“The time [I put in] is pretty much the same,” he said ahead of his matchup against the Philadelphia Eagles, the team that handed him the lone loss on his record. “The week-to-week process is pretty much the same. I mean, in practice, you’re obviously getting more reps, doing more things, but it’s exciting. This is why you work.
“This is why you prepare to go and start. … The more games you play, the more reps you bank, put in your library, you draw on those. So, I feel confident in that. Been around here for a while, and played with a lot of these guys before, which is huge when you’re out there with live bullets.
“Trusting those guys and being out there before with them is big.”
One of those guys is CeeDee Lamb and, for his part, there’s an echoing of the confidence being heaped upon Rush by others.
The two have also begun doing work after work, despite the All-Pro receiver battling a sprained AC joint in his shoulder suffered during the Week 9 battle in Atlanta against the Falcons.
“Obviously, we’ve connected,” Lamb said. “We’ve taken a lot of reps outside of practice — just talking, communicating, and getting on the same page. I feel like that’s very important with the situation that’s coming up. I’m happy for him.
“We know what Coop can do. The confidence is still there. Just stand in there and deliver.”
What makes for an added challenge to what Rush will try and achieve over the next several weeks is the fact things in 2024 are not what they were when he took the reins in 2022, and that includes the fact the Cowboys currently have a 3-5 record and no wins at home entering their fourth matchup at home this coming Sunday against the high-powered Eagles.
So, to put it plainly, whereas Rush was tasked with keeping the 2022 season on the rails, he’s now tasked with helping to put the 2024 season back on track, and before the tailspin becomes a crash.
His approach, as noted above, will remain the same, though.
Because, again, even keel.
“Yeah, I mean we’re just trying to beat Philly,” he said. “I mean it’s kind of our approach this week. You’ve got to take ’em one at a time. It’s a cliche, but it works. And, so, that’s kind of the goal.
“You’re just really taking it practice by practice, game by game and we’ll see what happens.”
The Memphis Grizzlies are hoping to bounce back as they take Cooper Flagg and the Dallas Mavericks.
To learn more about Flagg and the Mavs, we spoke with Dallas Mavericks On SI contributor Austin Veazey.
He’s been… fine? Jason Kidd tried rolling him out at point guard to start the season, which was leading to poor results for the entire offense, but specifically Flagg. He just isn’t a point guard. He may have good playmaking instincts, but he’s best as a secondary playmaker. It’s no surprise that he then turned in arguably his best performance on Wednesday night against the New Orleans Pelicans, because Kidd didn’t start him at point guard.
The question isn’t how much they miss Kyrie Irving, it’s how much do they miss Luka Doncic. And it’s a lot. Even Kyrie Irving has been at his best in his career when he has a better playmaker on the roster, and he can do what he does best: score. Even if Irving were here, there’s no guarantee this would even be a league-average offense, because the offense has no spacing as it’s designed right now.
I kind of doubt it, unless they were to move Irving as well. Doncic and Irving worked so well together because Doncic was a bigger body and could guard other teams’ power forwards. A backcourt of Morant and Irving probably wouldn’t work well, but that wouldn’t stop Nico Harrison from trying something crazy.
Maybe not being the worst offense in the NBA? Just an idea. But how they go about doing that is beyond me. This team just lacks the natural playmakers and shooters to survive in this era of the NBA.
The vibes around both of these teams are horrendous right now. Between the Ja Morant suspension, Anthony Davis’ calf strain, and the Mavs losing to teams such as the Pelicans and Wizards, I think most Mavs fans want a close loss with Cooper Flagg developing so it gets one step closer to firing Nico Harrison.
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In the hands of Chris Wolston, even the most ordinary object — a chair, lamp or credenza — becomes something more whimsical, playful and quirky.
The artist has built a stellar reputation in the design world for his anthropomorphic rattan chairs (complete with bums and feet). Yet the array of pieces on display in his first solo museum show at Dallas Contemporary reveals there’s much more to his oeuvre.
Displayed across four catwalks, reminiscent of a fashion show or drag ball, are sculpted chairs in terra-cotta adorned with metal insects, a bronze coffee table cast from leaves found in the artist’s garden and chairs inspired by the gestural limbs of supermodels. Handwoven carpets from Morocco on the walls are interspersed with video works highlighting Wolston’s process filmed by his husband, the filmmaker David Sierra. Together, they recall a fantasy world of objects both functional and sculptural.
“I always find that through humor, there’s an interesting entry point for people — it breaks down a barrier,” says artist Chris Wolston. “And I was always drawn to furniture as a medium because it’s accessible, it’s egalitarian.” Dallas Contemporary
Wolston has been walking the tightrope between craft and art with a humorous twist since he made his first terra-cotta chairs in 2014. Drawn to the relationship between materiality and everyday life, he naturally embraced furniture as his medium.
“I started working with the (contemporary design gallery) The Future Perfect, and then we started doing these body chairs for a chair show,” he says. “I always find that through humor, there’s an interesting entry point for people — it breaks down a barrier. And I was always drawn to furniture as a medium because it’s accessible, it’s egalitarian.”
Having initially studied glassmaking at the Rhode Island School of Design, Wolston earned a Fulbright to study pre-Columbian ceramics in Colombia, prompting him to settle his studio in the city of Medellín. He found his entry point into raw ingredients by working with natural terra-cotta clay found in the mountains surrounding the city, and has since cycled through bronze, rattan, anodized aluminum and shearling.
Curated by Glenn Adamson, former director of the Museum of Arts and Design in New York, Profile in Ecstasy highlights a decade-plus of work that led Wolston to discover the throughlines behind his various collections, whether they be nods to fashion and nature, Spanish modernism or subtle surrealism.
“These themes that exist in an artist’s practice emerge when a new collection emerges,” Wolston says. “It’s interesting to see how collections made at different times with totally different materials and thought processes at play resonate with one another.”
Chris Wolston: Profile in Ecstasy is on view at Dallas Contemporary from Nov. 7 through Feb. 1, 2026.
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