“30 For 30” and the Role of Money In Modern Sports

“30 For 30” and the Role of Money In Modern Sports (photo)

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By the time its final episode premieres on December 11, “30 for 30” will have aired thirty films on the last thirty years of sports. Nine were about football, six about baseball, five about basketball, two about boxing, two about running, and one each about BMX, hockey, NASCAR, rugby, soccer, and tennis. The series, designed to celebrate ESPN’s thirtieth anniversary, featured the work of thirty different directors, but through its entire range of filmmakers and topics, one theme dominated the year of “30 for 30”: money’s insidious effect on the purity of sports.

Consider its very first episode, “King’s Ransom,” about the trade of Wayne Gretzky from the Edmonton Oilers to the Los Angeles Kings. The Oilers’ motivation? Money. Or “The Two Escobars,” about the destructive impact of drug money on the Columbian national soccer. The pursuit of money was the obvious subject of some of the films, like “Small Potatoes: Who Killed the USFL?” about the life and death of an upstart spring football league laid low by Donald Trump and his quixotic need to compete directly with the NFL. But the topic even bubbled below the surface of episodes not explicitly about financial matters, like “No Crossover: The Trial of Allen Iverson,” about the race and class issues that swirled around Iverson’s legal battle after a bowling alley brawl in 1993.

“30 for 30” was initially conceived by ESPN’s “Sports Guy” columnist Bill Simmons. Simmons is a lifelong Red Sox fan, and if there’s one thing Red Sox fans knew well, at least until a few years ago, it was the pernicious role money plays in sports. Sox fans didn’t attribute 86 years of heartache to bad teams. They blamed it on the “Curse of the Bambino,” after the owner of the Sox sold their best player, Babe Ruth, to the New York Yankees for $125,000. So many of the “30 for 30” — and nearly all of the best ones — speak to the core values in the story of the Curse: greed, loyalty, and community. For instance:

Muhammad and Larry (Albert Maysles and Bradley Kaplan) – The story of Muhammad Ali and Larry Holmes’ fight in Las Vegas on October 2, 1980. The 38-year-old Ali was retired for a year, out of shape, and already visibly slowing down when he was offered a title shot against Holmes. So why’d he take the fight? “Money. That’s all it was, money. Greed.” says Wali Muhammad, Ali’s assistant trainer for the fight. The epic tragedy that follows plays like the sad epilogue to the classic Ali documentary “When We Were Kings.” An $8 million dollar purse got Ali into the fight. Poor advice, stubborn pride and Ali’s refusal to go down turned it into a beating that, according to some talking heads in the film, had permanent consequences on his health. One of those talking heads is Dr. Ferdie Pacheco, the fight doctor who finally quit Ali’s camp before the Holmes bout after years of urging him to retire. By contrasting the indignant, defiant Pacheco with the remorseful Muhammad, Mayles and Kaplan explore two differing definitions of the word loyalty.

Straight Outta L.A. (Ice Cube) – The Oakland Raiders move to Los Angeles and help inspire the style and swagger of the gangster rap movement. Another study of loyalty, this one loaded with dramatic irony: Los Angeles delights in the arrival of the Raiders from Oakland, never realizing that if the team cared so little about one community that they would leave it for “greener” pastures, they might do it again. Though Cube himself remains loyal to the Raiders and insists they’ll always be L.A.’s team, owner Al Davis demonstrates no loyalty to either city, only to himself and his dream of making lots of money selling luxury suites in his own stadium. Designed as a nostalgic celebration of Los Angeles history, the film works more effectively as a melancholic look at what it means to be a fan of a team that is more interested in itself than its hometown.

The Best That Never Was (Jonathan Hock) – One of the best high school athletes of all time, Philadephia, Mississippi’s Marcus Dupree, fails to live up to his potential. Like Ali, Dupree surrounded himself with bad advisers, and as a result, his story plays like the Bizarro universe version of “The Blind Side.” Instead of a man who discovers a talent for football he never knew he had under the care of protective, nurturing guardians, Dupree, drunk with his own gifts, gets exploited by greedy or ignorant agents, and blows his chance in part by listening to his own hype and looking for the quick buck. Hock depicts the world of big-time college football as a minefield of temptation, where recruiters and coaches ply teenagers with sacks of cash or free cars. A cautionary tale of talent unfulfilled and personal redemption (unfulfilled talent with our without the redemption was another common theme on “30 for 30,” appearing in “Without Bias” and “Guru of Go” about the deaths of college basketball superstars Len Bias and Hank Gathers, and “Into the Wind” about amputee Terry Fox’s inspirational run across Canada to raise money for cancer research).

“30 for 30” has petered out a bit down the stretch. A few scheduled films weren’t done in time, most notably Alex Gibney’s portrait of infamous Chicago Cubs fan Steve Bartman, and their replacements were mostly puff pieces produced by self-serving corporate entities. Some movies, like John Singleton’s lightweight portrait of disgraced track and field star Marion Jones, missed the mark. And one could argue it’s a bit hypocritical for a network that regularly features segments like “Coors Light Cold Hard Facts” and the “Budweiser Hot Seat” to decry the role of money in sports. But despite all that, the series maintained a consistently high level of quality, and you don’t have to be a sports fan to appreciate the risk ESPN took when it gave so much airtime and creative freedom to so many filmmakers at a time when “reality” has replaced “documentary” as the dominant nonfiction mode on TV. I suspect that in the future we’ll talk about this series the way grad school professors talk about the old “CBS Reports:” as a landmark in the history of the documentary on television.

“30 For 30: Volume 1,” containing the first fifteen films in the series including “Muhammad and Larry” and “Straight Outta L.A.,” will be available on DVD on December 7.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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