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      How Phoenix Fans Watch Their Teams May Change How You Watch Yours

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      Numerous franchises are expected to overhaul their local media deals, returning games to free networks. The transition is underway in Arizona.Days after Mat Ishbia reached a deal in December to buy majority stakes in the N.B.A.’s Phoenix Suns and the Phoenix Mercury of the W.N.B.A., he met with top executives to learn more about the teams’ business operations, including how local fans were able to watch their games on TV.The executives detailed three possibilities going forward, including sticking with Diamond Sports Group, which owned the regional sports network that for more than a decade had held the rights to show the teams’ games. Diamond Sports was saddled with $8 billion in debts — it would file for bankruptcy protection in March — but it still wrote big checks worth millions of dollars a year.Mr. Ishbia, though, gravitated to the riskiest of the three options: ditching the regional sports network model that most teams followed for decades and returning to showing Suns and Mercury games for free on over-the-air channels. It might cost the teams money in the short term, but the bet was that it would help them reach more fans, including those who dropped their cable subscriptions or, like many younger fans, never had one.“What was interesting was the amount of people that were reaching out to me on social media about how they couldn’t watch the Suns games,” Mr. Ishbia said in an interview, adding: “It’s their team. It’s not Mat’s team. To not be able to watch your game wasn’t an option that we were interested in.”In April, the organization announced that it would leave Diamond Sports and broadcast all Suns and Mercury games on over-the-air channels with the company Gray Television. They sent thousands of free antennas to fans who needed them. They also created a streaming option with the company Kiswe.Mr. Ishbia’s decision shook a sports media world — clubs, leagues, networks, cable and satellite providers — trying to navigate the decade-long shift in how fans watch their home teams. Those used to finding games on one channel are having to search for them elsewhere as networks and leagues reshuffle their distribution deals in response to the rise of cord cutting and the boom in streaming. Some clubs could face shortfalls as they search for ways to replace revenue lost by the end of local media deals, potentially hindering their ability to bid for top players.More teams are expected to overhaul their local media deals in the coming months as their contracts expire. Those that choose to show more of their games on free television are returning to a world that the N.F.L., which shows more than 90 percent of its games on over-the-air channels, never abandoned.“It’s back to the future,” said Michael Nathanson, a media analyst at MoffettNathanson. “As more people cut the cord, these teams are losing their ability to reach their fans. So why not put it over the air for free and also build a streaming product that’s more accessible for younger fans.”Bally Sports Arizona, the network that televised the games for Phoenix’s N.B.A., W.N.B.A., N.H.L. and Major League Baseball franchises, shut down last week.Christian Petersen/Getty ImagesAs the largest market going through this, Phoenix is ground zero for the rapid transition. In recent months, the Phoenix Coyotes of the N.H.L. and the Arizona Diamondbacks of Major League Baseball joined the Suns and the Mercury in overhauling their local media deals. On Friday, Bally Sports Arizona, the Diamond Sports network that carried all of those teams, shut down.The Phoenix-area franchises are part of a growing wave of teams doing the same. The San Diego Padres, like the Diamondbacks, ended their agreement with Diamond Sports, the largest regional sports network provider. Major League Baseball used its broadcasting and streaming capabilities to keep the teams on the air and guaranteed they would get 80 percent of the revenue they received in their Diamond Sports deals.Diamond Sports, which must make at least $400 million in annual debt payments, is in talks with its creditors, some of whom want to reshape the company’s business while others want to be bought out. Diamond Sports is also in talks with the N.B.A. and other leagues about reducing their rights fees.A company spokesperson declined to comment on the talks with creditors and the leagues.Last year, Monumental Sports Network, which is owned by Ted Leonsis, the owner of the Washington Wizards (N.B.A.), Capitals (N.H.L.) and Mystics (W.N.B.A.), bought NBC Sports Washington and unveiled a new streaming service. The N.H.L.’s Vegas Golden Knights said in May that they planned to shift to a free over-the-air channel. The N.B.A.’s Utah Jazz and Los Angeles Clippers are selling their games and programming directly to viewers with streaming packages, with the Jazz also broadcasting their games on a free channel.The Jazz are “probably the largest real media company in the state,” Ryan Smith, the team’s owner, said in an interview this year. “If you actually think about the N.B.A., we’re not that different than a media or tech company.”Mr. Smith said he expected most teams to take over their broadcasts entirely within three years.Major League Baseball and the N.B.A. have been preparing for this possibility for years. When Sinclair, Diamond’s parent company, bought the regional sports networks from Fox Sports in 2019, M.L.B. made a bid because it wanted to control as much of its content as possible, Commissioner Rob Manfred said.“That was a product of our belief the media was going to change dramatically,” he said, noting that 11 major league teams still have contracts with Diamond Sports.Local media deals have traditionally been handled by the clubs, but in January, M.L.B. hired executives from regional sports networks to develop contingency plans, like taking back the rights to Padres and Diamondbacks games and showing them on MLB.TV’s subscription service, as well as an array of cable and satellite companies. The broadcasts included the same announcers.While deals with regional sports networks bring in dependable checks for teams, cord cutting has led to shrinking viewership.Kevin D. Liles/Atlanta Braves, via Getty ImagesJason and Wendy Dow, who live in Queen Creek, south of Phoenix, canceled their cable package with Cox this summer to save money and signed up for YouTube TV. Now they watch the Diamondbacks using the MLB app, which they said had better streaming functions.“I was kind of upset at first, but it’s turned out to be better in the end,” Jason Dow said at a recent Diamondbacks home game. “On the old feed, you basically just saw the game without a lot of extras.”The N.B.A. began preparing for changes in 2018, creating a “next gen” service that includes a streaming service and production and distribution support that teams can use to stream broadcasts. So far, the Clippers, the Jazz and the Suns are using it.Diamond’s bankruptcy doesn’t affect every team. Franchises like the New York Knicks, the Denver Nuggets and the Wizards in the N.B.A. and the New York Yankees and the Boston Red Sox in baseball own their networks. Other teams are locked into long-term deals, like the Los Angeles Dodgers, who signed a 25-year, $8.35 billion deal with Time Warner Cable in 2013 and have part ownership of their regional sports network.While the deals bring in dependable checks, some teams are reaching a shrinking viewership because of cord cutting. For others, like the Nuggets and the Dodgers, disputes with carriers like DirecTV and Comcast meant their games weren’t available to most people in their markets for part of their contracts.The Suns first had games on cable television in 1981, and started broadcasting games on Fox Sports, which later became Bally Sports, in 2003.“​At the time it seemed pretty good, pretty solid,” said Jerry Colangelo, who was with the Suns as an executive and then an owner from 1968 until 2004. “And they had some strong years of growth, for sure.”Instead of outsourcing the production and ad sales to the networks, the Suns produced their own content “to control our own destiny,” Mr. Colangelo said.The Suns continued to produce their own games and sell their own ads after Mr. Colangelo sold the team. That gave them and the Mercury a head start when Mr. Ishbia decided to change course. Most other teams will have to create those resources if they cut ties with regional sports networks.The early results have been positive. Viewership for Mercury games jumped 418 percent last season, said Josh Bartelstein, chief executive of the Suns and the Mercury. Mr. Ishbia said getting fans hooked on the Suns and the Mercury was the goal. He has made big (and expensive) moves since buying the team, trading for the highly paid stars Kevin Durant and Bradley Beal, and investing more than $100 million in a new practice facility for the Mercury and a new headquarters for both teams.“I’m not focused on money,” Mr. Ishbia said. “We’re focused on success. We’re focused on fan experience. And money always follows those things.”He added: “I think other teams will follow whether they have to or whether they want to. I think this is the future.” More

