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    ESPN Cancels Nichols's Show After Maria Taylor Comments

    Rachel Nichols said in a recorded conversation that Maria Taylor, who is Black, was tabbed to host 2020 N.B.A. finals coverage because the network “felt pressure” on diversity.ESPN has taken Rachel Nichols off its N.B.A. programming and canceled “The Jump,” the daily basketball show she has hosted for five years, the network confirmed Wednesday.The show’s cancellation comes one month after The New York Times reported on disparaging comments made by Nichols about Maria Taylor, one of her colleagues at ESPN at the time. In a conversation with an adviser to the Lakers star LeBron James, Nichols, who is white, said that Taylor, who is Black, had been chosen to host 2020 N.B.A. finals coverage instead of her because ESPN executives were “feeling pressure” on diversity.Nichols, who was in her hotel room at the N.B.A.’s Walt Disney World bubble in 2020, was unaware her video camera was on and the conversation was being recorded to an ESPN server. Taylor has since left ESPN and joined NBC.“We mutually agreed that this approach regarding our N.B.A. coverage was best for all concerned,” said Dave Roberts, the executive who oversees ESPN’s N.B.A. studio shows.The moves were first reported by Sports Business Journal.It is unclear whether Nichols will be on ESPN’s airwaves again. She signed a contract extension last year, but ESPN declined to say whether she will appear on other shows. A representative for Nichols did not respond to a request for comment.In a post on Twitter, Nichols thanked the show’s crew and wrote that “The Jump was never built to last forever but it sure was fun.”In the wake of the Times report, ESPN removed Nichols from her role as a sideline reporter for the N.B.A. finals and canceled one episode of “The Jump.” But she continued hosting the show through the finals until Aug. 16, when she went on vacation. Malika Andrews hosted for the rest of the week in her absence.Outside of games themselves, “The Jump” was ESPN’s most prominent N.B.A. programming. Nichols frequently interviewed stars and newsmakers like Adam Silver, the commissioner of the N.B.A., on the show. “The Jump” was nominated for one sports Emmy, as was Nichols for her hosting role, but it never found huge viewership.Roberts is the ESPN executive who decided to end “The Jump” and pull Nichols from N.B.A. studio programming. Two weeks ago, he received a promotion and took over some of the duties previously held by Stephanie Druley, the executive who previously oversaw N.B.A. studio programming and the person who had to deal with Nichols’s comments on the recorded call.The cancellation of “The Jump” is just one part of a broader reshuffling of ESPN’s daytime lineup.On Tuesday, ESPN announced that Max Kellerman was leaving “First Take” — where he had sparred with Stephen A. Smith — to host a new show that is being developed. That show will likely be in the afternoon, as will be a new daily N.B.A. show that will supplant “The Jump.”Besides creating the new basketball show, before the N.B.A. season begins in eight weeks, ESPN will also have to find a replacement for Taylor as host of “N.B.A. Countdown,” ESPN’s pregame and halftime show. More

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    Maria Taylor Leaves ESPN After NBA Finals

    The popular studio host and reporter was widely expected to depart after disparaging remarks made by a colleague were made public. Her next stop could be NBC.On Tuesday, she hosted the N.B.A. finals for ESPN. The next day she was gone.ESPN announced on Wednesday that Maria Taylor, one of the network’s high-profile talents, had left the company. More

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    Rachel Nichols Out for N.B.A. Finals Coverage on ABC

    Comments made by Nichols that were caught on tape caused tremendous upheaval within ESPN over the past year. Nichols, who is white, suggested that a Black colleague, Maria Taylor, had been selected for a marquee job because of her race.When a sideline reporter first appeared on ABC’s broadcast of the N.B.A. finals on Tuesday night, it was not Rachel Nichols, an abrupt change announced by ESPN earlier in the day. It was an attempt to stanch a yearlong scandal that has spilled into public view about the company’s handling of conflicts centered around race. More

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    A Storm at ESPN Over Rachel Nichols Comments on Maria Taylor

