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For Diana Taurasi, one last Olympic hurrah to cap a one-of-a-kind career

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For Diana Taurasi, one last Olympic hurrah to cap a one-of-a-kind career

PARIS — Van Chancellor knew he wanted Diana Taurasi on the 2004 Olympic team in Athens. She was young, skilled, confident, brash. He expected she would be a centerpiece of American basketball in the years to come, but he also knew that she would still be able to contribute on the squad of superstars that had been selected for his team — “Dream On” members who had helped re-center the world of women’s basketball by retaking the gold in 1996 in Atlanta.

On Taurasi’s first day with Team USA that year, just the morning after she had helped UConn to a national title over Tennessee, she sat down on the bus next to Chancellor and asked him a very straightforward question: What do you need out of me, Coach?

“I need for you to act like a rookie,” he told her.

“Coach Chancellor,” she said, “if that’s all you need, I’m ready to roll. I’m ready to help this team.”

That was Diana 20 years ago. It was her four days ago, too, when after 33 consecutive Olympic starts for Team USA, coach Cheryl Reeve moved her to the bench in their quarterfinal game against Nigeria in favor of 26-year-old Jackie Young, the second-youngest player on the roster. When the team broke the huddle, Taurasi bounded back to the bench as if it were where the ball would be tipped. She sat down, rubbed her hands together and locked in.

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What did the team need from her in that game? To do exactly that. Be the best leader and teammate, to pass the torch a bit and light everyone else’s fires on the way.

On Sunday, Taurasi will play in her final Olympic basketball game. It’s hard to imagine a USA Basketball world in which Taurasi doesn’t play a part. Of the 60-consecutive wins the program has had, she has been a part of 43.

“She has defined USA Basketball,” Reeve said. “I don’t know that there’s a greater competitor. … Dee is Mount Rushmore in that way.”


“She has defined USA Basketball,” USA coach Cheryl Reeve says of Diana Taurasi. “I don’t know that there’s a greater competitor.” (Marvin Ibo Guengoer – GES Sportfoto / Getty Images)

After the team won gold in 2021 in Tokyo, Taurasi, then 39, surprised everyone when she stared into the NBC camera and ended her postgame interview by yelling, “See you in Paris!” before she walked off. Sue Bird, who had been in on the interview, too, looked back at the camera with a laugh and remarked, “She said what she said.”

While many assumed the statement was in jest, she did not. She said what she said. And then, she did it. She came to Paris and led this team. First from the starting lineup, and then from the end of the bench.

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Against Nigeria, she didn’t enter the game in the first half, and instead was the first to jump out of her seat with good plays from her teammates and coached people up when they came to the bench.

After the semifinal win over Australia, Reeve said that when this is all over, she could speak more truthfully about the burden of carrying the legacy of eight straight gold medals and the expectations of this program. She hasn’t slept much and instead has toiled in the film room imagining all the ways basketball could be unfair to one of the greatest rosters ever assembled. She said she received a message from Dawn Staley, who coached the team in Tokyo to its seventh consecutive gold medal, that read: “There’s nothing I can say to you. I know what you’re feeling. You just have to go through it.”

What do you need out of me, Coach? You can imagine Taurasi saying.

To take a benching, as competitive Taurasi is, in a way speaks to the unselfish nature of this team. To be as steady as possible in a world where Reeve must feel like Atlas at every corner. To be someone who Reeve doesn’t have to worry about when she looks down the bench. Because they have Dee. She has seen everything. Nothing rattles her.

OK, would be Taurasi’s response, if that’s all you need, I’m ready to roll. I’m ready to help this team.

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In her sixth and final Olympics (that part is fact — she quipped to reporters in London ahead of the Olympics that they would see her in Los Angeles … “on the beach with a beer”), her inclusion in this roster has been argued by keyboard jockeys who couldn’t name three players on the team.

But as she was in 2004, she is in 2024 — she’s here to help this team. It looks different now than it did a decade ago, two decades ago, but it’s the same Diana. Still, at 42, she leads the guards and wings through every drill. She’s the first to stand up and clap from the bench. First to high-five teammates. First to pull players into the huddle, and first in those huddles to speak.

Diana Taurasi

Diana Taurasi has embraced the mentor’s role on this U.S. team, coming off the bench in each of the Americans’ last two games. (Sarah Stier / Getty Images)

If that sounds cliché and unimportant, then perhaps it’s because the pressure this team exists underneath is entirely its own. Other teams don’t need a Dee because other teams don’t operate in this unique space of perfection.

Perhaps there’s no better endorsement of Taurasi than the fact that the two best players in the world — A’ja Wilson and Breanna Stewart — cede their space, their speaking time, their ability to “be first” to someone else.

“The biggest thing that I love about DT is that she does not change,” Wilson said. “She is always so consistent in what she does — that is a sign of greatness.”

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Taurasi’s greatness has been on display through these Games. In moments big and small. In how she has handled herself. In her graciousness in understanding her role, and how it has changed. In how she has remained constant in who she is not just in these six games, but in her last 43.

“Think about that — two decades not two Olympics,” said Geno Auriemma, former U.S. national team coach and Taurasi’s college coach at UConn. “The commitment and passion, the love of the game — all these in and of itself would be monumental. But add in that for two decades she was the face of the team, the best player, best teammate and the greatest winner in the history of the game.”