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      Australian TV Deal Has World Cup Viewers Asking: Where Are the Games?

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      When FIFA sold Australia’s World Cup broadcast rights to a streaming service, it made it harder for casual fans to find the matches.The Women’s World Cup is by most estimates the biggest sporting event to be staged in Australia since the Sydney Olympics. FIFA, the tournament’s organizer, has trumpeted record ticket sales, and it has hailed the event both as a celebration of the popularity of women’s soccer and as a way to carry it to new fans and new markets.But while viewers in Australia could watch all 64 games of the recent men’s World Cup played in Qatar on a free-to-air network, FIFA struck a deal for the broadcast rights to the Women’s World Cup — as it did when the tournament was played in France four years ago — with the cellphone operator Optus, which has placed the bulk of the matches on its pay television network.For viewers in Australia, that has meant the majority of games can only be watched via subscription, making it harder for viewers living in one of the tournament’s host countries to watch the tournament than it has been for fans in places like Europe and the United States.“It’s very disappointing to not have the coverage the women deserve,” said Beth Monkley, who was in Brisbane with her daughter this week to follow Australia’s team. “It’s a fantastic sport for everyone, so inclusive. And for some reason Australia has decided not to show all the games free to air.”Legislation in Australia means the entire event cannot be placed behind a paywall, since games involving the men’s and national women’s soccer teams are considered of such significant importance that they are on a list of protected events that must be broadcast for free nationwide. The World Cup final also has a place on that protected list.This year, 15 tournament games will be available on Channel Seven, a free-to-air network authorized by FIFA and Optus to sub-license some rights. (Optus separately said it would offer to stream 10 games for free to users who sign up for its platform.)But the uncertainty about which games will be on the air, and when, has led to significant frustration among soccer fans, but also casual fans in sports-mad Australia, where soccer lags behind the country’s most popular sports, rugby, cricket and Australian rules football.On Thursday morning, Andrew Moore and his wife joined the throng of visitors to a FIFA fan park set up on the banks of the Brisbane River to watch the most eagerly awaited game of the group stage, a clash between the United States and the Netherlands. The Moores stood out.While most of the crowd were outfitted in the yellow and green of the Australian team that would play later in the day against Nigeria, the Moores were wearing matching maroon and golden jerseys of their favorite rugby team, the Brisbane Broncos, which was scheduled to play at the same time as the Matildas’ kickoff against Nigeria.While Australia’s matches are easy to find on television, the same is not true of all teams.Dan Peled/ReutersMoore said all the pretournament advertising and promotion had led him believe that all the games would be broadcast on Channel Seven, a network familiar to Australian sports fans. So a day after he watched Australia and New Zealand play their openers on free television, he settled in to watch the next round of games.But when he grabbed his remote control and flicked to Channel Seven, and then to its subsidiary channels, he could not find a game. “I thought there was something wrong with the television,” he said.Moore said for casual soccer viewers like his family, which already has several pay television subscriptions, signing up to Optus to watch the Women’s World Cup did not make sense, particularly since the sports he favors are on other networks. In Australia’s fragmented television market, most domestic sports rights are split across a number of pay and free-to-air networks. Fans seeking telecasts of major soccer leagues and tournaments from outside the country often must turn to more networks and more subscriptions.That has left FIFA trying to defend disparate priorities: its desire to attract new fans to women’s soccer, and a new commercial approach that seeks to maximize revenue for a tournament that it hopes will eventually grow closer to the popularity of the men’s event, which is the most-watched tournament in global sports.FIFA declined to comment on the rationale for its broadcast agreements in Australia beyond issuing a statement saying that both Optus and Channel Seven “have committed significant resources to covering and promoting the tournament” and claiming that their “combined efforts have led to record viewership figures for the FIFA Women’s World Cup in the region.”That record, experts said, was always likely to be met, given Australian and New Zealand’s host nation status and a favorable time zone for the games. David Rowe, a professor at the Institute for Culture and Society at Western Sydney University, described the lack of the type of blanket coverage that the men’s tournament typically enjoys as a “missed opportunity.”Optus, reacting to the outcry from viewers, has pointed out that broadcasters’ rights fees “are key to ensuring the continued growth and equality of women’s sport, and contribute to everything from grass roots momentum to salaries for our national players.”Soccer’s place within Australia’s sporting landscape has always been a precarious one, said Rowe, an expert on sports and media in Australia. He said the sport was for decades viewed with suspicion by a population grappling with a wave of migration after World War II.“Football got a reputation as foreign at time when there was a lot of suspicion toward people who were not British in the early days of multiculturalism,” he said.He credited the relative success of Australia’s women’s team in establishing itself as one of the best in the world as helping boost the sport’s appeal at home, much as victories and championships by the United States women’s team had popularized the sport in America.That popularity has been visible in the tournament, with record attendances and packed stadiums for Australia’s first two games.FIFA’s sale of the broadcast rights in Australia comes as it tries to promote the women’s game more broadly. Darrian Traynor/Getty ImagesStill, for FIFA, the Women’s World Cup is not close to being the cash cow that the men’s event has become. The estimated $300 million it will earn from selling broadcast rights to the women’s tournament is only about a tenth of what the organization brought in for the rights to the Qatar World Cup in 2022. FIFA and its president, Gianni Infantino, have accused broadcasters in Europe of undervaluing the tournament, and at one point even threatened to not sell rights in key territories — essentially imposing a blackout — if the offers were not increased. As the tournament neared, FIFA eventually backed down on that threat.With FIFA’s coffers swelling with reserves of $4 billion and forecasts of more to come with the next men’s World Cup estimated to generate $11 billion, there was little urgency to sell domestic Women’s World Cup rights to the highest bidder, Rowe said.“It’s chump change for FIFA,” he said. “I do think it’s a lost opportunity.”In Brisbane, as Matildas fever gripped the Queensland capital ahead of the Nigeria game, the sense of a missed opportunity appeared to be near universal.By the time Monkley got to Brisbane with her daughter this week to follow the Australian women’s team, she had been forced to fashion an unusual routine to watch other games in the tournament, by connecting a cable between her phone and her hotel television to stream the games.In Melbourne, where Australia now faces a must-win game against Canada, Alyssa Birley and her husband, Cameron, had traveled across the state so their children could watch the match. The family even booked the same hotel as the Australian team so that their children could get even closer to their heroes. But they said that they have not shelled out for an Optus subscription.The result, Alyssa Birley said, was that her children could not follow other top nations.“It’s inspirational, especially for young girls, to see these top tier athletes and it should be accessible to them,” Cameron Birley said. “Where else can they get that?” More

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      ‘Break Point’ Just Might Be the Best Way to Watch Tennis