    In comments still rippling through the network, the reporter Rachel Nichols, who is white, said Maria Taylor, who is Black, earned the job to host 2020 N.B.A. finals coverage because ESPN was “feeling pressure” on diversity.As the N.B.A. playoffs started in May, the stars of ESPN’s marquee basketball show, “NBA Countdown,” discussed whether they would refuse to appear on it.They were objecting to a production edict from executives that they believed was issued to benefit a sideline reporter and fellow star, Rachel Nichols, despite comments she had made suggesting that the host of “NBA Countdown,” Maria Taylor, had gotten that job because she is Black. Nichols is white.A preshow call with Taylor and the other commentators — Jalen Rose, Adrian Wojnarowski and Jay Williams — as well as “NBA Countdown” staff members had turned acrimonious, and Jimmy Pitaro, ESPN’s president, had several phone conversations while at a family event to try to help smooth things over.Some of those involved saw the initial maneuvering as a sign of the network favoring Nichols despite a backdrop of criticism from employees who complained that the sports network has long mishandled problems with racism. It had declined to discipline Nichols despite fury throughout the company over her remark, which she made during a phone conversation nearly a year ago after learning that she would not host coverage during the 2020 N.B.A. finals, as she had been expecting.“I wish Maria Taylor all the success in the world — she covers football, she covers basketball,” Nichols said in July 2020. “If you need to give her more things to do because you are feeling pressure about your crappy longtime record on diversity — which, by the way, I know personally from the female side of it — like, go for it. Just find it somewhere else. You are not going to find it from me or taking my thing away.”ESPN has been trying, and often failing, to deal with the scandal for months. But a fast-approaching deadline is forcing the network to show at least some of its cards. Taylor’s contract expires during the N.B.A. finals, which start on Tuesday between the Phoenix Suns and the Milwaukee Bucks, yet few substantive steps have been taken toward a new deal even though Pitaro has identified Taylor as one of ESPN’s rising stars.Whether or not ESPN and Taylor agree on a contract, the internal damage from the past year has been substantial.This article is based upon interviews with more than a dozen current and former ESPN employees, as well as others with knowledge of the company’s inner workings. Most of them spoke on condition of anonymity because they were not authorized by ESPN to speak to the news media or because of paperwork they had signed upon leaving the company.The VideoIn mid-July last year, Nichols was staying at the Coronado Springs Resort at Walt Disney World near Orlando, Fla., confined to her room for seven days because of the N.B.A.’s coronavirus protocols before the season resumed. She had with her a video camera so that she could continue appearing on ESPN shows, primarily “The Jump,” a daily N.B.A. show she has hosted since 2016.But she was eyeing hosting duties for ESPN’s pregame and postgame shows during the playoffs and finals, the network’s most important studio basketball programming. That host is the face of ESPN’s N.B.A. coverage, and before the pandemic, both she and Taylor hosted different versions of the show.About the time Nichols arrived in Florida, she was told by executives that Taylor would host coverage during the N.B.A. finals.Nichols discussed her career on a phone call on July 13, 2020, with Adam Mendelsohn, the longtime adviser of the Los Angeles Lakers superstar LeBron James and James’s agent, Rich Paul. Nichols was speaking with Mendelsohn to request an interview with James and his Lakers teammate Anthony Davis, whom Paul also represents. During the conversation, she also sought advice from Mendelsohn because she believed her bosses were advancing Taylor at her expense.“I just want them to go somewhere else — it’s in my contract, by the way; this job is in my contract in writing,” Nichols told Mendelsohn, referring to hosting coverage during the N.B.A. finals a few minutes after saying ESPN was “feeling pressure” about racial diversity.Nichols, an ESPN reporter, and Mendelsohn, a spokesman for LeBron James, had a phone conversation that was recorded on video from ESPN’s server. This is an excerpt from a recording of more than 20 minutes that was obtained by The New York Times.“We, of course, are not going to comment on the specifics of any commentator contract,” said Josh Krulewitz, an ESPN spokesman. Krulewitz declined to make Pitaro available for an interview.Unbeknown to Nichols, her video camera was on, and the call was being recorded to a server at ESPN’s headquarters in Bristol, Conn.It is not clear why her camera was on, but most people at ESPN believe that Nichols, using new technology during a pandemic, did not turn it off properly. It was effectively the remote pandemic version of a hot mic incident.Dozens of ESPN employees have access to the company’s video servers as part of their normal work flow.At least one of these people watched the video on the server, recorded it on a cellphone and shared it with others. Soon, more copies of the conversation were spreading around ESPN, and within hours it reached ESPN executives, in part because of some of the comments from Mendelsohn. He is a prominent political and communications