Culture
Why March Madness belongs to the women: Star players, big ratings make it tourney to watch
There’s always a sign.
Last spring, I first noticed something special was happening when I couldn’t walk half a block in Dallas without running into large packs of Iowa or South Carolina fans. There were also my guy friends back home who, for the first time, were planning their weekend around the women’s NCAA Tournament games instead of the men’s. And all the sports talk radio channels were discussing Caitlin Clark and Angel Reese. My spidey senses were tingling.
I could feel it in my bones that the sport was primed for a breakthrough moment, though I couldn’t have imagined that nearly 10 million people would tune in for the Iowa-LSU national title game, shattering the previous record for viewership of a women’s basketball game. But I could tell that the barrier of apathy had been broken; these women, that late-game taunting, the sport itself — it’d all be talked about for days and weeks and months to come.
I have the same feeling right now.
Another giant leap is coming for a sport that ought to be growing accustomed to these gains. As we head into March Madness, it is the women’s side of the tournament that is taking center stage. It is the women’s stars who shine the brightest. It is the women’s game with the most intriguing storylines.
And … that’s not even debatable!
“We’ve been on a steady incline,” USC coach Lindsay Gottlieb said during my SiriusXM show Sunday night. “You combine the star power in our game, the fact that you have some of these established stars that fans have really built a relationship with like Caitlin Clark, Angel Reese, Cameron Brink — and then you add in this incredibly dynamic freshman class.
“What we’re seeing is that women’s basketball is a really marketable entity. People love it. We’re in a space where there’s an incredible amount of excitement around it. … It’s something that’s, really, a movement.”
We’ve seen those insanely long lines of fans waiting to get into arenas — any arena — to see Clark play. More than 3 million people watched Clark’s Hawkeyes beat Nebraska in overtime in the Big Ten championship game on CBS, with the audience peaking at 4.45 million (!) in overtime. Clark is so ubiquitous that she was discussed multiple times during this year’s NBA All-Star Weekend’s broadcast … while her State Farm commercials aired during its breaks.
GO DEEPER
Like Steph and Jimmer before her, Caitlin Clark is a ‘once in a lifetime’ experience
ESPN recently announced that this was its most-watched women’s college basketball regular season in more than 15 years, its viewership up 37 percent on ESPN platforms from last season. Its SEC championship last Sunday between LSU and South Carolina drew almost 2 million viewers, and the Pac-12 title match on the same day between USC and Stanford — the Trojans a No. 1 seed and the Cardinal a No. 2 seed in the upcoming tournament — drew more 1.4 million viewers, up 461 percent from last season’s championship. Those three title games out-rated three NBA weekend games.
With more eyeballs comes increased familiarity for fans, both new and old. Now, they know the stars by first name only. Caitlin. Angel. Paige. JuJu. Cam. Hannah.
Quick! Walk into your neighborhood sports bar and ask someone to name five men’s basketball players playing this week. Can they do it? I’m not sure I’d bet a beer on that.
Recently on his podcast, KG Certified, Kevin Garnett made the same point. “This is the first time watching college basketball where I know more girls than guys,” he said.”This is the first time we’ve got women’s basketball ahead of men’s basketball. Women’s college basketball is … electric. It is blowing the guy’s game out of the water.”
Of course, that won’t matter much when we sit on our couches or bar stools for 14 straight hours on Thursday and 14 straight hours on Friday. We’ll watch the men’s games just the same, falling in love with Cinderellas even though they bust our brackets. We’ll agonize over a coach’s horrendous late-game clock management. And we’ll keep watching the men because theirs has long been the best postseason in sports.
But parity on the women’s side has changed the calculus a bit. So has the transient nature of men’s college basketball; one-and-dones coupled with the transfer portal has made it harder than ever for players to become household names across the sport nationally. And so many of the men’s biggest stars — its Hall of Fame coaches — have retired and left the sport without its weightiness.
And that has opened a door for the women’s game to run through. This is the sport with players who stay three or four years and grow in front of our eyes. This is the sport with its Hall of Fame coaches still leading the way — many themselves recognized on a first-name basis: Dawn, Geno, Tara, Kim — even as parity increases and college athletics evolves under their feet.
So, this week, I’ll be most interested in Clark’s last tournament run and whether she can will the Hawkeyes to another Final Four. I’ll want to see JuJu Watkins, the freshman phenom who has revitalized USC’s women’s program, on the big stage for the first time. I’ll want to pretend I have half of the energy in my daily life that Notre Dame’s Hannah Hidalgo does on defense in just one game. I’ll be on pins and needles waiting to see if South Carolina can complete a perfect season after falling just short a year ago.
There will undoubtedly be the usual Neanderthal takes, men who still try to claim that “nobody” watches women’s basketball despite all of the evidence to the contrary. Those opinions now get shouted down by the dads who bond with their daughters by taking them to games and the moms of little boys who wear Clark jerseys and don’t think there’s anything strange about idolizing a female athlete. Those men can cling to their silly little outdated punchlines that make no sense anymore, while we watch compelling basketball and join this rocket ship as it rises.
“Eyes were opened last year, and we just fed off of that momentum, and it didn’t ever stop,” Notre Dame coach Niele Ivey told me Sunday. “Great teams, great players — the women’s game is just hot.”
(Illustration: Dan Goldfarb / The Athletic; Photos of Angel Reese, Caitlin Clark, Hannah Hidalgo: Eakin Howard / Adam Bettcher / Icon Sportswire, Joseph Weiser / Icon Sportswire)
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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