Culture
How Penn State’s White Out — the stadium spectacle — ended up on Peacock
There was no made-for-television moment last spring as the Big Ten’s television draft unfolded. With a flurry of emails between CBS, NBC and Fox executives — plus a few follow-up phone calls to the conference to ensure contractual agreements were being met — each network consulted with its big board and planned how to best position its broadcast packages with its picks.
A network television draft for college football is every bit as sterile as it sounds.
“It’s just emails flying back and forth,” said Kerry Kenny, chief operating officer for the Big Ten Conference. “We benefit from all these partners working to make the Big Ten the best it can be, but at the end of the day, they’re all competitors. What’s good for Fox, what’s good for NBC, what’s good for CBS isn’t always good for the other network partners in that moment.”
The Big Ten is in the midst of a seven-year media rights agreement with Fox, CBS and NBC which began in July 2023. Penn State’s place in this agreement has been an interesting one in that so much of what fans have been accustomed to — like start times known for the White Out months in advance and the hope of playing Ohio State or Michigan in prime time for that White Out game — all look different now. Trying to protect Penn State’s annual White Out game and place it in a prime-time slot is harder than ever before.
This year, Penn State’s 16th full-stadium White Out will be played Saturday at 8 p.m. against Washington. The game comes on the heels of an emotional letdown after Penn State’s loss to No. 2 Ohio State. It feels strange that the annual spectacle with an envious atmosphere is being held this late in the season. It’s also odd that it won’t be found on traditional TV and instead will be streamed on Peacock.
How Penn State ended up here is the byproduct of trying to ensure the game is held at night like Penn State fans desired and athletic director Pat Kraft lobbied for, while making sure the network partners get what they desire. No, Penn State wasn’t necessarily relegated to Peacock but instead was slotted into a window that met the night game request.
When the television partners met in the spring to draft who picks which games first, second and third this week, Penn State had already made it clear that it hoped to have a White Out game in prime time.
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Thanks to an 18-team conference that spans three time zones and has more network partners than previous media rights agreements, fans must continue adapting. Only once before, in 2015, has the White Out been held in November. The 8 p.m. start time wasn’t announced until last Saturday.
Even the raucous, White Out environment that’s become the calling card for the Penn State fan base, a bucket-list item for sports fans and a made-for-TV spectacle, will be a little harder for fans to find Saturday with Peacock being a subscription-based streaming service. It’s the second time Penn State football has appeared on the platform, joining last year’s game against Delaware.
Still, in some ways, it might feel like a relegation, which comes just one week after State College was the epicenter of the sport, hosting ESPN’s “College GameDay” and Fox’s “Big Noon Kickoff.” But, part of the reason why the game ended up on Peacock is thanks to NBC’s long-standing relationship with Notre Dame. Part of that deal allows up to two games per year to be played in prime time on NBC. Florida State-Notre Dame was designated for the NBC prime-time slot well in advance of the Big Ten’s draft, Kenny said. However, NBC’s slot wasn’t the only option. Had Penn State beat Ohio State last week, this weekend’s game could’ve been at 3:30 p.m. on CBS or in prime time on Fox.
“We always knew that with NBC’s first selection that week, November 9, the Big Ten selection, whether it was the number one pick that week, the number two pick, or the number three pick among the three broadcast partners that was going to always end up on Peacock,” Kenny said.
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Another new twist this season is that the White Out will also be available in 23 different IMAX theaters, primarily catering to audiences in Pennsylvania, New Jersey, Maryland and Washington — inconveniently, the closest IMAX to Happy Valley is more than 90 minutes away in York, Pa. Still, it’ll be the first college football game presented live in select IMAX theaters, perhaps shedding light on what this next frontier of out-of-venue sports viewing could look like.
NBC tried a similar approach with the Olympic opening ceremonies this year in IMAX and also found success showing the 2024 NBA Finals in non-mainland China and the League of Legends championship in China and Korea. Depending on each theater’s food and beverage offerings this weekend, fans could drink beer, order dinner and experience the game in a different way — all without having to navigate Beaver Stadium postgame traffic.
“It’s the whole communal experience first of all and then we’ve specifically designed each of our theaters for the most immersive experience possible both from a visual and an audio standpoint,” said Mark Welton, global president of IMAX Theatres. “It really feels like you’re at the game. The crowd, the noise. … People are up cheering. It’s like kind of being in the stadium.”
Admittedly, the timing of the White Out, it being on Peacock and the possibility of watching it in IMAX all feels a little odd because Penn State’s biggest home game of the season — and one of the most important in Beaver Stadium history — was played last week at noon as part of Fox’s “Big Noon Kickoff.” For all the fan criticism of a noon kick — and there was plenty — the Big Noon exposure machine did its job. Penn State-Ohio State drew 9.94 million viewers, an uptick from the 7.3 million viewers who typically watch when the game has aired in prime time.
Last 25 Years of Ohio State-Penn State Games:
FOX Big Noon Games – 9.4 million viewers
All Other OSU-PSU Games – 7.3 million
Look forward to running it back next year. https://t.co/TvxPAMl84S
— Michael Mulvihill (@mulvihill79) November 6, 2024
Fans will still show up in droves Saturday for the White Out, but this season Penn State has rolled out so many variations of a White Out theme — a “White Out energy” game against Illinois, a helmet stripe game, and a stripe out — that the lead up to Saturday feels different. Even head coach James Franklin, who usually wears white to his Monday media session the week of the White Out, didn’t do so this week. The whole tenor of the week coming off a loss to Ohio State doesn’t have the usual hype that comes in the lead-up to the annual stadium spectacle.
Part of the challenge moving forward will be how willing the Big Ten is to help Penn State with the White Out while recognizing that the TV partners hold the cards.
Kraft connected with the Big Ten last spring around draft time to state his case about what the White Out means to Penn State fans, the sport and the local community. It’s often used as a marquee recruiting weekend for other Penn State sports beyond football. Fans prefer the game to be held at night so the visual spectacle of 100,000-plus fans wearing white shirts and shaking white pompoms pops against the night sky. Hotels are booked months in advance.
Penn State knew Fox was making the Ohio State game Big Noon. It also knew the September home game against Illinois for homecoming would be at night. It could’ve either doubled up on homecoming and the White Out or done a noon White Out for Ohio State. Instead, it opted for Washington knowing that the start time would at the earliest be at 3:30 p.m. Penn State wanted time to make fans aware of the game theme — which it did in July — and wanted ample time to put all the usual marketing efforts behind it.
“Washington was unique because it’s a time of year where after daylight savings where a 3:30 game it gets dark pretty quick,” Kenny said. “We looked at that date and commissioner (Tony) Petitti and I spoke extensively with Pat about that.”
It’s never too early to peek ahead to Penn State’s 2025 home slate which includes games in Beaver Stadium against Oregon and Nebraska, among others. While a prime-time White Out against Oregon would seem like a shoo-in a few TV contracts ago, that’s far from a given now.
“We’re committed to making sure that this continues to find a way even in this new changing environment of college football that the White Out is a tradition that has some legs to survive and really thrive in the future,” Kenny said.
(Photo: Dan Rainville / 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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