strategist who has worked for the giant private equity firm TPG; was a communications director and deputy chief of staff for Arnold Schwarzenegger, then the governor of California; and is a co-founder of James’s voting rights group, More Than a Vote, which focused on encouraging access for Black voters during the 2020 election.In a recording of the video obtained by The New York Times, Nichols and Mendelsohn paused for a moment during the conversation after Nichols said she planned to wait for ESPN’s next move. Mendelsohn, who is white, then said: “I don’t know. I’m exhausted. Between Me Too and Black Lives Matter, I got nothing left.” Nichols then laughed.Nichols and Mendelsohn discussed her career and wider issues of diversity at ESPN and in corporate America. This is an excerpt from a longer video obtained by The New York Times.Mendelsohn, throughout the conversation, strategized with Nichols about how she should respond to ESPN. “Be careful because that place is a snake pit,” he said. They considered a move that Mendelsohn described as “baller” but “hard to pull off”: telling Pitaro and others that having two women competing over the same job was a sign of ESPN’s wider shortcomings with female employees.“Those same people — who are, like, generally white conservative male Trump voters — is part of the reason I’ve had a hard time at ESPN,” Nichols said during the conversation. “I basically finally just outworked everyone for so long that they had to recognize it. I don’t want to then be a victim of them trying to play catch-up for the same damage that affected me in the first place, you know what I mean. So I’m trying to just be nice.”Multiple Black ESPN employees said they told one another after hearing the conversation that it confirmed their suspicions that outwardly supportive white people talk differently behind closed doors.In a statement, Mendelsohn said: “I will share what I believed then and still believe to be true. Maria deserved and earned the position, and Rachel must respect it. Maria deserved it because of her work, and ESPN recognized that like many people and companies in America, they must intentionally change. Just because Maria got the job does not mean Rachel shouldn’t get paid what she deserves. Rachel and Maria should not be forced into a zero-sum game by ESPN, and Rachel needed to call them out.”He declined to answer follow-up questions about their conversation.In response to questions from The Times, Nichols said she was frustrated and was “unloading to a friend about ESPN’s process, not about Maria.” But she added: “My own intentions in that conversation, and the opinion of those in charge at ESPN, are not the sum of what matters here — if Maria felt the conversation was upsetting, then it was, and I was the cause of that for her.”Nichols said she reached out to Taylor to apologize through texts and phone calls. “Maria has chosen not to respond to these offers, which is completely fair and a decision I respect,” Nichols said.Taylor declined to comment.Nichols said the recording of the video by an ESPN colleague was hurtful. “I was shaken that a fellow employee would do this, and that other employees, including some of those within the N.B.A. project, had no remorse about passing around a spy video of a female co-worker alone in her hotel room,” she said, adding, “I would in no way suggest that the way the comments came to light should grant a free pass on them being hurtful to other people.”Krulewitz, the spokesman, said: “A diverse group of executives thoroughly and fairly considered all the facts related to the incident and then addressed the situation appropriately. We’re proud of the coverage we continue to produce, and our focus will remain on Maria, Rachel and the rest of the talented team collectively serving N.B.A. fans.”Maria Taylor’s contract with ESPN expires this month.Eleanor ShakespeareThe ResponseWithin ESPN, particularly among the N.B.A. group that works with both Taylor and Nichols, many employees were outraged upon watching the video. They were especially upset by what they perceived as Nichols’s expression of a common criticism used by white workers in many workplaces to disparage nonwhite colleagues — that Taylor was offered the hosting job only because of her race, not because she was the best person for the job.The employees also said that Nichols made Taylor’s job more difficult because Taylor also needs to go to Mendelsohn to secure interviews with basketball newsmakers.As ESPN executives were deciding what to do about the video, a four-minute cut of the conversation was leaked to Deadspin. (The video obtained by The Times is more than 20 minutes of continuous conversation.)The leak had a major effect on how ESPN responded. Multiple former ESPN employees, including a former executive, said that company executives expressed fears of a lawsuit from Nichols and that Disney, ESPN’s parent company, became heavily involved.Krulewitz said the leak did not change how the company reacted. Nichols said she spoke with a lawyer to better understand how an ESPN investigation would work, but she did not threaten to sue.ESPN declined to say whether any employees were disciplined, and Nichols said that she was told that the “content of the conversation did not warrant any discipline.” The only person known to be punished was Kayla Johnson, a digital video producer who told ESPN human resources that she had sent the video to Taylor. Johnson, who is Black, was suspended for two weeks without pay, and later was given less desirable tasks at work.Johnson did not respond to requests for comment and recently left ESPN.Taylor, who had recently gained widespread acclaim for her on-air comments about the murder of George Floyd by a police officer, was fed up because she had also been disparaged recently by at least one other ESPN colleague for speaking about Floyd. She told executives, including Pitaro, the company’s president, that she would not finish covering the season.