Culture
How Falcons' helmet cams are honing play calling, cadence and dad jokes
FLOWERY BRANCH, Ga. — Terry Fontenot was playing hooky from an Atlanta Falcons OTA workout day in Cooperstown, N.Y., in June when he got a surprise in his hotel room. The Falcons’ general manager spent the day watching his son, Kaiden, play in the Cooperstown All-Star Village baseball tournament. That night, he sat down with his computer to review film of the Falcons’ on-field session he had missed back home.
“I’m watching practice, and you’ve got the different views, the sideline, the end zone, then a higher end zone view and another view right down the line of scrimmage,” Fontenot explained. “So I’m clicking through the views, and all of a sudden I hear something. I’m like, ‘What’s going on?’ Then all of a sudden I’m in the huddle.”
Fontenot was hearing and then seeing the footage from cameras the Falcons have attached to the helmets of quarterbacks Kirk Cousins and Michael Penix Jr. for practice sessions this offseason.
“I knew we had talked about the possibility, but all of a sudden it’s just in our regular film,” Fontenot said.
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Atlanta’s coaching staff has gained valuable insight from the footage, coach Raheem Morris said. In exchange, the coaches have had to hear an array of playful complaints from the players.
“I joke with them that it’s kind of like the KGB: ‘You guys listen to everything I say,’” Cousins said. “The huddle used to be my time, but now you guys are in there and the huddle is bugged. I tell my teammates, ‘You guys are not getting let off the hook.’ If you say, ‘What’s the play here?’ the whole building knows. It’s probably more like a spy technique than anything else, but feedback is feedback, and it’s one more tool.”
Smooth with it @themikepenix 🎯 @cwash82 pic.twitter.com/1Ouc3C1PtV
— Atlanta Falcons (@AtlantaFalcons) August 14, 2024
Penix, a rookie, said he has benefited from being able to hear how Cousins, a 13-year veteran, calls plays and manages the huddle and snap cadence, but he hates the sound of his own voice.
“I feel like my voice sounds different in person, but other than that, I like the view,” he said. “It’s a cool thing.”
Matthew Bergeron, a 6-foot-5, 323-pound offensive lineman, doesn’t have to worry about hearing his voice in the huddle, but he’s not sure the camera provides him the most flattering angle.
“I think it made me look weird when I watched film,” he said. “I looked a lot bigger than I thought I looked. It’s not my best angle, but it’s a good angle to watch film.”
Penix also doesn’t think the camera gives him proper credit for his canniness.
“Sometimes on the GoPro, you can’t really see what I’m reading,” the quarterback said. “Nine times out of 10, I am looking off a defender. So, my GoPro might be facing this way, but really I’m reading over there.”
(The “GoPro” camera isn’t actually a GoPro. It’s a DJI Action 2 model.)
The Falcons coaching staff tries to determine where the quarterbacks are looking with the footage, and thus how they are reading the defense and going through their passing progressions, but the most valuable aspect is the sound, first-year offensive coordinator Zac Robinson said.
“The biggest tool is hearing the communication and how the guys are getting in and out of the huddle,” Robinson said. “I know it’s big for Mike as a young guy just learning the process of what it’s supposed to sound like.”
When Fontenot heard the helmet camera suggestion, he assumed the idea started with Robinson, who followed Morris from the Los Angeles Rams’ coaching staff. Actually, the man behind the cameras is Jake Stroot, the Falcons’ fourth-year video director.
Stroot got the idea when he saw the Miami Dolphins using the cameras during joint practice sessions in Miami in 2023. He pitched them to the Falcons coaching staff, and Morris liked the idea.
“You can see exactly what the quarterbacks are looking at when they are barking through cadences,” Morris said. “You are grading your coaches there, too. You can see the flow between Zac Robinson and Kirk.”
The cameras hold 30 minutes of footage each, and Stroot’s staff has four for each quarterback, which they swap using magnetic holders multiple times each practice session. The cameras run throughout the team’s 11-on-11 practice work.
