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1972 Munich Olympics thriller shows nail-biting decisions in ABC Sports control room

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1972 Munich Olympics thriller shows nail-biting decisions in ABC Sports control room

Director Tim Fehlbaum’s team obtained 1970s era television equipment from collectors, museums and television studio storage rooms for the set of his film September 5.

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The 1972 Munich Olympics kicked off under the banner of hope and peace, hosted by a country eager to turn the page nearly three decades after the fall of the Nazi regime.

Instead, those Summer Games were marred by tragedy when armed militants affiliated with the Palestinian organization Black September took members of Israel’s Olympic team hostage. By the time it all ended, 11 Israelis, five Palestinians and a West German officer were dead.

ABC Sports was already on the ground covering the sporting events from its own production complex outside the Olympic Village. As the situation unfolded, the division took the dramatic decision to broadcast live with developments.

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These events are recounted in director Tim Fehlbaum’s new Golden Globe-nominated film September 5. The film is set almost entirely in the ABC Sports control room and focuses on the real-time challenges faced by the broadcasters who improvised to get the audience as close as possible to the story.

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“It was that group of sports reporters that had to make that switch,” Fehlbaum told NPR’s A Martínez. “They had this almost innocent view. They were not trained or experienced in crisis reporting. And so they made all these decisions on the spot.”

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ABC Sports, led by then president Roone Arledge, played by Peter Sarsgaard, vigorously fought for his division to lead the story, refusing to bow to intense pressure from ABC News to take over news coverage from thousands of miles away in the United States.

Some of the team’s heftiest challenges included making sure their live coverage didn’t inadvertently share with the armed extremists — via television screens the hostage takers might access — law enforcement’s moves and potentially broadcast hostage killings to the entire world.

Geoffrey Mason (John Magaro) was a young ABC Sports producer when he played a critical role in deciding what to show the world about the 1972 Munich Olympics massacre. September 5 director Tim Felhbaum consulted with Mason, a 26-time Emmy Award winner, for his film.

Geoffrey Mason (John Magaro) was a young ABC Sports producer when he played a critical role in deciding what to show the world about the 1972 Munich Olympics massacre. September 5 director Tim Felhbaum consulted with Mason, a 26-time Emmy Award winner, for his film.

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The seminal moment changed how media covers breaking news in real time as journalists grappled with how evolving technologies might impact the subjects of reporting and the audience consuming the media coverage. The broadcast was also an early instance of news becoming infotainment.

Arledge, who created the primetime Monday Night Football broadcasts, won an Emmy Award for his coverage of the 1972 Munich Games and was inducted into the Olympic Hall of Fame. He produced a total of 10 Olympic Games.

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As part of his research for the film, Fehlbaum had conversations with Geoffrey Mason, one of the few surviving members of the ABC Sports team who covered the events. At the time, he was pulled in as coordinating producer of the around-the-clock ABC Sports coverage.

“Everything that they were doing was against a ticking clock. Right. That’s basically the essence of live reporting also, is that you are constantly working against the ticking clock,” Fehlbaum said, recalling one of his exchanges with Mason.

Actress Leonie Benesch plays gregarious German interpreter Marianne Gebhard — a composite character — in September 5. As the ABC Sports interpreter, she brought the news to the team as it unfolded.

Actress Leonie Benesch plays gregarious German interpreter Marianne Gebhard — a composite character — in September 5. As the ABC Sports interpreter, she brought the news to the team as it unfolded.

Jürgen Olczyk


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Jürgen Olczyk

Fehlbaum’s team obtained blueprints of the ABC Sports control room and pictures from that time so that the images on screen were “100% accurate.” All of the equipment shown in the film is vintage technology from the era, obtained from collectors and museums, and the cast was trained on using it.

The director, who is based in Switzerland, recalled how production buyer Johannes Pfaller at one point told him that all early 1970s era technology still in Europe was now in the film studio in Munich.

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“I wanted these devices to work because I wanted the cast to be able to interact with this technology,” Fehlbaum explained. “So if John Magaro would give a direction to the monitor wall, it could actually have an effect on the wall. These telephones would really ring. And I wanted everything that comes from the outside to the cast in front of the camera to really happen.”

Roone Arledge (played by Peter Sarsgaard), left, almost singlehandedly revolutionized television news and introduced the equivalent of livestreaming when ABC Sports covered the 1972 Munich Olympics massacre.

Roone Arledge (played by Peter Sarsgaard), left, almost singlehandedly revolutionized television news and introduced the equivalent of livestreaming when ABC Sports covered the 1972 Munich Olympics massacre.

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Jürgen Olczyk

September 5 makes extensive use of original ABC footage. Securing access to the footage is what initially led the film to become an English-language one with an international production team backed by Sean Penn and his partners John Ira Palmer and John Wildermuth.

Combined with a tightly written script, the footage gives a sense of urgency and dramatic tension, all packed in a small room.

It’s also what distinguishes September 5 from past cinematic treatment, such as Steven Spielberg’s Munich (2005), which focuses on the aftermath, or Kevin Macdonald’s documentary One Day in September (1999).

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Cinematographer Markus Förderer, behind camera, and director Tim Fehlbaum, to his right, on the set of Paramount Pictures’ September 5.

Cinematographer Markus Förderer, behind the camera, and director Tim Fehlbaum, to his right, on the set of Paramount Pictures’ September 5.

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Kenneth Macdonald

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“I thought the media aspect is an interesting story or aspect of that tragic day for today’s audience to learn more about. And we wanted to convey a way for today’s audience to reflect on our complex media environment through that historical lens,” Fehlbaum said.

“The moral and ethical questions are still the same that are being discussed every day. For example, can we show violence on TV or how fast do we let something out just to be the first? Or how many confirmed sources do we need?”

The broadcast version of this story was produced by Barry Gordemer. The digital version was edited by Obed Manuel.

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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Ben Margot/AP

When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Kirsty Wigglesworth/AP

Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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