Culture
Why Bengals’ win Saturday was about much more than one game for Tee Higgins
CINCINNATI — The moment Tee Higgins caught the game-winning 3-yard touchdown pass from Joe Burrow in overtime, he heaved his third touchdown reception high into the air as a cathartic release.
For Higgins, however, as he was surrounded by his teammates, flashing a confident glare with diamonds on his teeth shining off the flashing Paycor Stadium lights, this moment wasn’t merely about Bengals 30, Broncos 24.
No, this moment was about so much more. It was about everything.
“It’s the best feeling ever,” Higgins said.
GO DEEPER
Burrow keeps Bengals playoff hopes alive in wild 30-24 OT win over Broncos: Takeaways
This feeling was about a year in which the Bengals placed the franchise tag on him rather than offer a long-term contract. And rather than complain, he leaned into the work, showed up on time and dedicated himself to producing a contract year that would prove his worth while making a run for a title.
The feeling was about the inferred devaluing of his skills that came along with offers made to Higgins in each negotiation along the way.
About five years spent building a connection and deep-rooted respect among teammates that lifted this franchise from dregs to the top and back down, building bonds that regularly move his emotions.
About politely playing in the shadows of Burrow and Ja’Marr Chase, one of the great tandems in the NFL, never complaining or selfishly petitioning for the football.
Joe and Tee did that.@JoeyB @teehiggins5 pic.twitter.com/cw3HFF2p2q
— NFL (@NFL) December 29, 2024
About his conscious decision to shy away from the drama and spotlight at nearly every turn.
About hearing the words “injury prone” thrown around all year, calling his toughness into question, yet playing through knee and ankle injuries when everyone would understand a decision to shut it down.
About a city he never expected to grow attached to loving him back, one “Teeee!” chant at time, one final chorus cutting through the victorious pandemonium.
About a game where he walked in the building, through the tunnel and into franchise lore knowing this might be his last at home in Cincinnati.
“Emotions are just everywhere,” Higgins said, feeling reflective following his 11-reception, 131-yard, three-touchdown emphatic statement to the entire NFL. “You don’t know what to feel. It’s a surreal feeling.”
Surreal for everyone. Could this really be it in Cincinnati? The financials are challenging, the philosophy is worth debate. In that moment, smoke from the fireworks still hovering over the celebration, it was surreal, indeed, to think this could mark the final image for fans of one of the most electric trios in team history.
“I hope not, but that could have been my last game in the stripes here,” he said. “This game meant a lot more to me coming into it. Just walking into the stadium, that’s what I was thinking. It’s a possibility. You never know what happens in the future.”
“Who Dey! Love you!” – @teehiggins5 pic.twitter.com/yWktRagrhD
— Cincinnati Bengals (@Bengals) December 29, 2024
The path to this moment started with a text. With Higgins battling knee and ankle injuries, the first meeting of the week Tuesday included contingency plans in which he wasn’t on the field. Higgins pulled out his phone and sent a text to head coach Zac Taylor.
“I was in the back of the room and he texted me, ‘I’m playing,’” Taylor said. “So, you know, it’s early in the week, so I just let those guys get their space, really, to get right. But he was sending a pretty clear message that he saw personnel on the screen and said, ‘No, I’m playing.’”
There was no way he would miss this one. And no way the Bengals would win if he did.
In nearly every critical spot Saturday with the season on the line, Burrow turned to Higgins. When the offense scuffled through multiple failed short-yardage and red zone opportunities, it turned to Higgins as a mismatch. Once he motioned into a slot matchup with Ja’Quan McMillian, he instantly shook him inside for a pitch-and-catch 2-yard touchdown pass.
As Pat Surtain II slowed Chase, the Bengals sought matchups with Higgins. That included three receptions on three third-down targets.
With a tie game in the fourth quarter, Burrow saw Higgins matched up with corner Riley Moss, whom he targeted all night, and counted on his guy to go win. The 6-foot-4 athletic specimen took over with the type of high-point and toe-drag catch you just can’t teach.
.@joeyb x @teehiggins5 TOUGHHHH 😤#EasyToCelebrate | @budlight pic.twitter.com/rOiEIoSHvN
— Cincinnati Bengals (@Bengals) December 28, 2024
“Everybody can see what kind of player he is,” said Burrow, who stated following the first of these four consecutive wins he had a plan to keep himself, Chase and Higgins together for the long term. “He elevates us to a different level when he’s playing like that. Lucky to be a part of what we have going on right now.”
Even when Higgins made a mistake, fumbling in the fourth quarter as Cincinnati yet again crossed into Denver territory, his resiliency showed as his best moments would still be in front of him.
So, when the night went haywire from game-management debacles to fourth-down heaves to doinked game-winning attempts, Burrow and the Bengals were done screwing around when the defense gifted them one final chance at salvation from an 0-7 record against teams with winning records.
Get the ball to Higgins.
Burrow was beating the Broncos on slants all night. The move to keep them off-balance was over the top. Only, to make that throw, in that situation, you must have a ball-winner capable of snagging a 31-yarder over the shoulder and toe-tapping to seal the game. A game he would finish off one play later.
“I was waiting for the right moment to take our shot there,” Burrow said. “What a great catch by Tee. Tee came up big. He was unbelievable today.”
The owners’ suite didn’t need a reminder of why you would just pay the price and keep Higgins, but on Saturday night it sure got slapped in the face with one. Right along with the rapidly increasing cost of doing so.
Chase stood 10 feet away from Higgins as he spoke into a bevy of microphones after the game and interjected a simple message: “Pay that man!”
Maybe they will, maybe they won’t. The challenging nature of the decision didn’t make the reality of the moment any easier to digest.
“I grew so many relationships within the building, outside the building, in the city,” Higgins said, when asked about contemplating the concept that money could take him elsewhere. “It’ll definitely hurt. But there’s business, and if that’s where life takes me, God got me and I’ll just follow his lead.”
He admitted the emotions of the night returned as the celebration went on. Players so often say there’s no time for reflection during the season. But there was no avoiding it Saturday night.
“At the end of the game when I scored the game winner,” he said, smiling and looking off into the distance, “I was like, ‘Man, shout out to Cincy.’”
A surreal, emotional conclusion, without question, to a game that was about so much more. A night that might be Higgins’ final, brightest moment in Cincinnati.
“If it is,” he said, “go out with a bang, you know what I mean?”
Everyone very clearly knows what he means.
(Photo: Andy Lyons / Getty Images)
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. 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 books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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