Culture
Taylor Swift at the Super Bowl would be a 'gift from the gods' for CBS' broadcast
Fred Gaudelli has been the lead producer of the Super Bowl television broadcast on seven different occasions. If you are into Roman numerals, Gaudelli has produced Super Bowls XXXVII, XL, XLIII, XLVI, XLIX, LII, and LVI. He has been in the production truck for some of the most exciting NFL title games in history, including Super Bowl XLIX in 2015, which featured New England Patriots rookie cornerback Malcolm Butler intercepting Seattle Seahawks quarterback Russell Wilson at the goal line with 20 seconds left to seal New England’s 28-24 come-from-behind win over Seattle. That game averaged 114.4 million viewers, which ranked as the most-viewed Super Bowl in U.S. television history before last year’s Super Bowl took the title.
During his 33 seasons as the lead producer for an NFL prime-time TV game, which included stops at ABC, ESPN, NBC, and Amazon Prime Video, Gaudelli has produced innumerable NFL games with famous people in the stands. How would he feel about the prospect of Taylor Swift attending Super Bowl LVIII in Las Vegas on Feb. 11 if he were producing the game?
“I would consider it a gift from the gods,” said Gaudelli.
Gaudelli, because he lives on Planet Earth, knows that Swift crosses over into popular culture and that means the potential for more eyeballs on the product. (If you are a Swift hater, this piece is going to be a cruel summer for you, and it’s best to bail out now.)
The challenge for the CBS Sports production team for Super Bowl LVIII, if Swift does make it to the game to watch boyfriend Travis Kelce and the Kansas City Chiefs take on the San Francisco 49ers — is navigating how often you incorporate images of the singer into the broadcast.
The good news for the crew — led by producer Jim Rikhoff, director Mike Arnold and replay producer Ryan Galvin — is that they’ve had the Chiefs plenty this year, including the divisional-round game in Buffalo and AFC Championship Game in Baltimore, both of which Swift attended. It would be editorial dereliction not to show Swift during the game, but at the same time, how much do you show her?
Then there is a new question: How much does the Super Bowl, a game that includes millions of people who are first-time football viewers for that season, impact your decisions on showing her?
“Let’s go to the last Super Bowl I did,” Gaudelli said of the Los Angeles Rams’ win over the Cincinnati Bengals on Feb. 13, 2022. “We had (Rams quarterback) Matthew Stafford, his wife and kids. We had (Bengals quarterback) Joe Burrow’s parents and girlfriend. We had (Rams wide receiver) Cooper Kupp’s wife. We had (Rams offensive lineman) Andrew Whitworth’s wife and kids. We had (Bengals wide receiver) Ja’Marr Chase’s mom and dad. You have these shots set up because they’re part of the story of the game and because there’s five times as many people (watching) as you would get for a normal game. Right off the bat, you’re already thinking about who’s at the game, and in L.A. we had celebrities like LeBron James and Jay-Z. (Director) Drew Esocoff was cutting those shots during the game. So when Stafford threw a touchdown pass, there’s a shot of Stafford’s wife. Burrow is on the ground writhing in pain? You see his mom and dad and his girlfriend with the ultimate look of concern.
“Now you have Taylor Swift, who also is someone that has a direct connection to the game because she’s a significant other of one of the stars of a team. Maybe you don’t show her for every Kelce sequence, but she’s going to be part of sequences when he makes a play.”
The airtime Swift has gotten so far during NFL games is much less than some think. New York Times writer Benjamin Hoffman wrote a great piece this week that chronicled “the dissonance between how many times Swift has been shown versus how many times people seem to think she was shown.” He reported Swift was on-screen for a duration of less than 32 seconds in most games, with a high of 1 minute and 16 seconds for Peacock’s coverage of the Chiefs against the Miami Dolphins on Jan. 13.
“You can’t help but put her on the air,” said Tracy Wolfson, who will be on the Chiefs’ sideline for the Super Bowl. “I can’t tell you the amount of dads who have come up to me and said, ‘My daughter is now watching football because of Taylor Swift.’ I mean, why wouldn’t you take advantage or capitalize on it? It’s great for the NFL and it’s great for ratings.”
Fox’s broadcast of the Chiefs’ game against the Chicago Bears on Sept. 24 set the template for Swift coverage because the network had to figure out everything on the fly. Lead producer Richie Zyontz said that his crew had no official word from the NFL or the Chiefs that Swift would be in attendance. (That changed in later weeks; Rikhoff knew the night before the Chiefs-Bills game Swift would be there.) They had to figure out the camera operators to use for the shots as well as how many to use.
“We were in uncharted waters having been the first to deal with the situation,” Zyontz said this week, reflecting on that game. “Moderation came to mind immediately. As the season progressed there were too many knee-jerk reaction shots, yet those were the shots that were talked about and written about on Monday. For the Super Bowl, there will be millions of new viewers because of her. Hopefully, good judgment will prevail. But for those who complain, come on, it’s a few seconds at a time, a few times a game. Is that really egregious?”
“You can’t help but put her on the air,” Tracy Wolfson, who will be working the Chiefs’ sideline at the Super Bowl for the CBS broadcast, says of Taylor Swift. (Jason Hanna / Getty Images)
The Super Bowl will be very different. If Swift is at the game, the Chiefs and the NFL will know what suite Swift will be sitting in at the stadium. So there will be no issues for the CBS broadcast production in finding her. CBS will put a request in to interview the singer. (If there is a prop bet on Swift being interviewed on camera, I’d bet no.) Gaudelli said a production’s best shot would be to go through the Chiefs who would relay the request to her through Kelce. You’d also make the ask to see if she wanted to do something off-camera.
“We didn’t put that request in during the season because we didn’t think it rose to that level at that point,” said Gaudelli, who now serves as executive producer for NBC’s NFL coverage. “But, yeah, I think you put that in for the Super Bowl. You would try to get her on the pregame show.”
Expect some guaranteed visuals in the postgame. If the Chiefs win, there will be a CBS camera operator following Kelce, for certain.
“As a producer and director, he’s one of the main guys you want to see at the end of the game because he’s a major part of his dynasty if they win,” Gaudelli said. “So where he is, she will be. You don’t really have to go hunting too far. You’re going to be looking for number 87.”
One person who is watching all of this with total amusement is Ian Eagle, the CBS broadcaster who was the first NFL national broadcaster to acknowledge the Swift-Kelce connection. On a Kelce touchdown call during Kansas City’s 17-9 win over Jacksonville on Sept. 17, Eagle cheekily tossed in a “Kelce finds a blank space for the score” line, referencing a Swift song title.
“Kelce finds a blank space for the score.”
Ian Eagle sneaking a reference into this Travis Kelce touchdown call 👀
🎥 @NFLpic.twitter.com/pQNiqZdh88
— The Athletic (@TheAthletic) September 17, 2023
“Back in September, there were some stories popping up linking Travis to Taylor, but it wasn’t getting major coverage at that point,” Eagle said. “When Kelce scored a touchdown in Jacksonville, I tossed in, ‘He finds a Blank Space for the score’ as a lark. I thought it was a cute throwaway line, not imagining for a moment it would blow up. I learned about the power of Swift in a hurry, and all of these months later the interest has grown exponentially with this Chiefs run. The NFL was already immense. But the relationship has somehow created even more buzz for the league. I’m just happy for those two crazy kids.”
GO DEEPER
How Taylor Swift could get to the Super Bowl from her Eras Tour
(Top photo of Taylor Swift and her boyfriend: Patrick Smith / Getty Images)
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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