“I will not call myself a victim, but I certainly have felt victimized and I do not feel as though my complaints have been taken seriously,” she wrote in an email to ESPN executives, including Pitaro, two weeks after the incident, which was obtained by The Times. “In fact, the first time I have heard from HR after 2 incidents of racial insensitivity was to ask if I leaked Rachel’s tape to the media. I would never do that.”She added: “Simply being a front facing black woman at this company has taken its toll physically and mentally.”A few days later, Taylor reconsidered and told the company she would host “NBA Countdown” during the playoffs on one condition: She did not want Nichols to appear on the show.In Taylor’s view, according to six people who have spoken to her, ESPN executives agreed to the stipulation but violated it almost immediately by allowing Nichols to make short appearances without interacting with Taylor. ESPN declined to comment about the arrangement.All of Rachel Nichols’s appearances on “NBA Countdown” this season have been prerecorded.Eleanor ShakespeareRenewed ConfrontationOne employee involved in N.B.A. coverage said that ESPN’s decision not to punish Nichols was still an “active source of pain” and discussion among co-workers.It also has potentially affected coverage and assignments. For the 2020-21 N.B.A. season, in addition to her role hosting “The Jump,” Nichols was made the sideline reporter for ESPN’s most important N.B.A. games.Taylor, meanwhile, has become increasingly comfortable with expressing her views within the company. In the spring, she admonished executives for appointing a game coverage team for the N.C.A.A. women’s Final Four that did not include any Black women and pressured the company to add LaChina Robinson as an analyst, which they did.Taylor also has given Malika Andrews, who is Black, a bigger role on “NBA Countdown,” which directly led to the latest internal tug of war.To avoid having Taylor and Nichols interact, all of Nichols’s appearances on “NBA Countdown” this season were prerecorded, but often in a way to make segments appear as if they aired live. Appearances by other sideline reporters were a mixture of live and prerecorded.Shortly before the playoffs, however, ESPN executives said that if Taylor continued to refuse to interact with Nichols on air, no reporters would be allowed on the show live. “NBA Countdown” pushed back to no avail.“The idea behind this was to treat every reporter equally and inclusively by providing a similar forum and platform,” Krulewitz said. Nichols said she preferred “consistency in the way the show used the reporters,” and added that she told ESPN decision makers that she did not want to take opportunities away from others.But on May 22, the first day of the N.B.A. playoffs, the tensions exploded between those who worked on the show and ESPN executives in charge of basketball.On the preshow call involving the stars of the show and production staff in both Los Angeles and New York, Taylor insisted to an executive that she be able to conduct live interviews with sideline reporters. She also brought up the recorded phone conversation. Wojnarowski jumped in and called Nichols a bad teammate. Rose said that ESPN had asked a lot from Black employees over the past year, but that he and other Black employees would extend their credibility to the company no longer.Taylor, whom executives had asked numerous times to change her interactions with Nichols, said that the only people punished by ESPN’s actions were women of color: Johnson, herself and the three sideline reporters — Lisa Salters, Cassidy Hubbarth and Andrews — who received lesser assignments so that Nichols could have the lead sideline reporter role and now were not being allowed to appear on the show live.Pitaro spoke with Taylor and Wojnarowski, and Wojnarowski alone, when Pitaro asked Wojnarowski whether going back to the status quo and allowing sideline reporters to appear on the show live would solve the problem, according to three people familiar with the conversation.By the end of the day, the restrictions were rescinded.Krulewitz declined to comment on the argument, besides saying that “the decision regarding reporters on these shows was made solely by N.B.A. production management,” and not Pitaro.The spread of the recording throughout ESPN happened less than a week after Pitaro had pledged “accountability” and improvements throughout ESPN’s workplace culture.“We are going to speak through our actions here, and we are going to improve,” Pitaro said in an interview then. “If we don’t, it is on me, I failed, because it does all start with me.”Still, nobody was outwardly punished besides Johnson, the producer who recently departed ESPN. She left with a handful of Black employees who had pressed Pitaro for changes.Taylor’s contract with ESPN expires in less than three weeks, and it looks increasingly likely that those could be her last weeks at the network. More