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      The docuseries feels more like a prestige psychodrama — which gets the highs and lows of the pro circuit right.In the sixth episode of the Netflix docuseries “Break Point,” Ajla Tomljanovic, a journeywoman tennis player who has spent much of the last decade in the Top 100 of the world rankings, is shown splayed across an exercise mat in a drab training room after reaching the 2022 Wimbledon quarterfinals. Her father, Ratko, stretches out her hamstrings. She receives a congratulatory phone call from her sister and another from her idol-turned-mentor, the 18-time major champion Chris Evert, before Ratko announces that it’s time for the dreaded ice bath. “By the way,” Tomljanovic says at one point, “do we have a room?” Shortly after his daughter sealed her spot in the final eight of the world’s pre-eminent tennis tournament, Ratko was seen on booking.com, extending their stay in London.This is not the stuff of your typical sports documentary, but it is the life of a professional tennis player. Circumnavigating the globe for much of the year with only a small circle of coaches, physiotherapists and perhaps a parent, they shoulder alone the bureaucratic irritations that, in other elite sports, might be outsourced to agents and managers. If at some tournaments they surprise even themselves by outlasting their hotel accommodations, most events will only harden them to the standard torments of the circuit, which reminds them weekly of their place in the pecking order. As Taylor Fritz, now the top-ranked American men’s player, remarks in one “Break Point” episode, “It’s tough to be happy in tennis, because every single week everyone loses but one person.” This is a sobering audit, coming from a player who wins considerably more than his approximately 2,000 peers on the tour.“Break Point,” executive-produced by Paul Martin and the Oscar-winning filmmaker James Gay-Rees, arrived this year as a gift to tennis fans, for whom splashy, well-produced and readily accessible documentaries about the sport have been hard to come by. Tennis, today, finds itself in the crepuscular light of an era when at least five different players — the Williams sisters, Roger Federer, Rafael Nadal and Novak Djokovic — have surely deserved mini-series of their own. But the sport has never enjoyed its own “All or Nothing,” the all-access Amazon program that follows a different professional sports team each season, or the event-television status accorded to “The Last Dance,” the Netflix docuseries about Michael Jordan’s Chicago Bulls, with its luxury suite of talking heads: Nas, Isiah Thomas, “former Chicago resident” Barack Obama. Perhaps this is because the narrative tropes of the genre tend toward triumphs and Gatorade showers, while the procedural and psychological realities of professional tennis lie elsewhere. The 10 episodes of “Break Point” render tennis unromantically: This is the rare sports doc whose primary subject is loss.In Andre Agassi’s memorably frank memoir, “Open,” he describes the tennis calendar with subtle poetry, detailing “how we start the year on the other side of the world, at the Australian Open, and then just chase the sun.” This itinerary more or less dictates the structure of “Break Point,” which opens at the year’s first Grand Slam and closes at the year-end championships in November. At each tournament, the players it spotlights post impressive results — and then, typically, they lose, thwarted sometimes by the sport’s stubborn luminaries but more often by bouts of nerves or exhaustion. They find comfort where they can, juggling a soccer ball or lying back with a self-made R.&B. track in a hotel room. But many tears are shed, after which they redouble their commitments to work harder, be smarter, get hungrier. “You have to be cold to build a champion mind-set,” says the Greek player Stefanos Tsitsipas.‘It’s tough to be happy in tennis.’Those who watched Wimbledon this month might find, in all this, an instructive companion piece to live tennis. “Break Point” is frustratingly short on actual game play, shaving matches down to their rudiments in a way that understates the freakish tactical discipline required of players; viewers will not, for example, come away with any greater understanding of point construction than they will from having watched Djokovic pull his opponents out wide with progressively heavier forehands, only to wrong-foot them with a backhand up the line. They will, however, come to understand how intensely demoralizing it must be to stand across the net from him. In an episode following last year’s Wimbledon, we watch the talented but irascible Nick Kyrgios, as close as tennis has to its own Dennis Rodman, play Djokovic in the final. He gets off to a hot start and then, like so many before him, begins to wilt. “He’s calmer; you can’t rush him,” he says of Djokovic, in a voice-over the series aptly sets against footage of an exasperated Kyrgios admonishing the umpire, the crowd, even friends and family in his own box. These are athletes we’re accustomed to seeing at their steeliest or their most combustible; the matches in “Break Point” may be fresh in the memory of most tennis fans, but the series benefits greatly from its subjects’ clearer-headed reflections.For all its pretensions to realism, “Break Point” is a shrewd, and perhaps doomed, attempt to fill the sport’s impending power vacuum. Kyrgios and Tsitsipas are among a handful of strivers it positions as the sport’s new stars, along with others like Casper Ruud, Ons Jabeur and Aryna Sabalenka. All, naturally, subjected themselves to Netflix’s cameras. This kind of access is increasingly crucial to sports documentaries, a fact that often results in work that’s unduly deferential to its subjects, as with “The Last Dance” and Michael Jordan.Tennis, though, runs counter to this mandate. It is perhaps the sport most conducive to solipsism. Singles players perform alone. On-court coaching is generally prohibited, so there are no rousing speeches to inspire unlikely comebacks. The game’s essential psychodrama takes place within the mind — often in the 25 seconds allotted between points, or in the split seconds during which one must decide whether to go cross-court or down the line, to flatten the ball or welter it with spin. I can remember, as a junior-tennis also-ran, my coaches saying that once my eyes wandered to my opponent across the net, they knew I would lose. This might explain why tennis players so often resort to their index of obsessive tics, like hiking up their socks or adjusting their racket strings just so.By the season’s end, we meet Tomljanovic again at the U.S. Open, where she earned the awkward distinction of sending Serena Williams into retirement. At the time, ESPN’s broadcast of the match yielded nearly five million viewers, making it the most-watched tennis telecast in the network’s history. This was Serena’s swan song, but “Break Point” depicts it from the perspective of our reluctant victor. Between the second and third sets, Tomljanovic shields her face with a sweat towel, as if to quiet the sound of 24,000 spectators rooting against her. In tennis, it seems, even winning can feel like a drag.After the match, we find Tomljanovic cooling down on a stationary bike. Ratko, who has emerged as the show’s sole source of comedic relief, comes up from behind, embracing his daughter with a joke about her beating the greatest player of all time. “But why do I feel so conflicted?” she asks. There is no Gatorade bath, no confetti. To win the tournament, she still has four more matches to go.Opening illustration: Source photographs from Netflix; Tim Clayton/Corbis, via Getty ImagesJake Nevins is a writer in Brooklyn and the digital editor at Interview Magazine. He has written about books, sports and pop culture for The New York Times, The New York Review of Books and The Nation. More