With that commitment and that time has come age. For several years now, Taurasi has made efforts to take care of her body in a different, more focused, way — went vegan, did lengthier pre- and post-practice stretching and treatment regimens longer than the practice itself. She has sacrificed to continue to play, to continue to be here for not just herself but her teammates.

On Sunday, Taurasi will put on her No. 12 USA jersey one final time in an Olympic setting. No athlete has done what she has done before, and it’s hard to imagine it happening again. Nearly half of her life has been spent representing the U.S. on an international stage. But before Taurasi came around, it was hard to imagine 60-straight wins or eight-straight gold medals. Now, Team USA is on the precipice of just that.

Her legacy is cemented, and has been, but in these final Games for her, she has shown what’s possible to both her teammates and the next generation of players. Stewart calls her the “gold standard” of USA Basketball, and she’s just that. And not just because she already has five gold medals to her name.

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Every Olympic coach she has had has asked her to do something different for her team — be a rookie, be a scorer, be an elite passer, be a leader, be a veteran, come off the bench, use your voice more than your passing skills. In short: Be Dee.

“I’m here to compete. I’m here to play at a high level. I’m here to give to my teammates and I’m here to win a gold medal — that’s it,” Taurasi said when she arrived in Paris. “I don’t care about the last 20 years. I’m worried about the next 20 years.”

The next 20 years of Team USA are in good hands. Taurasi has made sure of it. Just ask Young. Or Wilson. Or Kahleah Copper. Or Sabrina Ionescu.

And four years from now, when this group is going for a gold medal in Los Angeles, she’ll hopefully be on a beach somewhere, drinking a cold one. She has more than earned it.

go-deeper

GO DEEPER

Can the rest of the world catch up to Team USA? Our women’s basketball experts debate.

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(Top photo of Diana Taurasi during Friday’s semifinal game against Australia: Daniela Porcelli / Eurasia Sport Images / Getty Images)

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Video: Tyler Mitchell Breaks Down Three Photos From His New Book

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Video: Tyler Mitchell Breaks Down Three Photos From His New Book

new video loaded: Tyler Mitchell Breaks Down Three Photos From His New Book

Erica Ackerberg, a Times photo editor, calls the photographer Tyler Mitchell to chat about three photos from his new book, “Wish This Was Real.”

By Erica Ackerberg, Gabby Bulgarelli, Sutton Raphael, Thomas Vollkommer and Laura Bult

October 25, 2025

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Can You Identify the Literary Names and Titles Adopted by These TV Shows and Musicians?

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Can You Identify the Literary Names and Titles Adopted by These TV Shows and Musicians?

Welcome to Lit Trivia, the Book Review’s regular quiz about books, authors and literary culture. This week’s challenge celebrates allusions to characters and plots from classic novels found in music and television. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the books.

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What’s So Great About ‘Slow Horses’? This Scene Says It All.

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What’s So Great About ‘Slow Horses’? This Scene Says It All.

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A couple dozen pages into “Clown Town,” Mick Herron’s latest novel, two veteran spies share a bench in London. They’re Jackson Lamb and Diana Taverner, notorious fictional fixtures of MI5, the British intelligence service. Fans of “Slow Horses,” the Apple TV series adapted from Herron’s earlier Slough House books, will recognize the pair as the characters played with brisk professionalism and callused gravitas by Kristin Scott Thomas and Gary Oldman.

Those incomparable actors are a big part of the show’s appeal, but the Britain they inhabit — weary, cynical, clinging to the tattered scraps of ancient imperial glory — is built out of Herron’s witty, corkscrew sentences.

And this bench, like others where Lamb and Taverner meet with some regularity on both screen and page, is hardly an incidental bit of urban furniture. It holds not only their aging bureaucratic bums, but also a heavy load of literary and sociological significance.

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An ambient sarcasm hangs in the foul air around his characters. Nearly every word is freighted with a mockery that is indistinguishable from judgment. Herron’s prose bristles with the kind of active, restless grudge against the world that is the sure sign of a moralist.

While spies, bureaucrats and especially politicians come in for comic scolding, the real target of his satire is an administrative regime that will be familiar to many readers and viewers who have never cracked a code or aimed a gun. In interviews, Herron has often noted that unlike John le Carré, to whom he is often compared, he has had no first-hand experience of espionage. But he has spent enough time toiling in offices to understand the absurdity — the banality, the cruelty, the cringeiness — of modern organizational life.

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“Slow Horses” is a workplace comedy, and Diana and Jackson — nightmare colleagues and bosses from hell — are its flawed, indispensable heroes. Their nastiness to each other and everyone else is a reflection of their circumstances, but also a form of protest against the ethical rottenness of the system they serve.

The gimlet-eyed Diana, managing up from a precarious perch high in the organization, must contend with the cretinous crème de la crème of the British establishment. The epically flatulent Jackson, a career reprobate exiled to a marginal post far from the center of power, manages down, wrangling MI5’s designated misfits, the Slow Horses who give the series its name. Those poor spies need to be protected from external savagery, internal treachery and their own dubious instincts.

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Jackson and Diana seem to share a cynical, self-serving outlook, but what really unites them is that they care enough about the job to do it right. More than that: They may be the last people in London who believe in decency, honor and fair play, embodiments of the humanist sentiment that lurks just below the busy, satirical surface of Herron’s novels. Not that they would ever admit as much — especially not to each other, planted on a public bench, where anyone could be spying on them.

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