ESPN ran two stories yesterday about Michael Crabtree and his contract situation. For those unfamiliar, Crabtree was selected tenth overall, by my own San Francisco 49ers, in last spring’s NFL Draft, but he has not, as of yet, signed with the team.
The dispute stems from the fact that the team feels that Crabtree should be paid like the second wide receiver taken in the draft (i.e. slightly less than what the first receiver selected, Darrius Heyward-Bey, got paid), which he was. Crabtree, however, feels like he should be paid like the best receiver taken in the draft, which he was.
Now, I don’t intend to dwell on this particular dispute, since Bill Simmons addressed it in his inaugural “Miller Lite Great Call of the Week,” and the only person criticizing Crabtree now is the less-than-respected Scoop Jackson.
But I think it’s interesting that someone like Crabtree can have his character and intelligence questioned for employing, essentially, his only bargaining tool. The fact that Crabtree is refusing to sign and play for the 49ers is being interpreted as a sign that his inner circle is nefarious and that he is not a “team player.”
This is a ridiculous double standard that athletes are held to. The contract rules that many athletes play under, particularly in the NFL, are incredibly unfair. Continue reading
JOHN S: FlashForward premiered on ABC last night (with an encore for those who missed it tonight at 8), and Tim and John S watched–we weren’t lying when we said FlashForward was the #9 reason to be excited for the Fall TV Season. So Tim, what did you think?
TIM: First off, you said it was #9. I would have had it at like #3, behind the return of Survivor and Degrassi’s Nina Dobrev in The Vampire Diaries. Those are really the only two things that could excite me more than a show in which the presentation of a friendship bracelet is accompanied by pulse-poundingly dramatic music.
JOHN S: Yeah, there was a TON of pulse-pounding dramatic music in this show. It was like 80% of the episode.
TIM: Right, and that’s one of the things I kind of expected. It reminded me a lot of the premieres of 24 and, predictably, Lost, in its explosive and perhaps overly dramatic tone. At the same time, I think that’s what shows have to do these days to survive: You rarely build an audience when you’re building characters. One of the smarter things FlashForward did was to avoid breaking for a commercial for 15 minutes. By that point, we had already seen the en medias res opening, the flash back four hours, the blackout, and the realization that it was global. It lays most of its cards on the table in those 15 minutes (two big ones left to be played later in the episode) and tries to hook you in as quickly as possible (like 24 does with its four hours in two nights with limited commercial interruptions).
Was it too dramatic? Ehh, a show that’s so conceptually driven is almost required to get it all out there in its first episode. If FlashForward were to save some of its expository twists (something like the fact that the blackout was indeed global or that everyone not only blacked out, but also saw a vision of their future) for later episodes, it probably wouldn’t create the same kind of buzz leading in. It’s not like you’re going to draw in viewers with your “…AND THEY SEE THE FUTURE!” trailers and then save that information for later.
Am I making any sense? Continue reading