Culture
How should broadcasts handle court-storming?
Throughout a three-decade career as a prominent ESPN play-by-play broadcaster, Dave Pasch says he has been on the mic for two college basketball games that ended in a court-storming. One occurred earlier this month as unranked LSU upset Kentucky as time expired at the Pete Maravich Assembly Center in Baton Rouge, La. Pasch recalled this week a conversation he and analyst Jay Williams had with an LSU athletics department staffer prior to the game.
“We asked, if they beat Kentucky, will they storm the court?” Pasch said. “He was like, ‘Nope, we don’t storm the court here. We’ve beaten Kentucky before.’ Well, they won on this crazy, last-second shot and, of course, they stormed the floor.”
In the game’s final sequence, you can clearly hear Williams say, “Didn’t we talk today about if LSU has the right protocol in place for a court storm?” as ESPN’s cameras aired a wide shot of LSU fans spilling onto the court.
The issue of court-storming went national this week after Wake Forest fans ran onto the Lawrence Joel Veterans Memorial Coliseum floor following a win over Duke on Saturday. Cameras picked up video of multiple fans making contact with Duke star Kyle Filipowski, who ended up limping off the court, prompting Duke coach Jon Scheyer, fuming in a postgame press conference, to ask, “When are we going to ban court-storming?” Last month, Iowa star Caitlin Clark collided with an Ohio State fan after the Buckeyes’ upset of the Hawkeyes in Columbus, Ohio.
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Should court-storming be banned — or at least made safer? ‘It’s a tough challenge’
ESPN producer Eric Mosley and director Mike Roig estimated they have worked 16 to 18 college games where fans of a team have stormed a court. A number of those court storms occurred when a team had a home upset of perennial heavyweights Duke, Kansas or Kentucky. Roig directed Arkansas’ 80-75 win over Duke on Nov. 29, and you can see the wide shot cut by Roig as fans flooded onto the Bud Walton Arena Floor.
Mosley said production planning for court-storming happens long before tip time. ESPN production crews pre-scout where they can find a safe place for their reporter and camera operators to interview a winning coach and player. Directors such as Roig hold meetings hours before games with camera operators to go over protocol and various scenarios including the storming of a court. The camera setup is such that viewers potentially get access to a lot of entry points. For a regular-season college basketball game, there are usually five non-manned hard and robotic cameras. Those are located in positions safe from the crowd. Then there are three hand-held cameras which are helmed by operators situated on the baselines and centre court. (The overhead camera for Wake Forest-Duke got the best shot of what happened to Filipowski.)
“One of the first questions we ask when we get on-site with the (sports information director) for certain games is whether there is an appetite for a court storming or if security kind of allows that,” Mosley said. “We find out where the student section is and what the security situation is there. We ask where can we get our cameras and reporter to meet a coach and star player for that postgame interview? We try and get ahead of that stuff as early as possible because we don’t want to get caught in a position where our folks like Holly Rowe, Jess Sims, Kris Budden and our camera folks are unsafe. We don’t want them trapped and trampled. For the most part, we have been pretty successful.”
The play-by-play broadcaster for the Duke-Arkansas game was Dan Shulman, who estimated he has called 20 to 25 games that have involved court-storming during his career as an ESPN broadcaster. (Shulman is also the TV voice of the Toronto Blue Jays.)
“As fun as they can look on TV, I have always been worried about what could happen,” Shulman said. “I remember a court-storming at a Louisville-Charlotte game I was doing, and Doris Burke, who was the sideline reporter on the game, was trying to get an interview with the Charlotte coach, and I was worried for her safety. It was complete chaos on the court.
“Whenever there is a court-storming, it’s hard for us at our table really to see much of what is going on. All we can really see are the people closest to our table. Sometimes the student section may be behind our broadcast location, so knowing they are heading our way to the court can obviously be a bit disconcerting as you are trying to navigate a broadcast. I think for the most part, people in television hope that when these do happen, it is all good fun, and no one gets hurt. There’s no question it’s a good visual on TV, which is enjoyed by a lot of viewers. But to me, the risk outweighs the reward.”
Wake Forest fans took over their home court after Saturday’s win. An injury to Duke’s Kyle Filipowski has reignited discussion around court-storming. (Grant Halverson / NCAA Photos via Getty Images)
Bob Fishman agrees with Shulman. Fishman retired from CBS Sports last year after 50 years of employment between CBS News and CBS Sports and directed 39 NCAA men’s Final Fours, including Michael Jordan’s title-winning shot in the 1982 title game and North Carolina State’s upset of Houston the following year. Fishman said he has thought a lot recently about court-storming and would never tell a camera operator to run onto the court during one, making sure they held a position under the basket and shot what they could.
“I’m pretty firm on what I think should be done — you can’t ignore it,” Fishman said. “It’s not like a streaker running across the field at a football game, which you don’t show. I think that you have to show it because it’s part of the story and especially now since players have been injured. How I would do it is throw up a wide shot of some sort, maybe from a backboard camera or from a high beauty camera as we call it. Then I would make sure that my cameras on the court were recording everything and that stuff was being fed into a tape machine. I would never put that on the air. But I do think you have to show something, which would in my mind (be) a high shot.”
Broadcasters and production crew, especially at a 24/7 news outlet such as ESPN, have to follow the story until its conclusion, whether they are live on air or not.
“We have to keep in mind that the documentation continues even when we’re off the air,” Mosley said. “We have to treat it as a news story. For example, some of the Filipowski stuff happened after the crew had already signed off and the network transferred to another game. We’re taught and told repeatedly that we need to stay there and document as long as we can. That’s because somebody is going to be looking for that stuff.”
Mosley and Roig say they often think about how to navigate documenting a court-storming without glorifying the action.
“It’s a hard question to answer,” Roig said. “You’re both documenting and kind of glamorizing it at the same time. As a director, you’re toeing that line. We’re always taught as directors when that one person comes onto the court or the field, you don’t show them. Because more people will do it if you show them. It’s go wide and away. But this is a little different animal, right? We’re talking about hundreds and hundreds of people coming onto the court. … You blur the line of documentation or glorifying it. You have to have the mindset of you are documenting it, but at the same time, you have to be careful of how you document it.”
During a segment on ESPN’s “First Take” on Monday, longtime ESPN college basketball commentator Jay Bilas was critical of sports broadcasters glamorizing court-storming.
“Years ago when fans would run out on the field or court during a game, it was network policy not to show that because we didn’t want to encourage it,” Bilas said. “So what does that say about the way we in the media use these images now? We can’t deny that we encourage it. Or at least tacitly approve of it. Everybody has to accept some responsibility for this. I don’t think it is the right thing to allow this, but I know it’s going to continue.”
Said Roig: “It’s really a touchy point because as directors, it’s a great scene, right? You want to showcase that. But I’ve never had one prior to seeing the one last week (with Wake Forest-Duke) where it got to that point where it was not fun anymore.”
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(Top photo of the scene after Saturday’s Duke-Wake Forest game: Cory Knowlton / USA Today)
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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