“We tried it out in the spring, and they liked it, and it has grown from there,” Stroot said. “The audio part is really special just to hear the cadence and stuff. All the guys are really digging it.”
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Watching the helmet camera footage and cutting it into clips for the coaching staff is “the most enjoyable part of my day,” Stroot said.
“The passion that Kirk shows is still very much there, and that’s very evident from hearing him talk,” Stroot said.
The helmet cameras have added four hours of footage for Stroot and his staff to work through every day. The video staff already was recording practice with nine aerial cameras and six ground cameras each day, accumulating nearly 20 hours of footage from each practice, all of which is cut into clips and made available to the coaching staff within 30 minutes of the end of practice.
The Falcons also have added sideline video screens during practice that show the previous play immediately so players and coaches can get quick reviews between snaps. Putting them in place and operating them also fell to Stroot.
“That’s just the mindset of him and his whole department,” Fontenot said. “If there’s a new person in the video department, the first thing he says is, ‘Our mantra is “no” doesn’t exist. We don’t say no.’ Somebody comes down and they ask for something, the first answer is yes and they figure it out.”
The Falcons hired Stroot away from the University of Georgia in 2021 after asking Bulldogs coach Kirby Smart for permission to talk to him.
“We interview him, it goes well, and when I called Kirby to tell him we were hiring him, there was an expletive,” Fontenot said. “He said, ‘I’m so happy for him, but man this is a tough loss.’ As soon as Jake is in the building, you see why.”
The Falcons and Dolphins are believed to be the only NFL teams currently using helmet cameras, and Stroot says no other professional teams have approached him for advice on implementation, though several colleges have.
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Defensive coordinator Jimmy Lake thought the cameras were a tool of the Falcons’ social media team when he saw them pop up on the practice field.
“But then Rah showed it in the team meeting, and it was really cool,” Lake said. “Got me thinking, ‘Maybe I want to put one of those on Jessie Bates so we can flip it the other way as a teaching tool.’ I think it’s genius.”
Bates said he might start reviewing the footage to see how he looks from a quarterback’s eyes.
“It’s cool to see,” the safety said. “Rah pulls it up in the team meeting room sometimes, and to see how Kirk processes things and how excited he gets to this day is cool. He talks a little s— as well. I need to start getting some footage of that, for sure.”
In addition to reviewing his performance for each play, Cousins uses the film to self-scout his wealth of “dad joke” comedy material.
“I get a better feel for how I come across,” the 36-year-old quarterback said. “I’ll say a joke I thought was pretty funny, and then I’ll go back and listen to it and say, ‘Don’t say that.’ I’ll watch it and think, ‘I thought I was cool, but I’m a nerd.’”
(Photo of Kirk Cousins: Todd Kirkland / Getty Images)
Culture
The Books We’re Excited About in Early 2025
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A new year means new books to look forward to, and 2025 already promises a bounty — from the first volume of Bill Gates’s memoirs to a new novel by the reigning Nobel laureate, Han Kang, to a biography of Rosemary Woodruff Leary, the wife and psychedelic collaborator of the counterculture pioneer Timothy Leary.
On this week’s episode, Gilbert Cruz and Joumana Khatib talk about some of the upcoming books they’re most anticipating over the next several months.
Books discussed:
“Stone Yard Devotional,” by Charlotte Wood
“Silence,” by Pico Iyer
“Onyx Storm,” by Rebecca Yarros
“Gliff,” by Ali Smith
“The Dream Hotel,” by Laila Lalami
“The Colony,” by Annika Norlin
“We Do Not Part,” by Han Kang
“Playworld,” by Adam Ross
“Death of the Author,” by Nnedi Okorafor
“The Acid Queen: The Psychedelic Life and Counterculture Rebellion of Rosemary Woodruff Leary,” by Susannah Cahalan
“Tilt,” by Emma Pattee
“Dream Count,” by Chimamanda Ngozi Adichie
“Hope: The Autobiography,” by Pope Francis
“Jesus Wept: Seven Popes and the Battle for the Soul of the Catholic Church,” by Philip Shenon
“The Antidote,” by Karen Russell
“Source Code,” by Bill Gates
“Great Big Beautiful Life,” by Emily Henry
“Sunrise on the Reaping,” by Suzanne Collins
We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to books@nytimes.com.
