I enjoyed the U.S.-Canada gold medal hockey game, but the four-on-four overtime format distorted the outcome, making it more likely that a superstar like Canada's Sidney Crosby would win the game quickly. Without the usual tandem of two defensemen, Crosby had an easier time getting to the goal, making it nearly impossible for American goalie Ryan Miller to stop his shot. Canada was probably the better team, but the Canadians' victory would have had more luster under regular rules. At least we were spared the ludicrousness of the shootout.
In a brief explanation, the commentators said that the four-on-four format was put into effect when the Olympics overtime was extended from 10 minutes to the regulation period of 20 minutes, so the change was likely done for the benefit of television, which, despite all of the hoopla, doesn't really like hockey. With the continuous play, hockey doesn't allow for commercial breaks. With the switch to 20-minute overtimes, we can assume that TV asked for some concession so that an overtime would be unlikely to stretch to the entire 20 minutes, cutting further into revenues. The four-on-four makes it more likely that the dramatic "sudden death" comes quickly, allowing for the resumption of advertising. Of course, TV also insists on the shootout after one overtime, so that the game doesn't last even further, threatening the precious closing ceremonies, which allows for plenty of commercial time.
If the game was as important as the commentators allowed, "the most important hockey game in history," the overtime should have been played with the same rules as the rest of the game. NBC's endless trumpeting of the greatness of the game ring hollow when the competition is not decided under regular rules. If hockey is as compelling and important as its enthusiasts claim, the regular five-man teams would provide the best competitive test. However, the NBC network wouldn't want to risk another 20 minutes going by without those all-important commercials, so the game was decided by truncated teams.
As a friend of mine pointed out, this same logic, extended to basketball, would have NBA teams playing four on four if an NBA championship went to overtime. Or, in baseball, perhaps the third baseman would be sat down in extra innings. In an NFL overtime, the defense would have to remove a cornerback, and the offense a wide receiver.
Also, why did the Canadians win with one loss, while the Americans finished second with one loss? I know nothing about how the tournament format is set up, but it's puzzling why it wouldn't be organized so that a best two-out-of three between the top two teams would decide the championship. Again, it's all probably for the greater good of NBC.
Another observation: the commentators kept calling the USA team "the Americans." This has become the popular designation for citizens of the USA, yet Canadians are Americans too. Upholding such distinctions is increasingly a losing game, so I suppose it would have been too much to ask for a major television network to do so.
Too bad Miller and the rest of the U.S. team had such long faces after the game. It's probably a hockey thing about defeat being so bitter, but lighten up, guys. It might be the most important thing in the world for Canadians, but for most U.S. fans, it was just an entertaining competition, a glorified all-star game, nothing as serious as the Super Bowl or NCAA football championship or the World Series. You USA guys did well, and should hold your head high. Now you can go back to the NHL and try for the Stanley Cup, which no doubt will be the most important hockey competition ever when it is played.
...What is it about baseball that turns good writers gooey? New York writer Pete Hamill's review in the Sunday New York Times Book Review of a new biography of Willie Mays ("Willie Mays, The Life, the Legend," by James S. Hirsch) displays the run-away lyrical excess of much writing on baseball.
In the first paragraph, Hamill cites all of the ills of the game, including "AstroTurf on baseball fields" and that supposedly bucolic time "long, long before the innocence of the game was permanently stained by the filthy deception of steroids." Hey, Pete, AstroTurf has been largely removed from baseball stadiums, most of which in recent years have reverted back to the small dimensions and classical structures that baseball nostalgia pushers like you so love. And, at the end of the steroid era, we can ask when was the game innocent? When the spitball was legal and guys like Ty Cobb broke any rule to win? When the ball was souped up for Babe Ruth to hit 60 home runs, and in later eras? When the pitching mound was lowered for the benefit of hitters? Or in the '30s when black players were not allowed? Or in the 1950s when the Yankees were allowed to dominate competition, or later when amphetamines were the drug of choice? The game was never "innocent."
Hamill drifts further into the clouds later in the piece. "Within a few months, he showed that he had the potential to become one of the greatest players ever to walk on the green grass of the major leagues." Gee, thanks, Pete for telling us that grass is green. Well, some of the AstroTurf, which Willie played on, was a bit blue. Hamill closes this smarmy paragraph: "And he brought to the playing of baseball a mysterious, almost magical quality that has disappeared from the professional game. Willie Mays brought us joy. All of us." So, players like Albert Pujols don't bring us joy? Derek Jeter? What was so mysterious about Mays' play? He could hit, run and catch, as Hamill says elsewhere. He was great to watch, but there was no mystery to it. Why "almost magical?" I guess Willie's play didn't reach fully magical, despite all of Hamill's flights. And, did Mays really bring joy to "all of us?" A lot of Yankees fans who liked Mickey Mantle and Dodgers fans who loved Duke Snider might disagree.
Hamill is one of those guys always mourning the move of the Dodgers from Brooklyn to L.A. and the Giants to San Francisco. Hey, Pete, get over it, and use the same exacting standards when writing about baseball as you do in the rest of your work.
Speaking of the Sunday New York Times, Times bossman Bill Keller recently shook up the management staff with some of those mysterious (sorry, Pete) moves reminiscent of the old Soviet Union. Times watchers, like old Kreminolgists, try to read the signs for meanings.
We can hope that the changes bring new energy to the Sunday Arts and Leisure section, which increasingly suffers from an exhaustion of ideas and creativity. Only week after the umpteenth profile of Meryl Streep, the Times ran the umpteenth profile of Jeff Bridges, recycling all of the cliches about him that the Times loves. (See James Wolcott's Vanity Fair blog). Bridges is a fine actor, a favorite to win the Oscar, but the Times is stuck on the same groove when writing about him. And the Arts and Leisure section, once a jewel of the Times, is losing its shine.