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      Different Sides of Bill Walton and Wilt Chamberlain in New Series

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      New documentaries explore the star-crossed careers and delicate spirits of Wilt Chamberlain and Bill Walton, two of basketball’s greatest.Pity the poor 7-footer.That’s the message of two new documentary series about storied basketball players: “The Luckiest Guy in the World,” about Bill Walton (available in the “30 for 30” hub at ESPN Plus), and “Goliath,” about Wilt Chamberlain (premiering Friday at Paramount+ and Sunday on Showtime).Serious and thorough, “Luckiest Guy” and “Goliath” are positioned to draft on the success of an earlier basketball biography, ESPN’s popular Michael Jordan series, “The Last Dance.” But while they are also portraits of men with supreme physical gifts, they are less focused on their subjects’ on-court exploits and more determined to get inside the players’ heads. The sportswriter Jackie MacMullan delivers what could be a thesis statement for both in “Goliath”: “I’ve found that big men are much more sensitive than we realize.”Chamberlain, who died of heart failure in 1999, and Walton both have well-defined personas, which they participated in creating. Each series spends a lot of its time picking apart the received wisdom about its subject while also indulging, for the sake of dramatic impact and storytelling shorthand, the very stereotypes it wants to deconstruct: Chamberlain the unstoppable, insatiable giant; Walton the goofy, fragile flower child.The four-episode “Luckiest Guy” was directed by the accomplished documentarian Steve James, always to be remembered for “Hoop Dreams,” and was made with the full cooperation of Walton, 70, who revisits old haunts and sits down for an entertaining round table with Portland Trail Blazers teammates like Lionel Hollins and Dave Twardzik. It’s engagingly introspective and personal, in part because James pushes back against Walton’s incessant recitation of the title phrase. How can Walton call himself the luckiest guy in the world, James asks from behind the camera, when his career was utterly ravaged by injuries that eventually crippled him and drove him to consider suicide?That, broadly speaking, is the idea that haunts both documentaries. The conundrum of Walton’s and Chamberlain’s careers is that they were marked by success — college and professional championships, statistical domination (in Chamberlain’s case), reputations for unmatched athletic skills — and defined by disappointment. Neither won as often or as easily as he should have, in Walton’s case because of injury and in Chamberlain’s because of the dominance during the 1960s of the rival Boston Celtics and their center, Bill Russell, enshrined in sports mythology as the hard-working Everyman to Chamberlain’s sex-and-statistics-obsessed egotist.“Goliath,” directed by Rob Ford and Christopher Dillon, is a more workmanlike and conventional project than “Luckiest Guy.” But across three episodes it makes a persuasive case for Chamberlain as a generous, sensitive soul who was both blessed and constrained by his stature and his extraordinary all-around athletic ability.It does its sports-documentary duty, laying out Chamberlain’s triumphs and more frequent setbacks on the court. But it is more interested in the trails he blazed as a Black cultural figure and self-determining professional athlete, and it favors writers, pundits and scholars over basketball players in its interviews. (The scarcity of images from Chamberlain’s younger days in the 1940s and ’50s is compensated for with shadow-puppet scenes reminiscent of the work of Kara Walker.)Watching the series side by side, the differences between the two men are less interesting than the sense of commonality that emerges. Both were self-conscious stutterers who learned to endure, and perform under, the most intense scrutiny. Chamberlain may have been more flamboyant, but Walton, in “Luckiest Guy,” is just as conscious of his affect — there’s an ostentatiousness, and no small amount of ego, in the way he performs modesty. (James also challenges Walton’s lifelong, generally debunked claim to be only 6 feet 11 inches tall.)The veteran sports fan might see another commonality: As good as they are, neither “The Luckiest Guy in the World” nor “Goliath” is as exciting to watch as “The Last Dance.” This is a bit of a conundrum, because both Chamberlain and Walton are, quite arguably, more complex, interesting and moving figures than Michael Jordan. But Michael Jordan is a nearly unparalleled winner. And while winning isn’t the only thing, it is, for better or worse, the most compelling thing about the subject of a sports documentary. More

