Culture
Ding dong, Miami’s dead, but did Ole Miss deserve the CFP rankings nod over Alabama?
The College Football Playoff selection committee made the words of their chairman from a week earlier look silly, and they should all be commended for it.
To a point.
To the point of the Miami Hurricanes being eliminated from CFP contention with Tuesday’s penultimate rankings. That’s the big thing the 13-person committee got right Tuesday, and it came off as a pleasant surprise after several weeks of overrating the Canes, after chair Warde Manuel seemed to telegraph that the relative weakness of Miami’s profile would not count against it.
“Teams can only play the (conference) schedule that’s in front of them,” Manuel said after the previous rankings. “They can only play the opponents that they have. So we take the stance that we’re going to really look at these games, we’re going to look at the stats, we’re going to look at the strength of schedule, but we’re also going to look at how teams are performing against the competition that they have. From our perspective, if it was just about strength of schedule, we wouldn’t be needed.”
That comment came before Miami lost 42-38 at Syracuse. Still, it could have been used to justify keeping the 10-2 Hurricanes in, and it almost did. They dropped from No. 6 to No. 12, with 9-3 Alabama jumping two spots to No. 11 and taking the last at-large bid as of now — if No. 17 Clemson beats No. 8 SMU in the ACC title game, SMU could hang in and bump Alabama out.
In penalizing Miami, the committee thought beyond the simplicity of counting loss totals, valued good wins over “good losses” and ejected a team with a poor strength of schedule and no ranked wins. It’s not Miami’s fault that it didn’t play Clemson and SMU this season, but it’s not to Miami’s credit either.
It is to the credit, or good fortune, of The SEC Three — three-loss Alabama, Ole Miss and South Carolina — that they played and beat better teams than Miami. The Hurricanes should have dropped below all of them, which has nothing to do with ACC/SEC and everything to do with body of work.
Also, the more I look at it, the more I think No. 13 Ole Miss should have received the nod over Alabama. That one is very, very close. No. 14 South Carolina has a case, too, but when it’s this tight and the Gamecocks lost to Alabama and Ole Miss, the head-to-head results should register and differentiate. And they did.
Really ?? ….what put Bama over the top of Miami for the last spot in is that Miami went 1-2 in their last 3 games (by an average of 4.5 pts, to a ranked Syracuse and GT team that just took UGA to 8OT). Bama went 2-1 (to 5-7 Auburn, destroyed by OU, and beat FCS Mercer)
— Dan Radakovich (@DanRadakovich) December 4, 2024
First, let’s celebrate the positive, all due respect to Miami. The committee seemed in previous rankings to be valuing those confounding “good losses” over quality wins (that’s still the case with Penn State, for the record). As someone who has done the mock NCAA men’s basketball selection process and has observed that process for a long time, wins mean more to that committee than losses. That committee, in essence, asks: “Can this team win games in this tournament?”
Miami could have done damage. Certainly, Cam Ward and the Hurricanes can score, leading the nation at 44.2 points per game. ESPN’s Heather Dinich, who covers the committee, noted it “likes this offense and Cam Ward” in predicting Miami would make the cut Tuesday.
Ward is second in the nation at 343.6 passing yards per game, behind only Syracuse quarterback Kyle McCord — has anyone mentioned recently he once played for Ohio State? — at 360.5 per game. McCord helped those numbers with a cool 380 and three touchdowns in Saturday’s upset of the Hurricanes to push 9-3 Cuse into the rankings at No. 22.
That dropped Miami to 60th nationally in scoring defense (23.9) and 42nd in yards per play allowed (5.19). Against a schedule ranked No. 68 in The Athletic analyst Austin Mock’s metric.
Sure, the most recent outing to cost Miami a spot in the ACC title game was a close loss, just like a 28-23 loss to 7-5 Georgia Tech on Nov. 9. But the Hurricanes’ best win this season continues to be a 52-45 escape of a Louisville team that couldn’t quite sneak back into the rankings after thumping rival Kentucky.
The SEC Three also could only play the schedules that were in front of them, and Ole Miss came away with a 28-10 home win over No. 5 Georgia and a 27-3 road win over South Carolina. Alabama beat Georgia 41-34, South Carolina 27-25 and No. 19 Missouri 34-0, all at home.
South Carolina might be playing as well as anyone — and that’s something the committee should be discussing as well. Is a team getting better or worse? South Carolina and Miami, for example, would appear to be teams going in different directions. South Carolina just beat Clemson 17-14 on the road. The Gamecocks also beat Missouri 34-30 and newly unranked Texas A&M 44-20.
All of those wins from The SEC Three are better than any of Miami’s wins. Transitive football does tell us Miami crushed 7-5 Florida on the road, 41-17, while Ole Miss blew it by losing 24-17 at Florida on Nov. 23. That counts as the other mentionable win on Miami’s schedule, but anyone who has watched Florida this season also sees dramatic improvement from September to November.
Ole Miss also lost at home to 4-8 Kentucky, which is bad. And had a 29-26 loss at LSU, which isn’t. I give Ole Miss the edge over Alabama (which is a change from the 12 I submitted after Saturday’s results, for the record) based on current quality of play.
Alabama lost 40-35 at 6-6 Vanderbilt, 24-17 at No. 7 Tennessee and, recently and alarmingly, 24-3 at 6-6 Oklahoma. That one pushes Ole Miss ahead in my mind. South Carolina actually has the best losses, to the other two of The SEC Three, and to LSU. Again, wins beating losses. Yay, committee.
Strength of schedule rankings? South Carolina 12, Alabama 19, Ole Miss 51. Maybe that’s the difference for Alabama. I don’t think it’s brand name, though I expect Lane Kiffin to amplify all such complaints from Ole Miss fans in the days to come.
It’s just so close. Certainly closer than Miami compared with any of the three.
(Photo of Mario Cristobal: Andy Lyons / Getty Images)
new video loaded: The A.I. threat to audiobooks
By Alexandra Alter, Léo Hamelin and Laura Salaberry
May 20, 2026
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.
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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