Culture
Grand Slam prize money is enormous. The economics of tennis tournaments is complicated
Four times a year, one of the biggest and most important tennis tournaments in the world sends out an announcement full of dollar signs and zeroes with the words “record prize money” scattered liberally.
The four Grand Slams, the first of which begins Sunday in Melbourne, are the high points of the tennis calendar. Players at the 2025 Australian Open will compete for $59million (£47m) this year — over $6.2m more than last year. In 2024, the four tournaments paid out over $250m between them, while their leaders spent the year aligning themselves with the players who make their events unmissable, whose gravity pulls in the broadcast deals and sponsorships, with their own dollar signs and zeroes.
Led by Australian Open chief Craig Tiley, the Grand Slams led the movement for a so-called premium tour which would pare down the overloaded tennis calendar and guarantee top players always being in the same events, let alone time zones. It would also lock swaths of the globe out of the worldwide spectacle that tennis represents.
The great irony is that despite the largesse and the cozy relationship, the players get a smaller cut of the money at the Grand Slams than they do in most of the rest of the rest of that hectic, endless season — and a fraction of what the best athletes in other sports collect from their events. The Australian Open’s prize pool amounts to about a 15-20 percent cut of the overall revenues of Tennis Australia, the organization that owns and stages the tournament, which accounts for nearly all of its annual revenue. The exact numbers at the French Open, Wimbledon and U.S. Open vary, but that essential split is roughly a constant. The 2023 U.S. Open had a prize pool of $65m against earned revenue from the tournament that came out at just over $514m, putting the cut at about 12 percent. The U.S. Open accounted for just under 90 percent of USTA revenues that year.
The explanations from the Grand Slams, which collectively generate over $1.5bn (£1.2bn) a year, run the gamut. They need to dedicate hundreds of millions of dollars each year to fund junior tennis development and other, less profitable tournaments in their respective nations — an obligation pro sports leagues don’t have. There is a constant need to upgrade their facilities, in the silent race for prestige and primacy of which the constant prize money one-upmanship is just one element.
That dynamic is not lost on players — least of all Novak Djokovic, the top men’s player of the modern era and a co-founder of the five-year-old Professional Tennis Players Association (PTPA).
“I’m just going to state a fact,” Djokovic said during a post-match news conference in Brisbane last week. “The pie split between the governing bodies in major sports, all major American sports, like NFL, NBA, baseball, NHL, is 50 percent. Maybe more, maybe less, but around 50 percent.
“Ours is way lower than that.”
Since 1968, the first year in which the four majors offered prize money as part of the Open Era’s embrace of professional tennis players, the purses have only grown. The 1968 French Open was the first to offer prize money, with Ken Rosewall earning just over $3,000 for beating Rod Laver in the final. The women’s singles champion, Nancy Richey, was still an amateur player, so could not claim her $1,000 prize. By 1973, lobbying from Billie Jean King helped convince the U.S. Open to make prize money equal for men and women through the draws; it took another 28 years for the Australian Open to do so year in, year out. Venus Williams’ intervention helped force the French Open and Wimbledon to follow suit in 2007.
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Fifty years after Rosewall’s triumph in Paris, the 2018 men’s champion Rafael Nadal took home $2.35million, an increase of over 73,000 percent. The year-on-year increases at each major are more modest, usually between 10 and 12 percent, but that percentage of tournament revenue remains steadfast, if not entirely immovable.