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      The Boot Camp for NBA Analysis and Hot Takes

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      Alan Williams was the first person to brave the anchor desk, tucked away on a chilly set at the University of Southern California that was darkened, save for the spotlight on Williams in his black suit and blue-striped tie. Almost involuntarily, he lifted a hand from the desk’s shiny surface and nervously scratched his face.Williams, a former N.B.A. player, read from a teleprompter, his deep voice booming robotically in the nearby control room, where U.S.C. students monitored his volume and made sure the camera was level. He bobbed his head up and down, much like the aliens inhabiting human bodies in the 1990s movie “Men in Black.”“Hi, everyone!” he said as he looked into a camera. “Welcome to ‘Sports Extra.’ I’m Alan Williams. The Miami Heat have evened the series against the Denver Nuggets. The Miami Heat’s tough-mindedness is really led by Coach Erik Spoelstra. And their identity truly proves Heat culture. Goodbye.”The camera stopped rolling, and Williams loosened his shoulders.“Oh god, did I go too fast?” Williams muttered. He looked around the set. Five other current and former professional basketball players quietly lingered in the corners. After a woman off to the side reassured Williams that he was fine, he responded with relief: “Man, I was about to say. Silence?”Norense Odiase, left, said broadcasting allowed him to tap into his skills beyond basketball.Alan Williams, left, and Norense Odiase, top right, are seen in the monitors during an exercise with Rob Parker, an analyst at Fox Sports.This drew laughter from the set and scattered applause from the players, who, like Williams, were wearing crisply pressed, stylish suits. Williams did another, smoother take, prompting one of the suited men to yell, “That boy good!”Williams, 30, and the men were at U.S.C.’s journalism school this month for a two-day N.B.A. players’ union camp called Broadcaster U., now in its 15th year. They learned how to host a studio show or podcast, do color commentary and rapidly dole out hot takes for an on-camera sports debate. Former N.B.A. players like Vince Carter, Richard Jefferson and Shaquille O’Neal have gone through the program.Willow Bay, who once hosted “Inside Stuff” with Ahmad Rashad, addressed players during the camp. She’s now the dean of the U.S.C. Annenberg School for Communication and Journalism.While superstars typically compete for more than a decade, the average N.B.A. player lasts only a handful of years. Dozens of players will get their start at the N.B.A. draft on Thursday at Barclays Center in Brooklyn, but most of them will eventually have to find a new way to make a living. Crossing over into film and television has proved to be a viable, and often lucrative, alternate path, even for players who weren’t big stars.With a new television deal looming for the N.B.A., and streaming services and social media changing how fans engage with the game, there will likely be more opportunities for players to cash in.Williams played for the Nets and the Phoenix Suns from 2015 to 2019. Last year, while playing in Australia, he occasionally provided color commentary for the National Basketball League there.“I know that my time is coming to an end soon,” Williams said. “I want to be as prepared for the next step as possible.”Brevin Knight, a former N.B.A. point guard who went through the program in its inaugural year in 2008, is now a color commentator for the Memphis Grizzlies.“When you are done playing, you would like to take a little bit of time just to take a deep breath,” Knight said. “But I’ll tell you: The spending habits keep going and you always need something coming in.”Some camp attendees have already undertaken pursuits beyond the court. Norense Odiase, 27, plays in the NB.A.’s developmental league, the G League, and has a self-help podcast called “Mind Bully.” Will Barton, 32, has been in the N.B.A. since 2012 and has released several albums for his singing career under the name Thrill. Craig Smith, 39, spent six seasons in the N.B.A. and has written a children’s book.Will Barton, right, working with Jordan Moore, co-host of the “Trojans Live” radio show.Gerry Matalon, a talent performance coach and former ESPN producer, talking with Craig Smith.Smith was next up at the anchor desk after Williams, and he bounced in his seat. The words on his teleprompter were in all capital letters, though they were not supposed to be read that enthusiastically. Someone must have forgotten to tell him.“Hi, everyone!” Smith nearly shouted. “Welcome to ‘SPORTS EXTRA!’ I’m Craig Smith! Just about 24 HOURS until Game 3 of the N.B.A. finals!”He even stomped his feet a few times.Smith said he has been inspired by the many players who have started podcasts and especially by LeBron James and Stephen Curry, who have used their fame to create production companies.