Wicked Chops Poker: How Media Disruption Changed Poker’s Boom Era

Wicked Chops Poker, founded by Steve “Chops” Preiss and the Cooley brothers, redefined poker media during the boom years with a mix of bold reporting, celebrity encounters, and a willingness to stir up controversy. From high-profile feuds with poker legends like Amarillo Slim to breaking significant industry stories, Wicked Chops Poker secured its reputation as both disruptor and chronicler of a transforming industry.

Wicked Chops Poker and the Birth of a Boom Media Brand

Launched in Atlanta in 2004 as a side project from a 'Wicked Wednesday' home game, Wicked Chops Poker emerged from the PR background of brothers Colin and Brian Cooley and the creative vision of Steve Preiss. Initially targeting an audience through irreverent content and pop-culture references, the site quickly found its footing amid a lack of poker coverage beyond platforms like Card Player and ESPN Page 2. By the 2006 World Series of Poker, the site attracted over 250,000 unique visitors monthly and by the end, delivered more than 5,300 posts—exceeding 1.49 million words and serving 22 million unique readers.

The founders blended the tones of TMZ and MAXIM magazine, which drew attention from mainstream celebrities such as Anna Benson and Joanna Krupa. Their willingness to engage in feuds and voice strong opinions, including comments on Nickelback that sparked fan outrage, heightened their profile. Preiss recalls writing about Amarillo Slim’s legal troubles and being stalked at the WSOP by Slim himself, proving the effect their coverage had even among poker legends.

Inside the WSOP: Access, Culture, and Poker Personalities

Steve Preiss highlights the scale of the World Series of Poker during the boom, noting how ESPN’s coverage captured some excitement but that the real magnitude could only be understood in person. Celebrities and pros were approachable, making the WSOP environment unusually open.

“He didn’t like that,” Preiss notes, referencing the backlash from Amarillo Slim after continued coverage of his legal case. Meanwhile, the crew’s posts attracted responses from both celebrities and poker fans, further entrenching their place within the cultural moment.

Not all reactions were negative. While Anna Benson called the site “garbage,” Joanna Krupa was publicly supportive. Other industry moments—such as their reporting on Erick Lindgren’s four-round golf prop bet during the heat of summer, watched by pros like Phil Ivey, or the creation of ‘Girls on the Rail’ inspired by chance photography at the WSOP—reflected the era’s excess and unique humor.

Wicked Chops Poker’s Voice, Industry Influence, and So-Called Poker Media

From the outset, Wicked Chops differentiated itself with a deliberately “obnoxious, irreverent” voice, inspired in part by The Colbert Report’s fourth-wall-breaking satire. But beneath the brash tone lay authentic professional backgrounds: the Cooleys in public relations and Preiss in corporate marketing. Their insider status—serving clients, managing operator relationships, and producing for Poker Royalty and RawVegas—meant they often broke stories others avoided and provided a more independent commentary.

Wicked Chops’s refusal to engage in traditional affiliate marketing or favor one operator over another bolstered their ability to be critical of sponsors like Bodog even as they managed their PR. Preiss recounts, “We could be equally critical or equally impressed,” recalling Calvin Ayre’s positive feedback despite pointed criticism. Their independence set a new higher bar for poker journalism, with transparency and sourcing as the guiding principles.

Video Innovation, Ambushes, and Media Experimentation

Wicked Chops was among the first poker outlets to prioritize video, taking advantage of their partnership with RawVegas. This enabled the launch of video blogs with Daniel Negreanu, Phil Hellmuth, and Patrik Antonius, and the Prop Bets show featuring Gavin Smith and Joe Sebok. One standout: their ambush interview of Russ Hamilton during the UltimateBet superuser scandal, later picked up by 60 Minutes. Preiss points out that formats like This Week in Poker and Poker2Nite became prototypes for modern podcast and YouTube poker commentary shows.

The attempt to create daily WSOP coverage modeled on ESPN’s College Game Day in 2009, and to build app-based live reporting, demonstrated further innovation. Competitive pressures, such as PokerNews outbidding, sometimes halted concepts before launch, but the experimentation was ahead of its time.

Breaking Stories, Feuds, and Epic Poker Controversies

Wicked Chops developed a reputation as a trusted destination for leaks and industry scoops. Preiss attributes this to their mix of industry roles and a commitment to factual reporting—except, he admits, for a deliberate campaign against Epic Poker after a dispute over domain ownership and a contract clause claiming content rights in perpetuity. “Ruined ad deals. Dropped stories to the Las Vegas Review-Journal... anything we did to help push that business over a cliff sooner, so be it.”

Apart from Epic Poker—which he says “never stood a chance” due to its business model—Wicked Chops focused on transparency. He adds, “We broke stories others didn’t, so then sources would come to leak stuff for us to break.”

The Industry’s Evolution and the Future for Poker Media

Reflecting from leadership roles at companies like PokerStars, GG, and Churchill Downs, Preiss maintains that being “authentic and honest” about operator activity—whether celebrating or criticizing—remains the best approach. Today’s poker industry, in his view, is constrained by increased regulation and fragmented shared liquidity, particularly in the United States, even as the global player pool has grown.

Efforts to consolidate shared liquidity in U.S. states such as California, Florida, Texas, New York, Georgia, and Illinois have stalled, blocking potential growth. Preiss advocates for balanced regulation that supports both consumer safety and industry growth, rather than creating barriers that benefit offshore operators and reduce liquidity.

Poker Media and Content Creation: The Next Wave

Poker media has matured, with PokerNews and Poker.org expanding content formats, and figures like Joey Ingram and Daniel Negreanu setting examples in content creation. Preiss points out that newer voices and influencers—such as Greg Goes All In and Caitlin Comeskey—are shaping audience engagement, reminiscent of the early 2+2 forums.

He argues the challenge is investment, not ideas: “The audience is there. The investment in content to make it culturally relevant again is not. But regulations and the economics today make it very, very challenging.”

Can Poker Capture Boom 2.0?

While replicating the early 2000s poker boom may not be feasible, Preiss sees potential in content with mainstream cultural appeal, stronger celebrity integration, and regulatory changes that allow for innovation. Projects like Game of Gold and the reboot of PokerStars’ Big Game show this is possible if supported by investment and regulatory clarity.

“But when those regulations open the door for off-shore operators to fill a massive void, that’s bad for properly regulated operators and consumers.” — Steve Preiss

The past era’s wild stories, from near-death prop bets to feuding with legends, showcased poker’s cultural zenith. As Preiss concludes, maintaining honesty and relevance is vital—because players and audiences know authenticity when they see it.