The Grand Slams argue that there are plenty of hungry mouths at their table, many more than just the 128 players that enter each singles draw each year.
“Tennis Australia is a not-for-profit and a business model built on significant investment into delivering the event and promoting the sport to drive momentum on revenue and deliver consistently increasing prize money,” Darren Pearce, the organization’s chief spokesperson, said in a statement this week.
Money from the Australian Open also helps fund tournaments in Brisbane, Adelaide and Hobart, as well as the United Cup, the combined men’s and women’s event in Perth and Sydney. Pearce said the prize money increases outpace the revenue growth.
The Grand Slams also point to the millions of dollars they spend on player travel, housing, transportation and meals during tournaments, though team sport athletes receive those as well. Eloise Tyson, a spokesperson for the All England Lawn Tennis Club, which stages Wimbledon, noted that overall Grand Slam prize money had risen from $209million in 2022 to $254m last year, a 22 percent increase.
“Alongside increasing our player compensation year-on-year, we continue to make significant investment into the facilities and services available for players and their teams at The Championships,” Tyson wrote in an email.
Officials with France’s tennis federation, the FFT, which owns the French Open, did not respond to a request for comment.
Brendan McIntyre, a spokesman for the United States Tennis Association, which owns the U.S. Open, released a statement this week touting the USTA’s pride in its leadership on player compensation, including offering equal prize money and the largest combined purse in tennis history at the 2024 US Open. A first-round exit earned $100,000, up 72 percent from 2019. Just making the qualifying draw was good for $25,000.
“As the national governing body for tennis in the U.S, we have a broader financial obligation to the sport as a whole,” the organization said.
“The USTA’s mission is to grow tennis at all levels, both in the U.S. and globally, and to make the sport accessible to all individuals in order to inspire healthier people and communities.”
None of the organizations outlined a specific formula for determining the amount of prize money they offered each year, which is roughly the same as a percentage of their parent organizations overall revenues. That may be a coincidence, though the Grand Slams also have the benefit of not facing any threat to their primacy.
The USTA’s statement gestures at how the structure of tennis contributes to this financial irony. In soccer, countries and cities bid to host the Champions League and World Cup finals; the Olympics changes every four years and even the Super Bowl in the NFL moves around the United States, with cities and franchises trying to one-up one another.
The four Grand Slams, though, are the four Grand Slams. There are good reasons for this beyond prestige: the infrastructure, both physical and learned, required to host a two- or three-week event at the scale of a major year in, year out is available to a vanishingly small number of tennis facilities around the world. There is no opportunity for another organization or event to bid to replace one of the Grand Slams by offering a richer purse or other amenities.
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This dynamic has been in place for years and has become more important in recent months. The PTPA has hired a group of antitrust lawyers to evaluate the structure of tennis. The lawyers are compiling a report on whether the the sport includes elements that are anti-competitive, preparing for a possible litigation with the potential to remake the sport.
The ATP and WTA Tours, which sanction 250-, 500- and 1000-level events as well as the end-of-season Tour Finals, give players a larger share of revenue. There is some disagreement between players and officials over how much it is and the methods of accounting; some player estimates hover around 25 percent, while tour estimates can be in the range of 40 percent. Both remain short of the team equivalents in the United States.
On the ATP Tour, the nine 1000-level tournaments have a profit-sharing agreement that, in addition to prize money, gives players 50 percent of the profits under an agreed-upon accounting formula that sets aside certain revenues and subtracts certain costs, including investments the tournaments make in their facilities. The WTA does not have such an agreement. It outlines a complex prize money formula in its rule book with pages of exceptions, not based on a guaranteed share of overall tour revenues.
The tours have argued that because media rights payments constitute a lower percentage of revenues than at the Grand Slams, and because the costs of putting on tournaments are so high, a 50-50 revenue share would simply turn some tournaments into loss-making entities and make tennis unsustainable as a sport.