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    He Created the Sports Theme Song You Didn’t Know You Knew

    It’s a little bit “aggressive” and a little bit “light.” The theme song for TNT’s “Inside the N.B.A.” is as much a character as the show’s popular hosts.Even the most casual N.B.A. fans probably remember the classic theme song for games played on NBC during the golden era of 1990s basketball. They’ll almost assuredly recall that it was written by John Tesh, the former television host and composer. Some might even know that it’s called “Roundball Rock.” It has been memorialized in pop culture on “Saturday Night Live” and further enshrined with a video of Tesh explaining where the song came from: a voice mail message he left for himself.In the 21st century, another theme song has become familiar to N.B.A. fans, although most likely not as much as Tesh’s. It is the one that signals the start of one of the most influential studio shows in sports, “Inside the N.B.A.” on TNT. Here, the composer of the theme song is virtually unknown to the show’s viewers and even to its hosts. But he is a household name in some corners of music fandom and one of the industry’s most prolific composers.The composer is Trevor Rabin, the former guitarist of the progressive rock band Yes. The South African-born musician was the driving force behind the album “90125,” a comeback record for the band, and the song “Owner of a Lonely Heart,” the band’s only No. 1 hit. Rabin was inducted into the Rock & Roll Hall of Fame in 2017 with the band.“I wasn’t really even aware of that, to tell you the truth,” Ernie Johnson, one of the hosts of “Inside the N.B.A.” and a Yes fan, said in a phone call after finding out that Rabin was the composer. “But that’s very cool.”Rabin, who lives in Los Angeles, described himself as a rabid basketball fan, particularly of the Lakers. He said that he “religiously” watches games and uses that time to practice the guitar. But when it comes to this theme song, he has gone mostly unnoticed.“I remember Shaq saying once he liked the theme just in passing, but no one’s ever acknowledged me. Charles Barkley needs to acknowledge it and give a shout out. Otherwise I’m never going to support him again,” Rabin joked during a recent interview, referring to Shaquille O’Neal and Barkley, who host “Inside the N.B.A.” with Johnson and Kenny Smith.Rabin, 67, turned to film scoring in the 1990s. He had shown an interest in orchestration dating to his childhood in South Africa, growing up as the son of a classical pianist mother and a violin-playing father. As a member of Yes, Rabin said that he would often try to introduce orchestral components to the music.Rabin is perhaps best known for composing the theme song for the movie “Remember the Titans.”Mike Coppola/Getty Images“A lot of it has become kind of electronic and computerized, but writing for orchestra was always a love of mine,” Rabin said, referring to on-screen scores. “So I just decided I’m going to get into film, and I remember my manager saying: ‘Oh, it’s a big brick wall there. Just because you’ve had a notoriety with other areas, film’s going to be very difficult.’ But I decided, ‘No, I really want to do this.’”He quickly became a sought after composer in Hollywood. In 1998 alone, the films “Armageddon,” “Jack Frost” and “Enemy of the State” were released with Rabin’s scores. His most famous work is most likely the theme song for 2000’s “Remember the Titans.” That composition was played in November 2008 after Barack Obama delivered the acceptance speech for winning the presidency.It was the “Titans” theme that put Rabin on the radar of Craig Barry, now the Turner Sports executive who oversees the “Inside the N.B.A.” studio production. Barry, also a serious Yes fan, was doing some production work for NBC during the 2002 Winter Olympics in Salt Lake City — and used the theme from the “Titans” soundtrack to close out the final broadcast. Barry then recruited Rabin to rework the TNT studio show’s theme song.