THIS IS A AUTHOR TPL from module folder
  • A movie theater owned by Shaquille O'Neal canceled a screening of a documentary about Mumia Abu-Jamal. Dave Zirin is not happy about it. What's going on here?

  • It's one thing to watch sports in search of some reflection of ourselves and the world as it exists. It's another and entirely more complicated thing to find it.

  • May 4, 2012
    DMC for MVP!

    Nobody knows what the MVP means, unless LeBron James wins it again. If that happens, it's time for an insurrection. It's time to kick in the gates of perception. It's DeMarcus Cousins time. 

  • Howard has pulled yet another surprise, as the world learned that the All-Star center wanted his coach gone. More than ever, one has to ask, does Howard know what he's doing? And if he does, is he reading from the same playbook as his peers?

  • O'Neal's ubiquitous skin care spot with his mom warmed a lot of hearts, but did it dodge the very point it was trying to make? 

  • The horror of Trayvon Martin's murder in Sanford, Florida is a lot to take, for a lot of very good reasons. But for all the horror and ugliness that the case revealed and has continued to reveal, the response to this injustice has also contained a fragile sort of hope. That the NBA Players Association, the Miami Heat, and LeBron James (of all people) have been a part of that is surprising, and inspiring in its own right.

  • The Alagppan plan reimagines basketball positions by determining players' roles according to what happens on the court, rather than vice-versa. But maybe turning the game on its head misses the real point.

  • Mike D'Antoni left the Knicks amidst accusations that his coaching style was too rigid. This after his tenue in Phoenix, where he earned a reputation as a free-thinking revolutionary who opposed any and all basketball orthodoxy. Neither one is exactly true, and neither does the man justice.

  • At at crucial juncture in his career, the Orlando Magic center failed miserably at using his leverage with the team. The question is, was he overcome with feeling, just too damn excitable, or an unprofessional goof forced to try and clean up after himself at every turn—and usually only making things worse?

  • Modern Football, a 1951 short sponsored by Wheaties and Wilson, is very likely Altman's director's first solo credit. So there's that immense historical value. But it's more than just a curiosity; without trying too hard, you can see glimpses of the director Altman would soon become.