James Quinn, one of the antitrust lawyers hired by the PTPA, said he saw serious problems with the model, describing a structure that prevents competition from rival tournaments.
Some events outside the 52-week program of tournaments — which see players earn ranking points as well as money — have official status (the Laver Cup is sanctioned by the ATP). But the remainder, such as the Six Kings Slam in Riyadh, which debuted this year and offered record prize money of over $6million to the winner, are not sanctioned, for now providing only a peripheral form of competition to ruling bodies’ control of the sport.
The Grand Slams, ATP and WTA insist this is for the best. They see themselves as caretakers of global sport trying to bring some order where chaos might otherwise reign.
Djokovic doesn’t totally disagree. He understands tennis is different from the NBA. He’s led the Player Council at the ATP, which represents male professionals, and he has seen how the sausage gets made and how complicated it is with so many tournaments of all shapes and sizes in so many countries. At the end of the day, he still thinks players deserve more than a 20-percent cut, especially since the Grand Slams don’t make the kinds of contributions to player pension plans or end-of-the-year bonus pools that the ATP does, nor do they provide the year-round support of the WTA.
“It’s not easy to get everybody in the same room and say, ‘OK, let’s agree on a certain percentage,’” he said of the leaders of tournaments.
“We want more money, (but) they maybe don’t want to give us as much money when we talk about the prize money. There are so many different layers of the prize money that you have to look into. It’s not that simple.”
(Photos: Kelly Delfina / Getty Images, Steven / PA via Getty Images; design: Dan Goldfarb)
Culture
6 New Books We Recommend This Week
Our recommended books this week tilt heavily toward European culture and history, with a new history of the Vikings, a group biography of the Tudor queens’ ladies-in-waiting, a collection of letters from the Romanian-born French poet Paul Celan and a biography of the great German writer Johann Wolfgang von Goethe. We also recommend a fascinating true-crime memoir (written by the criminal in question) and, in fiction, Rebecca Kauffman’s warmhearted new novel about a complicated family. Happy reading. — Gregory Cowles
One of Europe’s most important postwar poets, Celan remains as intriguing as he is perplexing more than 50 years after his death. The autobiographical underpinnings of his work were beyond the reach of general readers until the 1990s, when the thousands of pages of Celan’s letters began to appear. The scholar Bertrand Badiou compiled the poet’s correspondence with his wife, the French graphic artist Gisèle Lestrange-Celan, and that collection is now available for the first time in English, translated by Jason Kavett.
NYRB Poets | Paperback, $28
Wilson’s biography of the German polymath Johann Wolfgang von Goethe (1749-1832) approaches its subject through his masterpiece and life’s work, the verse drama “Faust” — widely considered perhaps the single greatest work of German literature, stuffed to its limits with philosophical and earthy meditations on human existence.
Bloomsbury Continuum | $35
Through a series of vignettes, Kauffman’s fifth novel centers on a woman determined to spend Christmas with her extended family, including her future grandchild and ex-husband, and swivels to take in the perspectives of each family member in turn.
People love the blood-soaked sagas that chronicle the deeds of Viking raiders. But Barraclough, a British historian and broadcaster, looks beyond those soap-opera stories to uncover lesser-known details of Old Norse civilization beginning in A.D. 750 or so.
Norton | $29
Fifteen years ago, Ferrell gained a dubious fame after The New York Observer identified her as the “hipster grifter” who had prowled the Brooklyn bar scene scamming unsuspecting men even as she was wanted in Utah on felony fraud charges. Now older, wiser and released from jail, Ferrell emerges in this captivating, sharp and very funny memoir to detail her path from internet notoriety to self-knowledge.
St. Martin’s | $29
In her lively and vivid group biography of the women who served Henry VIII’s queens, Clarke, a British author and historian, finds a compelling side entrance into the Tudor industrial complex, showing that behind all the grandeur the royal court was human-size and small.
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