Culture
The Las Vegas Aces let the rest of the WNBA catch up. Now their three-peat quest is over
LAS VEGAS — Among the many buzzwords Becky Hammon has used during her three-year run as head coach of the Las Vegas Aces, perhaps her favorite is “habits.”
Success relies on building habits.
“You don’t get to flip a switch,” Hammon said. “It’s the beautiful thing about sports, actually. The work and the commitment and the buy-in and the play-hard and want-to and the will, will always show up in the end.”
The Aces simply didn’t have the right habits in 2024. Their defense, which led the league in 2023, was fifth (100.3 points per 100 possessions) at the All-Star break. Their shooting suffered, as their 3-point percentage dipped from 37.2 in 2023 to 34.8 before the Olympics. A team that set the WNBA wins record (34) in 2023 en route to back-to-back titles matched its total losses by the 12th game of 2024.
Las Vegas was without its edge for most of the season, only really discovering that by the final 10 games. At that point, the damage had been done. The Aces had dug themselves too big of a hole, and the rest of the league caught up.
The Liberty loaded up on size to counter Las Vegas’ movement. The Lynx revamped their offense, spreading the floor and increasing their volume of 3s. Connecticut doubled down on its toughness, suffocating opponents defensively. The other contenders were able to hone in on their strengths while the Aces barely saw theirs in action. Their singular greatness never coalesced into more than the sum of its parts. Their players couldn’t amplify one another, simply letting individuals carry the team on alternating nights.
That meant fourth-seeded Las Vegas had to play Seattle, a historically good first-round opponent, before starting the semifinals in Barclays Center, a place where the Aces have won just once in seven tries over the last two years. Whatever edge they had summoned over the final quarter of the season petered out, and they ran out of gas.
“At the end of the day, I thought our shortcomings stood out a little bit,” Hammon said. “We have some great things to build on, (but) you don’t have it every year. It’s not the way this works.”
New York seized upon those weaknesses Sunday night in its decisive 76-62 Game 4 victory. The Liberty pummeled Las Vegas on the glass, winning the rebound battle 55-37, including a 13-4 margin on offensive rebounds. With the Aces trying to protect the rim, New York won the 3-point battle 10-7 (on six fewer attempts) and still managed to outscore Las Vegas in the paint 30-28 with a barrage of fourth-quarter layups.
Thank you @LVAces 🤍🩶♥️ Until next season! 🫶🙏 pic.twitter.com/d6zjfRgzsJ
— Las Vegas Aces News (@LVAcesNews) October 6, 2024
It was a continuation of shooting woes and defensive issues that have plagued the Aces all season. Despite the hope that they could conjure some of their 2023 magic, they reverted to the habits that had defined them during the regular season, and it wasn’t enough to get the job done. A Game 3 victory, on a night that Hammon called her team’s most complete game of the season, wasn’t a promising sign of what was yet to come for Las Vegas. Rather, it was a blip on the radar, a fleeting reminder of what the Aces had been instead of what they actually were this season.
“This year really kind of set its home for us going into the offseason about how we want to handle things,” A’ja Wilson said.
Las Vegas now heads into a pivotal offseason. It will likely lose one rotation player or young prospect beyond the core four to the expansion draft, whether that is Kiah Stokes, Megan Gustafson, Kierstan Bell or Kate Martin. Kelsey Plum is an unrestricted free agent, though the Aces can core her, but it is the first time that one of the team’s stars has hit free agency without signing an extension.
The bench wasn’t deep enough in 2024. The coaching staff had faith in only three frontcourt players for much of the season, but one of those players is 5-foot-11 and another doesn’t get guarded by opponents in the playoffs. Among their perimeter reserves, Tiffany Hayes was retired to start the season and hasn’t committed to sticking around while Sydney Colson’s offensive limitations made it tough to play her extended minutes.
The Aces also will have to navigate a new league dynamic. The league is stronger and deeper than when Las Vegas won its first title. The Aces helped engineer a stylistic revolution over the past three years, bringing pace and space to the WNBA and opening up the floor for high-powered individual performances. The rest of the league has caught on, however, which means Las Vegas has to figure out what comes next.
“They’ve made us a better team,” New York guard Sabrina Ionescu said. “To do what they’ve done is not easy. We’ve gotten there and lost, they’ve gotten there and won twice, and it’s a testament to their togetherness, their experience, how hard it is that they’re wanting to go out there and be their best every night, and they’ve laid down the foundation. And they’ve continued to motivate everyone in the league to just want to be better and want to win championships.”
Regardless of who ends up on the Aces’ 2025 roster, their only path to get back to competing for titles is to put in the work during the offseason and get in reps that will pay dividends come next October. Wilson said she’ll get back in the lab in December, and Hammon says she expects a different level of focus to start training camp.
Las Vegas also has the motivating factor of defeat.
“We’re gonna have a lot of hard learning lessons,” Hammon said. “It hurts now, I promise you it’s going to hurt tomorrow, probably worse because it sets in the next day, but you got to build habits, you gotta work in a way that you believe you deserve to win.”
The Aces didn’t deserve to win in 2024. They lost to a better team, a team that was more consistent and less complacent throughout the season. For the last few years, Las Vegas has set the pace. Now, there is a new standard to meet.
(Photo of A’ja Wilson and Aces players: Barry Gossage / NBAE via Getty Images)
Culture
Video: The A.I. threat to audiobooks
new video loaded: The A.I. threat to audiobooks
By Alexandra Alter, Léo Hamelin and Laura Salaberry
May 20, 2026
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
How Many of These Books and Their Screen Versions Do You Know?
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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