mass audience.

There was a preseason trial run first, alongside broadcasters Dave Pasch and Kurt Warner. Then came the regular-season assignment and the scrutiny that follows any fresh voice in the chair.

Family fame already surrounds the name. Jason’s wife has described raw emotion at Travis Kelce and Taylor Swift’s wedding, a reminder of how public the entire circle has become.

Reviews of Kelce in the booth have been mixed. Some viewers like hearing a recent player break down what he sees. Others talk about overload.

The same report noted the “Kelce fatigue” complaint, commercials, the podcast, the brother, the sister-in-law, and now the booth. Saturation is part of the modern athlete-to-media pipeline, and audiences keep a running tally.

Even side stories pile up. Ohio neighbors have sparred with the Swift-Kelce orbit over property issues, proof that the brand travels far beyond the field.

Old-team language collides with a new job description

The “we” problem is small on paper and loud in the living room. Fans hired the analyst for clarity, not for a reunion toast.

When the microphone is hot, the job is to describe the play, the protection, and the mistake, not to sound like the next snap still belongs to you. ESPN’s coaching push treats that line as real.

Celebrity cross-coverage only raises the volume. Guests and commentators have already picked apart why the couple chose Madison Square Garden and weighed in from inside the room.

Another attendee’s read on the same wedding made the rounds after Graham Norton shared his critique. The point for football viewers is simpler: the Kelce name carries a crowd, and the broadcast still has to feel like a broadcast.

Dufine’s comments landed ahead of the Eagles’ loss to the Jaguars in London. The producer’s public message stayed steady, keep the vision, lose the pronoun.

That is basic workplace accountability in a high-visibility job. Networks sell analysis. Viewers notice when the analysis still wears a team voice.

Break the habit or keep hearing about it. Live TV does not forget the slip, and neither do the people watching at home.

About Alan Benson

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