Hour 3 - It's Hard to Hate the Guy

Hour 3 of The Clay Travis & Buck Sexton Show delivers a fast‑moving blend of political intrigue, media analysis, 2026 election strategy, cultural commentary, and audience interaction. The hour opens with Clay discussing Buck’s newly released book Manufacturing Delusion, highlighting glowing reviews from Megyn Kelly, Glenn Beck, and bestselling author Jack Carr. The show reiterates how Buck’s work explores propaganda, mind‑control tactics, ideological conditioning, and his personal CIA experiences—all timely themes that anchor the hour’s larger political discussions.

The program pivots into heavy election coverage as Clay and Buck preview their upcoming trip to Texas for the first major primary of the 2026 cycle. They examine the high‑stakes Texas Senate race, noting the competitive three‑way Republican contest among John Cornyn, Ken Paxton, and Wesley Hunt, as well as a brewing controversy on the Democratic side. The hosts break down the explosive dispute surrounding Democratic candidate James Talarico’s appearance on The Late Show with Stephen Colbert—an interview CBS declined to air over equal‑time concerns. Colbert publicly blasted CBS executives on his show, turning the incident into a political moment. Clay argues that this conveniently boosts Talarico’s visibility while sidelining rival Jasmine Crockett, suggesting Democratic power players may be orchestrating a soft‑landing for their preferred candidate just as Texans begin early voting.

From there, Hour 3 takes a deep dive into the broader media landscape. Clay and Buck discuss the FCC’s scrutiny of political favoritism in late‑night TV, referencing FCC Commissioner Brendan Carr’s challenges to the idea that partisan talk shows should remain exempt from equal‑time rules. Buck notes that corporate media dominance by left‑leaning networks is finally being openly acknowledged after decades of pretending neutrality. The hosts compare the current era to the “Daily Show effect,” where comedy was long used as a shield to disguise political messaging. They argue that Colbert’s outrage reflects the media’s desire to maintain partisan influence without regulatory scrutiny.

The hour expands into a wider election-season conversation—including the national implications of control of the House and Senate in 2026. Clay emphasizes that the Senate may hold greater long‑term stakes than the House due to aging Supreme Court justices and the potential for major judicial vacancies. They discuss prior examples, such as Justice Anthony Kennedy’s strategically timed retirement versus Ruth Bader Ginsburg’s decision to stay on the bench, underscoring how elections shape the judiciary for generations.

Clay and Buck also take VIP listener emails and talkback messages, fielding questions about potential 2028 Democratic presidential contenders—including Mark Kelly, Josh Shapiro, and Gretchen Whitmer—and the role of intelligence, competence, and electability within the field. This segues into broader reflections on generational language (“back in the day”), the cultural reference points of the 1980s and 1990s, and how political memory shifts across age groups.

Near the close of the hour, they revisit the national conversation around recent transgender‑identified mass shooters. Listeners weigh in with sharp commentary about media inconsistencies, ideological blind spots, and how narratives shift depending on the identity of the perpetrator. Clay and Buck highlight how mainstream outlets often omit relevant details in cases involving trans shooters, contrasting this with how aggressively the media covers crimes associated with conservatives or gun owners.

The final portion takes a lighter, more personal turn as Buck shares stories about AI recommending suit choices, Clay recounts a Valentine’s Day wardrobe mishap, and the hosts joke about cocktails, country‑club drinks, and upcoming travel plans—including Clay’s one‑day trip to Mar‑a‑Lago. The hour concludes with heartfelt listener messages about Rush Limbaugh’s legacy and strong support for Buck’s book, ending the show on a note of gratitude and audience connection.

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