“I went armed with literally a handful of his work,” Barry said, and added, “I was essentially telling him I want all of this together.”Part of what makes a theme song effective, Barry said, is that “you never get sick of hearing it.”Clearly, TNT has not. Usually, according to Rabin, the network will update graphics and other parts of the broadcast — except the hosts, of course — every three years or so. But the theme song has stayed the same for almost two decades. It has become a character of the show, much in the same way as Johnson, O’Neal, Barkley and Smith. (Like Tesh’s, this theme has appeared on “Saturday Night Live,” but as part of a larger sendup of “Inside the N.B.A.”)“To me, it’s kind of a signature,” Johnson said. “If somebody has their back turned, and they’re in the house doing something and have the television on for background noise and they’re waiting for something, when they hear that song, they go, ‘OK, the ‘N.B.A. on TNT’ is on. It’s like the stamp that says the N.B.A. is coming on.”The listener can hear certain mainstays of what made Yes successful, particularly the soaring lead guitar riffs and the heavy use of a synthesizer. But there is more that may not immediately meet the ear. The song is in the time signature 7/8, whereas most songs written for any medium in the last two centuries are more traditionally 4/4. (A time signature is generally a measure of a song’s rhythm.)The genesis of the theme song was an act of aggression. Rabin said that he was watching the 1984 N.B.A. finals between the rival Boston Celtics and his Lakers, when during Game 4, Kevin McHale, the Celtics power forward, clotheslined the Lakers’ Kurt Rambis. Rabin was scoring while watching the game and the clothesline inspired him to come up with the 7/8 meter, which he would then use for TNT.“I feel like anything I do, when I listened back to it, I always think: ‘Oh, God, why didn’t I do this? I should have done that,’” Rabin said.Allison Zaucha for The New York TimesAnother aspect distinguishing this song is its versatility, whether under highlights or as a main theme.“What’s unique about the ‘N.B.A. on TNT’ theme is that it can be used in various situations, and it can be really appropriate,” Barry said. “It has this primary theme and then it has this very aggressive rush section and then it has a light fanfare piece of it. It’s all kind of seamlessly melded together.”Rabin said the only N.B.A. figure he has discussed the theme with is Gary Payton, the Hall of Fame point guard who spent much of his career with the Seattle SuperSonics. Right after the theme made its debut, Payton visited the set of “Bad Boys II,” a film Rabin had scored. Rabin was chatting with the film’s lead, Will Smith, when Payton approached.“I said: ‘Oh, my goodness, you’re the Glove. How you doing? And can I shake the glove?’” Rabin said.He informed Payton that he had composed the “Inside the N.B.A.” theme song.“And then he was like, ‘Man, that’s cool.’ And I guess that’s the story,” Rabin said.Even though TNT has not made a move for a new theme song, the current one does have one prominent critic: Rabin.“It’s kind of a terrible affliction I have,” he said, adding that he’s also uncomfortable watching movies he has scored. “I feel like anything I do, when I listened back to it, I always think: ‘Oh, God, why didn’t I do this? I should have done that.’”But every time the song is played on the broadcast, Rabin collects a check, no matter how much he cringes at hearing it played.“I wish it was $15,000 at a time, but unfortunately I think it’s more like 15 cents,” Rabin said. More