“It influences me a lot because I feel like we have a real voice and I feel like we have power that comes with it, being that we’re more than just ‘shut up and dribble’ players,” Smith said. “We have meaning and people want to hear what we have to say.”Hours later, Rob Parker, a Fox Sports host and an adjunct professor at U.S.C., gathered the players for what might be called Hot Take O’Clock to show them how to throw verbal bombs. He shared directives like “Don’t stay in the middle of the road” and “Make stuff that you can pull out — ‘Meme-able.’”“It’s OK to be wrong,” Parker said, adding that if they could be right all the time, they “would be in Las Vegas making money.”Parker frequently debates Chris Broussard, a Fox Sports host, on their radio show “The Odd Couple.” Williams asked Parker if he had ever disagreed with Broussard just for argument’s sake. Parker said no, and that he and Broussard discuss topics before their show. They use the ones they disagree on.“If we all agree that LeBron is the greatest player ever, what conversation are we having?” Parker said. “Do you know what I mean? There’s nothing going on here, and no one’s going to watch it.”Parker led the players in mock debates, as if they were on ESPN’s “First Take” or Fox Sports’s “Undisputed.” Those are among the most-watched programs at their networks and have turned their hosts into household names.Barton, center, taking notes during the broadcasting camp.Odiase and Smith argued about whether the Miami Heat star Jimmy Butler needed to win a championship to get into the Basketball Hall of Fame. Odiase said no; Smith said yes.“How many guys have taken a team of seven undrafted players, the eighth seed, to the N.B.A. finals?” Odiase said.“Is it Jimmy or is it Erik Spoelstra and Pat Riley?” Parker interjected, referring to Miami’s longtime coach, Spoelstra, and its president and former coach, Riley.Odiase paused.“I’m sorry,” he said. “Before Jimmy got there, did they win without LeBron?”“Yeah, with Shaq and D-Wade,” Smith retorted, referring to O’Neal and Dwyane Wade, who won a championship in 2006 with Riley as coach.This rebuttal, undercutting Odiase’s argument, elicited laughter from the control room. Parker ended the segment and complimented Odiase and Smith for having a lively debate.“I do not believe nothing I’m saying,” Odiase told Parker afterward. Later, in an interview, Odiase said he felt “very uncomfortable” arguing a point he did not support, though he believes it happens “a lot” in sports media.The players receive reels of their best moments to show with networks in hopes of getting hired.For current and former players, taking part in hot take culture means having to critique players in ways they might not like if the comments were directed at them.Barton said that he gets frustrated sometimes when analysts “go too far on a player, especially if you haven’t played or you don’t really know what the guy’s going through.”He continued: “I feel like a lot of guys try to do that so they could go viral or feel like they’re a bigger asset to whatever company they’re working with because it’s entertainment.”The players also pretended to be analysts for an N.B.A. finals game. Jordan Moore, the radio voice for U.S.C. men’s basketball, did play-by-play. But first, he had advice.“Worst broadcast is if I go, ‘Oh, what a shot by Jimmy Butler!’ And you go, ‘Man, what a shot!’” Moore said.He added: “You all played in this league. You played with these guys. You have advance knowledge. That’s what you need to tap into. I could never get your job.”Vince Carter and Richard Jefferson, who have worked for ESPN, and Shaquille O’Neal, an analyst for TNT, are among the former players who have gone through the program.The most earnest session was about podcasting. In 15-minute chunks, the players exchanged stories about their lives: playing on the road, dealing with fans, growing up.Shelvin Mack, 33, who played in the N.B.A. from 2011 to 2019, asked Robert Baker, a 24-year-old in the G League, what it was like to play for Harvard. Baker recalled a game against Kentucky.“My nerves was cool,” he said. “Tip off, I was warming up well. I was hitting shots, and then they played the intro type of song, I said, ‘Oh.’”Mack said, “You froze up?”“Yeah, bro,” Baker said, adding, “Tough day.”The players receive reels with their best moments from the camp that they can send to networks in the hopes of getting hired. Williams said the potential financial rewards of broadcasting appeal to him, though he’s “comfortable” financially. Odiase said this alternative career is a way to tap into his other skills and interests beyond basketball.“It’s learning all aspects of yourself to grow after the game,” he said. More

