A former New York Times reporter teams up with WNYC, KQED and KPCC to cut through the mystique surrounding the cost of health care.

Indianapolis-based WFYI Public Media will expand to the Terre Haute, Ind., market next month through a rebroadcast deal with Indiana State University. Terre Haute–based Indiana State University owns a pair of signals in the city, WISU-FM 89.7 and WZIS-FM 90.7. Under the noncash deal announced Wednesday, the university will move the student station from WISU to WZIS, with the 13,500-watt WISU rebroadcasting WFYI’s news/talk programming starting in mid-September. WZIS, formerly WMHD-FM, was previously owned by the Rose-Hulman Institute of Technology in Terre Haute and aired music programmed by students. Indiana State bought the 1,400-watt station in June for $16,465, according to FCC records.

Plus: Mike Starling starts an LPFM station, and NPR's creative director talks about her work process.

Plus: Poynter visits St. Louis Public Radio's newsroom, and Vme tries sponsored content.

The Connecticut Public Broadcasting Network plans to relinquish the spectrum assigned to WEDW-TV in Bridgeport, one of four stations in its statewide network, in the FCC’s upcoming auction, according to documents filed with the FCC. Under its agreement with spectrum speculator LocusPoint Networks, the pubcaster received an undisclosed cash payout from LocusPoint and will share a portion of its future auction proceeds with the company. Financial details of the contract, approved by the network’s board of trustees in June 2013, have been redacted from FCC records due to a mutual confidentiality agreement. Connecticut Public Broadcasting Inc. is among the sole-service public TV licensees identified in a July CPB white paper warning of the creation of a “white area” — the loss of PTV broadcast service — if pubcasters choose to auction off their spectrum.

NPR has released the final versions of the new clocks for its newsmagazines and set a date of Nov. 17 for their implementation. The network unveiled proposed clocks in July after more than a year of work that involved staff and representatives from member stations. The clocks are the second-by-second scheduling of what happens when during the newsmagazines, including newscasts, music beds and funding credits. They also affect when stations can insert their own local content. NPR had initially planned to introduce the new clocks Sept. 22 but delayed their implementation after hearing concerns from stations and the Public Radio Program Directors Association.

The National Association of Broadcasters filed a petition for review in the U.S. Court of Appeals for the District of Columbia Monday to challenge part of the FCC’s spectrum incentive auction order filed last week. NAB said it had no alternative but to file the lawsuit because the order as written could leave broadcasters footing the bill for tower relocation and other expenses when the spectrum is repacked. NAB also aims to have the court direct the FCC to drop a study that it plans to do ahead of repacking to determine broadcasters’ coverage areas. NAB said following the study, which would use a different methodology from previous surveys, could harm its members.

The opera house is on track to premiere its 2014-15 season as scheduled, with public radio broadcasts to follow.

Current contributor Adam Ragusea’s July commentary “Why you’re doing audio levels wrong, and why it really does matter” has become one of our most popular posts in recent months. Today Public Radio Exchange and the Association of Independents in Radio continue the conversation with a webinar on audio levels hosted by Ragusea and American Public Media technical coordinator Rob Byers, whom Ragusea interviewed for his Current piece. The hourlong session starts at 1 p.m. Eastern time; register here.

Sherlock: His Last Vow won four of the eight Creative Arts Emmys awarded to PBS programs by the Academy of Television Arts & Sciences during the Aug. 17 Primetime Emmy gala celebrating technical achievement. Sherlock, a BBC production that aired on WGBH’s Masterpiece, picked up its four wins in the miniseries or movie categories. Editor Yan Miles won for outstanding single-camera picture editing for a miniseries or movie, and Director of Photography Neville Kidd won the Emmy for cinematography in a miniseries or movie. The detective drama also won awards for sound editing, with statuettes given to supervising sound editor Doug Sinclair; sound editors Stuart McCowan, Jon Joyce and Paul McFadden; Foley editor William Everett; and Foley artist Sue Harding.

Plus: Frankenstein M.D. launches, and the difficulties of regulating Elmos in Times Square.

Plus: WGBH options Pinkalicious, and an Indiegogo project with support from Ken Burns is falling short.

The Metropolitan Opera has reached a tentative agreement with two of the three bargaining units representing its workers.

A joint effort among PBS and five member stations has created a more efficient way for stations to offer online streams of British imports such as Doctor Who and Death in Paradise while honoring BBC restrictions that limit web streaming. The BBC’s agreement for streaming programs besides Masterpiece limits access to viewers within a station’s market. But COVE, PBS’s online video platform, does not allow for filtering by location, which hampered stations’ ability to offer BBC content. Those restrictions made for an “unmanageable” situation, said John Decker, director of programming at KPBS in San Diego. But stations are now using a new web page created by PBS that allows for location-based filtering, and five stations have agreed to handle uploading of BBC content to ensure quality and prevent duplicative uploading.