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    2021 French Open: What to Watch on Monday

    Serena Williams and Roger Federer feature on Court Philipe-Chatrier on the second day of first-round matches.How to watch: 5 a.m. to 6 p.m. Eastern time on the Tennis Channel and 11 a.m. to 3 p.m. on NBC; streaming on the Tennis Channel+ and NBC apps.In Serena Williams’s illustrious career, there have been many firsts. On Monday, win or lose, she will add another as the first person, alongside her opponent, Irina-Camelia Begu, to play a night session match at the French Open. But before then, there are plenty of entertaining contests to watch on Memorial Day.Here are some matches to keep an eye on.Because of the number of matches cycling through courts, the times for individual matchups are estimates and may fluctuate based on when earlier play is completed. All times are Eastern.Iga Swiatek of Poland celebrates winning her first career Grand Slam singles title at the 2020 French Open.Alessandra Tarantino/Associated PressCourt PHILIPPE-CHATRIER | 6 a.m. MondayIga Swiatek vs. Kaja JuvanIga Swiatek, ranked No. 9 in the world, won the French Open last year without dropping a set, but hasn’t rested on her laurels since. In the Italian Open final this month, Swiatek defeated Karolina Pliskova, a former world No. 1, without dropping a game, and secured a No. 9 world ranking, a career high. Swiatek, who turns 20 on Monday, modeled her game after Rafael Nadal’s, evinced in her aggressive style of play and topspin-heavy shots. It’s well suited for the crushed red brick of Paris.Kaja Juvan, a 20-year-old ranked 101st, reached the third round of the Australian Open in February, her best major tournament finish. This is daunting opposition, and while Juvan’s deft touch serves her well on clay, her drop shot will be hard to execute against Swiatek, whose excellent movement was a factor in her march to the title last year. There is little doubt that Swiatek will be able to secure a win.Court PHILIPPE-CHATRIER | 8 a.m. MondayDaniil Medvedev vs. Alexander BublikWith Novak Djokovic and Rafael Nadal both in the other half of the draw, Daniil Medvedev, the two-time Grand Slam finalist, hopes to make a deep run on his worst surface. Medvedev, a 25-year-old lanky baseliner ranked No. 2, has struggled with clay, proclaiming during his first match at the 2021 Madrid Open that “I don’t want to play here on this surface.” Although he was able to win in three sets, he’s never done so at Roland Garros, losing in the first round every time.On the other side of the net, Alexander Bublik is equally unsuited to clay. Although Bublik, 23, reached a world ranking of No. 37 after a run to the quarterfinals at the Madrid Open in early May, his style is similar to that of Medvedev, preferring hard and grass courts. Bublik, a Russian-born player who now represents Kazakhstan, has had slightly more success at the French Open, reaching the second round in the past two years.Because of their poor performances on clay and similar styles, it’s hard to tell which player is favored. Bublik’s recent success might give him the confidence to beat the best all-around player in this half.Sofia Kenin competing at the Stuttgart Open in Germany in April.Pool photo by Philipp Guelland/EPA, via ShutterstockCOURT SUZANNE-LENGLEN | 10 a.m. MondaySofia Kenin vs. Jelena OstapenkoSofia Kenin, the fourth seed, had a breakout season in 2020. Kenin won the Australian Open at the beginning of the year and reached the French Open final. However, this season has not gone well; Kenin, 22, has lost her last four matches and announced in early May that she would no longer be coached by her father. While her style of play is well suited to clay, she may struggle, especially against better opponents.Jelena Ostapenko, the 2017 French Open champion, will be pushing for an upset. Now ranked No. 44, Ostapenko hasn’t made it past the third round of a major since Wimbledon in 2018 and has lost in the first round on four occasions since. Having reached the quarterfinals at the Italian Open, Ostapenko, 23, will be confident, and a deep run is not out of the question if she can muscle past Kenin.Roger Federer practicing ahead of his first match on Monday at Roland Garros.Pete Kiehart for The New York TimesCourt PHILIPPE-CHATRIER | 10 a.m. MondayRoger Federer vs. Denis IstominRoger Federer, a 20-time major champion, last played a Grand Slam event at the 2020 Australian Open. Now, having recovered from two surgeries on his right knee, he has returned with a more grounded sense of what he can accomplish. Federer, 39, has spoken about the reality that even on his best days he was rarely a top contender for titles at Roland Garros, and that his focus is mostly on the grass courts at Wimbledon, which begins in three weeks.Denis Istomin, a 34-year-old qualifier, is in a similar position. Istomin, a Russian-born player who represents Uzbekistan, has never made it past the second round of the French Open. His style of play is better suited for grass and hardcourt tournaments. Although Istomin is ranked No. 204, he will be a tough challenge for Federer, if only because of his match fitness.Court PHILIPPE-CHATRIER | 3 p.m. MondaySerena Williams vs. Irina-Camelia BeguSerena Williams, the seventh seed, recently played her 1,000th match on the WTA tour, a testament to both her longevity and her success at the highest levels of tennis. However, she has recently struggled on clay. After reaching the semifinals at the Australian Open in February, Williams, 39, took a break, returning in May for the Italian Open. Now, having lost two of her three matches in preparation for Roland Garros, it’s unclear whether she has prepared herself properly for a deep run at the tournament.Irina-Camelia Begu, ranked No. 74, may see this as an opportunity for her first top 10 victory since 2018. Although Begu, 30, hasn’t won a main draw match since the Phillips Island Trophy in February, Begu’s grinding style of play works well on clay, and her plan will be to move Williams around the court and disrupt her powerful baseline play. More

