Culture
Breanna Stewart, Liberty even WNBA Finals series with Game 2 win over Lynx
NEW YORK — There was no singular way for members of the New York Liberty to turn the page after their historic Game 1 collapse to the Minnesota Lynx.
Star guard Sabrina Ionescu said she couldn’t just “flush” the result. Forward Leonie Fiebich watched the contest three full times in the 36 hours immediately after the overtime loss. Veteran guard Courtney Vandersloot described moving forward “as a process.”
Liberty coach Sandy Brondello was glad two days separated Game 1 and Game 2 so she had more time to watch film and reflect. But just after 3 p.m. Sunday, a new game began. And with it, a new chapter in the series was written.
Though there were moments that felt eerily similar — New York, for instance, saw a 17-point lead shrink to only two with 3:21 remaining in the game — Sunday’s sequel featured a player who had a relatively minimal impact in the opener: Liberty wing Betnijah Laney-Hamilton.
Laney-Hamilton played the fewest minutes (26) of any New York starter in Game 1. In the Liberty’s 80-66 Game 2 victory, she scored 20 points, tying her season high. Laney-Hamilton nailed a 3-pointer with 3:20 remaining, the biggest shot of the contest, which stretched the lead back to five.
Then, she grabbed a rebound on the ensuing possession as the Barclays Center-record 18,040 fans in attendance rejoiced.
That Laney-Hamilton emerged as Sunday’s star is especially impressive considering Brondello’s prognosis of the wing Saturday. She played in only 28 games during the regular season, missing time from July 6 to Aug. 26 because of a knee procedure.
“She’s giving whatever she can,” Brondello said Saturday. “I think everyone sees that she’s trying. It’s not the same B that we’ve seen all season long, but it is what it is.”
She did more than just try. In addition to her offensive contributions, she spent time guarding Courtney Williams (who finished with only 15 points Sunday compared to 23 in Game 1) and Kayla McBride (who had a mere eight points after tallying 22 on Thursday).
And yet, despite Laney-Hamilton’s boost, plus bounce-back games from Stewart (21 points, eight rebounds, and five assists) and Ionescu (15 points), there were still moments in which the two games seemed the same. New York jumped out to a 10-point first quarter lead, but by the 6:52 mark of the period, it led by just six.
The Liberty led by 10 heading to halftime, but that was slashed to four points with just 90 seconds remaining in the frame. In the fourth quarter, New York’s lead grew as large as 11, but it shrunk, too. With just under four minutes left, the Liberty led by only two and those in attendance felt tension similar to the waning moments of Game 1.
This time, however, there would be no collapse.
Stewart had three, of her finals-record seven, steals in the final five minutes. Jonquel Jones hit a timely layup with 3:57 left. Fiebich paused, took a deep breath and nailed a wide-open 3-pointer with 90 seconds left to extend New York’s cushion to nine points.
After doing so, with Minnesota having taken a timeout, Laney-Hamilton pumped her fist. So, too, did Ionescu.
Collier had a modest game by her standards (16 points and eight rebounds), while a late 3-point attempt by Williams that rolled off the rim was a sign that Sunday afternoon would be different than Thursday night.
Game 3 of the 1-1 series is Wednesday night. Tipoff is set for 8 p.m. ET.
Laney-Hamilton becomes X-factor
Laney-Hamilton is less than three months removed from a procedure to remove two loose bodies from her right knee. She came off the bench during her ramp up to a full return and is still playing limited shifts in the postseason, with everyone acknowledging Laney-Hamilton isn’t going to be at 100 percent in this series.
But even at less than her best, the 2021 All-Star was still capable of being better. Laney-Hamilton had scored in double digits once in New York’s seven postseason games entering Sunday, and she was shooting 29.1 percent from the floor.
The Liberty needed more offense in Game 2 with Minnesota covering Fiebich more tightly after her five 3-pointers Thursday, and Laney-Hamilton came through. She was aggressive pulling up off of screens and made strong drives to the basket.
When New York’s movement on offense stalled, she took advantage of switches by posting up smaller defenders in the post.
Laney-Hamilton hit one of the biggest shots of the night, a corner 3-pointer off of a no-look, kick out pass from Ionescu to extend the Liberty’s lead to five points, 71-66, with 3:21 left in the game. Minnesota would never get within one possession after that.
Her 20 points tied a season-high; the last time she reached that total came before the Olympic break, and before her surgery.
In Game 1, Brondello couldn’t get Laney-Hamilton on the court down the stretch because of the way she was moving. On Sunday, it would have been impossible to justify keeping Laney-Hamilton off the floor. — Sabreena Merchant, women’s basketball staff writer
Minnesota remains resilient in defeat
The Lynx once again found themselves trailing early against the Liberty, this time facing down a 17-point deficit in the second quarter (compared to 18 in Game 1).
But Minnesota steadfastly sticks to its system of ball movement, trusting that the defense will eventually break and that its pressure defense will cause the opposing offense to stagnate. It looked like the formula might work again, as the Lynx nearly erased the deficit yet again, pulling within two in the fourth quarter.
Although they weren’t able to break through, to have come so close to potentially taking a decisive 2-0 series lead bodes well for when the series switches to Minnesota.
Kayla McBride and Napheesa Collier highlighted their team’s resilience after Game 1 even though the 45 minutes featured a series of mistakes, and that commitment shined through again Sunday, despite the result. — Merchant
Required reading
(Photo: Nathaniel S. Butler / Getty Images)
Culture
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May 20, 2026
Culture
Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose
At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.
The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.
With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.
“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”
Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.
In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.
Your work has been categorized as Black romance, but how do you see yourself as a writer?
I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.
What intrigued you about the period of history you capture in the Hollywood Renaissance series?
I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.
What about that period feels resonant now?
The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.
How does this moment in your career feel?
I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.
Why would it all go away?
Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.
When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.
Why are you so firmly committed to defending the “happy ending” in romance novels?
It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.
I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.
You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?
First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.
How does this apply to being a very visible Black author in romance?
I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.
How do you define success for yourself at this point?
I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.
Culture
How Many of These Books and Their Screen Versions Do You Know?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.
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