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      League of Ireland footballer set to enter Love Island villa as reality show giant returns to TV screens

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      A LEAGUE OF IRELAND footballer is reportedly set to make a summer move…to the Love Island villa.The Irish Independent state the player has permission from his club to be a contestant on the reality TV show giant due to it being such a potentially life-changing opportunity.
      Presenter Maya Jama could well be introducing a face familiar to LOI fans before too longCredit: ITV
      The late introduction of Zachariah Noble on the first night caused a bit of a flusterCredit: ITV
      His identity, like that of all prospective housemates, remains a mystery.
      But it is reported he is in his 20s and is not a native of Ireland.
      It’s also believed that his club won’t comment on his participation until he makes his villa bow.
      The first episode of the latest series of the high-profile dating programme aired on Monday night.

      It proved to be the show’s most dramatic launch yet as two couples opted to split on night one.
      Host Maya Jama made a shock re-appearance in the Majorcan villa to drop a bombshell that shook the singletons to their core.
      Despite only having had a few hours to connect, Maya was already offering a way out to some of the girls who did not feel they were in the right romantic pairing.
      Maya asked them to step forward if they did not feel entirely happy in their newly formed couples.
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      In a shock move, Ruchee Gurang, 24, and Jess Harding, 22, decided to walk away from their pairs – causing shockwaves and one boy on the brink of tears.
      It led to the ending of Ruchee and Mehdi and Jess and George.
      Whilst Mehdi insisted he was expecting the pairing to come to an end due to a lack of connection, it appeared that George, 24, was left stunned by Jess’ decision.
      CAT’S OUT OF THE BAG
      The Bedford based lad appeared to let the tears flow as a tear could be seen rolling down his cheek after busty Jess decided to take a chance on the show’s new bombshell entry.
      In a bid to shake-up the couples, Zachariah Noble, 25, arrived in a bid to turn the heads of the ladies.
      Ahead of stepping foot into the villa, Zachariah confessed he was sad to be leaving his ‘son’ behind.
      The 25-year-old hunk spilled the beans on being a ‘dad’ as he prepared to stir up the drama on the ITV2 show.
      Zachariah’s ‘son’ is actually his beloved pet cat Frank and he has told of his sadness at being parted from him – potentially for weeks. More

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      Fans demand ‘we need this in the UK’ as CBS reveals Champions League final coverage with ITV legend among ‘GOAT line-up’

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      FOOTBALL fans were left demanding CBS Sports come to the UK after the broadcaster announced its Champions League final lineup.CBS has shot to popularity thanks to the infectiously hilarious panel of Thierry Henry, Jamie Carragher and Micah Richards as pundits and Kate Abdo as host.
      CBS announced their line up for the Champions League finalCredit: Twitter / @CBSSportsGang
      CBS’ Champions League panel is popular among fansCredit: Twitter / @CBSSportsGolazo
      Clive Tyldesley will be commentating on the gameCredit: PA

      CHAMPIONS LEAGUE FINAL – MAN CITY VS INTER MILAN: All you need to know including kick-off time and TV details
      The quartet will once again be front and centre for the channel’s coverage of Saturday’s Champions League final when Manchester City take on Inter Milan.
      The commentary team will comprise of ITV’s former lead commentator Clive Tyldesley and ex-England shot-stopper Rob Green.
      Manchester United legend Peter Schmeichel and Spanish journalist Guillem Balagué will be providing pitchside analysis, while former referee Christina Unkel will provide rule analysis.
      Upon seeing the announcement, fans reacted in awe to the cast.
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      One fan labelled it: “The goat lineup right here 🐐.”
      A second wrote: “We need this in the UK. Outstanding lineup.”
      “What a lineup! Puts the rest to shame,” said a third.
      A fourth remarked: “What a lineup that is. Any chance we can get this in place of BT Sport?”
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      Another fan said typed: “Look at that lineup. Every single one [is] better than their equivalent at BT Sport.
      “That’s before you even get to the fantastic studio camaraderie they’ve forged.”
      Tyldesley himself lavished praise on his colleagues, replying: “Keeping good company!”
      Many fans were pleased to see Tyldesley on the list, but they seemed to be unaware he has been with the broadcaster for their Champions League coverage since 2020.
      The 68-year-old could be about to witness the English football’s second-ever Treble, having been the voice of the final when Manchester United completed the historic feat in 1999.
      United are England’s only representative on a list of just seven clubs who have won the continental Treble, comprised of winning the Champions League, the country’s league and the main domestic Cup.
      Fans were left devastated about a potential shake-up of CBS’ coverage next season after reports suggested Henry was in line to become an assistant coach at Paris Saint-Germain. More

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      Laura Woods and Jack Grealish beam for camera as ITV host takes selfie with Man City star after FA Cup final win

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      LAURA WOODS and Jack Grealish enjoyed a selfie together after Manchester City won the FA Cup final.The fan-favourite presenter was at Wembley for the historic match as part of ITV’s punditry team.
      Laura Woods and Jack Grealish had a selfie togetherCredit: Reuters
      It has already been going well for Woodsy as many had switched over from BBC to watch her on the rival broadcaster for the match.
      And after the City beat United 2-1 thanks to a brace from Ilkay Gundogan, the pundit managed to have a moment with one of the club’s stars.
      Cameras spotted the two taking a selfie together.
      The pair were both smiling as Woods took the snap while wearing her outfit that some fans claimed made her “define beautiful”.
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      Woods had her hand on the back of Grealish’s neck while the winger had his hand on her back.
      The picture was taken after Grealish had picked up his FA Cup medal, which he wore proudly around his neck.
      The England international cut a relieved figure at full time after he gave away a penalty in the first half.
      However, himself and many others argued that it should not have stood despite the current laws of the game surrounding the handball rule.
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      Fernandes converted the penalty to level up the game after Gundogan’s quick-fire opener.
      In the aftermath of the penalty, United defender Victor Lindelof was struck by a green object that was thrown from the Man City end of Wembley.
      Gundogan scored a second, less-sweetly-hit volley to clinch the win early in the second half.
      During the celebrations, one City fan, however, performed a lewd gesture picked up by BBC cameras. More