Culture
How should broadcasts handle court-storming?
Throughout a three-decade career as a prominent ESPN play-by-play broadcaster, Dave Pasch says he has been on the mic for two college basketball games that ended in a court-storming. One occurred earlier this month as unranked LSU upset Kentucky as time expired at the Pete Maravich Assembly Center in Baton Rouge, La. Pasch recalled this week a conversation he and analyst Jay Williams had with an LSU athletics department staffer prior to the game.
“We asked, if they beat Kentucky, will they storm the court?” Pasch said. “He was like, ‘Nope, we don’t storm the court here. We’ve beaten Kentucky before.’ Well, they won on this crazy, last-second shot and, of course, they stormed the floor.”
In the game’s final sequence, you can clearly hear Williams say, “Didn’t we talk today about if LSU has the right protocol in place for a court storm?” as ESPN’s cameras aired a wide shot of LSU fans spilling onto the court.
The issue of court-storming went national this week after Wake Forest fans ran onto the Lawrence Joel Veterans Memorial Coliseum floor following a win over Duke on Saturday. Cameras picked up video of multiple fans making contact with Duke star Kyle Filipowski, who ended up limping off the court, prompting Duke coach Jon Scheyer, fuming in a postgame press conference, to ask, “When are we going to ban court-storming?” Last month, Iowa star Caitlin Clark collided with an Ohio State fan after the Buckeyes’ upset of the Hawkeyes in Columbus, Ohio.
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ESPN producer Eric Mosley and director Mike Roig estimated they have worked 16 to 18 college games where fans of a team have stormed a court. A number of those court storms occurred when a team had a home upset of perennial heavyweights Duke, Kansas or Kentucky. Roig directed Arkansas’ 80-75 win over Duke on Nov. 29, and you can see the wide shot cut by Roig as fans flooded onto the Bud Walton Arena Floor.
Mosley said production planning for court-storming happens long before tip time. ESPN production crews pre-scout where they can find a safe place for their reporter and camera operators to interview a winning coach and player. Directors such as Roig hold meetings hours before games with camera operators to go over protocol and various scenarios including the storming of a court. The camera setup is such that viewers potentially get access to a lot of entry points. For a regular-season college basketball game, there are usually five non-manned hard and robotic cameras. Those are located in positions safe from the crowd. Then there are three hand-held cameras which are helmed by operators situated on the baselines and centre court. (The overhead camera for Wake Forest-Duke got the best shot of what happened to Filipowski.)
“One of the first questions we ask when we get on-site with the (sports information director) for certain games is whether there is an appetite for a court storming or if security kind of allows that,” Mosley said. “We find out where the student section is and what the security situation is there. We ask where can we get our cameras and reporter to meet a coach and star player for that postgame interview? We try and get ahead of that stuff as early as possible because we don’t want to get caught in a position where our folks like Holly Rowe, Jess Sims, Kris Budden and our camera folks are unsafe. We don’t want them trapped and trampled. For the most part, we have been pretty successful.”
The play-by-play broadcaster for the Duke-Arkansas game was Dan Shulman, who estimated he has called 20 to 25 games that have involved court-storming during his career as an ESPN broadcaster. (Shulman is also the TV voice of the Toronto Blue Jays.)
“As fun as they can look on TV, I have always been worried about what could happen,” Shulman said. “I remember a court-storming at a Louisville-Charlotte game I was doing, and Doris Burke, who was the sideline reporter on the game, was trying to get an interview with the Charlotte coach, and I was worried for her safety. It was complete chaos on the court.
“Whenever there is a court-storming, it’s hard for us at our table really to see much of what is going on. All we can really see are the people closest to our table. Sometimes the student section may be behind our broadcast location, so knowing they are heading our way to the court can obviously be a bit disconcerting as you are trying to navigate a broadcast. I think for the most part, people in television hope that when these do happen, it is all good fun, and no one gets hurt. There’s no question it’s a good visual on TV, which is enjoyed by a lot of viewers. But to me, the risk outweighs the reward.”
Wake Forest fans took over their home court after Saturday’s win. An injury to Duke’s Kyle Filipowski has reignited discussion around court-storming. (Grant Halverson / NCAA Photos via Getty Images)
Bob Fishman agrees with Shulman. Fishman retired from CBS Sports last year after 50 years of employment between CBS News and CBS Sports and directed 39 NCAA men’s Final Fours, including Michael Jordan’s title-winning shot in the 1982 title game and North Carolina State’s upset of Houston the following year. Fishman said he has thought a lot recently about court-storming and would never tell a camera operator to run onto the court during one, making sure they held a position under the basket and shot what they could.
“I’m pretty firm on what I think should be done — you can’t ignore it,” Fishman said. “It’s not like a streaker running across the field at a football game, which you don’t show. I think that you have to show it because it’s part of the story and especially now since players have been injured. How I would do it is throw up a wide shot of some sort, maybe from a backboard camera or from a high beauty camera as we call it. Then I would make sure that my cameras on the court were recording everything and that stuff was being fed into a tape machine. I would never put that on the air. But I do think you have to show something, which would in my mind (be) a high shot.”
Broadcasters and production crew, especially at a 24/7 news outlet such as ESPN, have to follow the story until its conclusion, whether they are live on air or not.
“We have to keep in mind that the documentation continues even when we’re off the air,” Mosley said. “We have to treat it as a news story. For example, some of the Filipowski stuff happened after the crew had already signed off and the network transferred to another game. We’re taught and told repeatedly that we need to stay there and document as long as we can. That’s because somebody is going to be looking for that stuff.”
Mosley and Roig say they often think about how to navigate documenting a court-storming without glorifying the action.
“It’s a hard question to answer,” Roig said. “You’re both documenting and kind of glamorizing it at the same time. As a director, you’re toeing that line. We’re always taught as directors when that one person comes onto the court or the field, you don’t show them. Because more people will do it if you show them. It’s go wide and away. But this is a little different animal, right? We’re talking about hundreds and hundreds of people coming onto the court. … You blur the line of documentation or glorifying it. You have to have the mindset of you are documenting it, but at the same time, you have to be careful of how you document it.”
During a segment on ESPN’s “First Take” on Monday, longtime ESPN college basketball commentator Jay Bilas was critical of sports broadcasters glamorizing court-storming.
“Years ago when fans would run out on the field or court during a game, it was network policy not to show that because we didn’t want to encourage it,” Bilas said. “So what does that say about the way we in the media use these images now? We can’t deny that we encourage it. Or at least tacitly approve of it. Everybody has to accept some responsibility for this. I don’t think it is the right thing to allow this, but I know it’s going to continue.”
Said Roig: “It’s really a touchy point because as directors, it’s a great scene, right? You want to showcase that. But I’ve never had one prior to seeing the one last week (with Wake Forest-Duke) where it got to that point where it was not fun anymore.”
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(Top photo of the scene after Saturday’s Duke-Wake Forest game: Cory Knowlton / USA Today)
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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
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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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