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    Marv Albert, Hall of Fame N.B.A. Sportscaster, Is Retiring

    Albert, who turns 80 in June, will call his last game in the Eastern Conference finals.Marv Albert, whose rapid-fire coverage became an N.B.A. soundtrack for almost 60 years, will retire from sportscasting after the 2021 postseason, his employer, Turner Sports, announced on Monday.Albert, who will turn 80 in June, called 25 N.B.A. All-Star Games, 13 N.B.A. finals, the 1992 gold medal men’s basketball victory for the United States and dozens of other major sporting events for several networks in a long career that earned him recognition in several halls of fame.Though Albert called games in a variety of sports, including professional football, hockey and baseball, he is most recognized for his work in basketball. He was the Knicks’ lead play-by-play voice for much of four decades starting in 1967, and became the primary N.B.A. voice for NBC Sports in 1990, where he worked from 1977 to 1997 and from 2000 to 2002. He has worked for Turner Sports for 22 years, 19 of them as an N.B.A. play-by-play announcer.“There is no voice more closely associated with N.B.A. basketball than Marv Albert’s,” Adam Silver, the league’s commissioner, said in the announcement. “Marv has been the soundtrack for basketball fans for nearly 60 years,” he added.Albert registered his first signature “Yes!” call in 1968, when Knicks guard Dick Barnett hit a jump shot during the playoffs.On-air, he was “as warm as they come,” David Halberstam, a former play-by-play announcer for the Miami Heat who publishes the Sports Broadcast Journal, said in a phone interview. But off-air, Albert was on the quiet side. Born and raised in Brooklyn, his obsession with basketball started early. He worked as a ball boy for the Knicks as a teenager and then returned as a college senior and developed a close relationship with Marty Glickman, the famed broadcaster who called the team’s games for WCBS radio at the time. Sometimes, Glickman would hand Albert the microphone to announce statistics.Albert called his first game on Jan. 27, 1963, filling in for Glickman as the Boston Celtics beat the Knicks. He was 21.“He called the game with such a great flair and such great descriptiveness that he had learned from Glickman, and it was riveting and gripping,” Halberstam said of Albert’s early years. “You’d never want to turn that radio off.”Albert’s coverage of the first five of Michael Jordan’s six N.B.A. championship titles solidified his household name. But his career was interrupted by a highly publicized trial in 1997 that exposed a series of lurid sexual encounters. Two women testified that Albert had attacked them, and Albert pleaded guilty to a misdemeanor account of assault and battery.After pleading guilty, he resigned from the MSG Network, which broadcast the Knicks and the Rangers of the N.H.L., and was fired by NBC. He did not serve jail time but attended court-mandated therapy.Less than a year later, though, he returned to broadcasting by covering Knicks games on the radio and as host of the nightly “MSG Sportsdesk.” In 1999, he rejoined NBC. Albert left NBC in 2002, after the network lost its N.B.A. coverage, and he was let go as the voice of the Knicks in 2004 after criticizing the team’s play on air.“He made you love basketball more because of his style and because of his voice, his tone and his rhythm and his pace,” Mike Breen, who took over doing television play-by-play for the Knicks from Albert, said in a phone interview. “It was perfection.”Albert was named to the National Sportscasters and Sportswriters Association Hall of Fame in 2014 and the Sports Broadcasting Hall of Fame in 2015, and was recognized by the Naismith Memorial Basketball Hall of Fame in 1997.His final series will be the Eastern Conference finals; Philadelphia is the top seed in the East, and the Nets are No. 2. The No. 4-seeded Knicks will make their first postseason since 2013.Albert said in a statement that his 55 years in broadcasting had “flown by.”“Now, I’ll have the opportunity to hone my gardening skills and work on my ballroom dancing,” he said.Richard Sandomir contributed reporting. More

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    What Channel Is the Masters On? How to Watch and Stream It

    Coverage of the Masters Tournament is split across a number of television networks, streaming platforms and websites, making it confusing to understand how to watch. The good news is that there are a number of viewing options, some of them free, for golf fans.Here is how you can catch Sunday’s final round.The main actionThe traditional television coverage of the tournament’s final round, which will culminate with somebody donning a green jacket, can be seen on CBS from 2 to 7 p.m. Eastern time. That coverage will be simulcast in the CBS Sports app and on the Paramount+ streaming service.All-day coverageGroups begin teeing off in the morning, however, and you can start watching the Masters with your coffee. On the Masters livestream there are four different “channels” to watch:Featured groupsAmen CornerHoles 15 and 16Holes 4, 5 and 6These options all begin and end at different times, depending on when the first golfers reach the different holes, but the featured groups channel kicks things off at 10:25 a.m. Eastern. The featured groups are Paul Casey and Billy Horschel (10:30 a.m.), Bryson DeChambeau and Harris English (11 a.m.), Justin Spieth and Brian Harman (2:10 p.m.) and Justin Rose and Marc Leishman (2:30 p.m.).You can watch the Masters livestream in a number of different places. ESPN+, Paramount+, the CBS Sports app, CBSSports.com and Masters.com all carry it.Other stuffIf you are more interested in analysis from talking heads and footage of golfers practicing before their tee times, the Golf Channel is live from the Masters both before and after the main coverage on CBS. If you miss the final round, encore coverage begins almost immediately, at 8 p.m. Eastern on the CBS Sports Network. More