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...Harvard is also the only Ivy League team to crack the Football Championship Series (FCS, formerly Division 1-AA) Top-25 poll—earning the No. 25 spot. With the bar set so high, the Crimson is again the team to beat in 2009.“We seem to have a bull’s-eye on our back and our front,” Harvard coach Tim Murphy says. “[We] seem to be everybody’s big game, and everybody is all jacked up to play us.”But according...
...evolved over time in different ways on each of our campuses about whether or not...awarding scholarships in football would be appropriate for us to do as well.”And though the Patriot League is far from making a decision across the board regarding scholarships, the reasons seem clear for the personnel at Fordham.“We’re really being squeezed—all the Patriot League schools are being squeezed from two ends,” says Fordham Director of Athletics Frank McLaughlin, who was Harvard’s men’s basketball...
...never commissioned beyond the pilot. More recently, a U.S. version of “Kath & Kim,” Australia’s Logie-winning favorite, enjoyed only a brief, critically disastrous stay on NBC last year. In retrospect, though, creators Ricky Gervais and Stephen Merchant seem to have stumbled upon one of the hardiest premises in television history; “The Office” has been successfully transported to France, Canada, Germany, and Chile. The largely unimpressive pilot of the American “Office” had an almost identical script to that of the British premiere...
...capable of pushing Burke to deal with his past. Yet the film establishes Eloise as more of a friend that Burke needs to look out for him than a love interest who completes him. Their chemistry suggests a strong camaraderie rather than a burning passion, and their romance seems tacked on in the eleventh hour. By pushing Eloise out of her friend role, the movie abandons its thoughtful exploration of coping with tragedy in favor of a generic boy-meets-girl setup. Much more interesting than this tired romance is the story of a man who helps others deal with...
...inhabit her roles. British director Richard Loncraine—who previously directed film adaptations of Shakespeare and a made for TV movie about Winston Churchill—allows Zellweger to flourish in a quieter, more formal movie than she is accustomed to. His prior academic studies of sculpture seem influential in his directorial style; every shot of his is remarkably crafted. His frames are horizontal and narrow; the top of each seems to barely avoid truncating the upper limits of the scene, creating a kind of uncomfortable intimacy for the viewer. The camera shots are still and never shift focus...