The ending of a life chapter is always bittersweet, even if we’re taught from a young age that change is inevitable.

This Thursday marks two weeks since the end of my time as a sports anchor and reporter at WOAY-TV in West Virginia. When I posted the news publicly to social media, I began with the phrase “the last seven years have been a great experience for me….” I meant every word of that. I was able to learn about the business, and I learned a great deal about myself as well.

Even though it’s been seven years, I still remember my very first day at WOAY vividly: January 29, 2015. My colleague and I covered the Big Atlantic Classic, one of the top high school basketball showcases in West Virginia. The very next night marked my on-air debut, and two nights after that, my first two traditional 6 PM & 11 PM sports blocks.

13 months later, when my colleague left for another opportunity and I was approached about being promoted to Sports Director, I was apprehensive about being able to meet the standard he had set. That self-doubt lingered for several months afterward, and even after I had grown more comfortable into the role I would always have “come back to Earth” thoughts, wondering if I was doing right by the various communities in Southern West Virginia.

One of the highlights of my seven years was, without question, the many events I was fortunate to cover. From being on the field for ACC & Big 12 college football games, to a PGA Tour event that featured big names including Tiger Woods. I only covered nine Virginia Tech football games in-person, but all of them seemed to have some deeper meaning attached: the “Battle at Bristol” with Tennessee, the largest attendance for a college football game in history; two home games against defending national champions; the epic six-overtime thriller with North Carolina in 2019.

I was also able to cover various high school sports, including multiple state champions. Maybe it’s because they didn’t occur as often as opposed to schools in other markets around the state, but a state championship always brought out special emotions from the communities involved. I hope I was able to spread that joy to viewers. Another notable event was World TeamTennis, one of the first US-based sports to allow fans back in the midst of the COVID-19 pandemic.

So what’s next for me? I am actively pursuing new opportunities in the sports media industry. It’s been my lifelong dream to be a sports anchor, and I have no intention of giving that up. One thing I do want is to post more frequently on this site, something I did not do very often since I’ve been Sports Director. Whether it’s about sports topics or news topics, I want to write more.

As they say in television, stay tuned…….

Manchester United are officially in the market for a new manager, having sacked Ole Gunnar Solskjaer following Saturday’s 4-1 loss to Watford. The club hadn’t been in the greatest of form going into the international break, but the Norwegian had one last chance to get a result against a team just promoted back to the Premier League this. Ultimately, that didn’t happen, and the club felt it needed to take action now.

It ends a very eventful three-year period for Solskjaer, who was brought on as an interim manager in December 2018 after Jose Mourinho was let go. His two full seasons with United ended with top-three finishes in the Premier League, and deep runs into most cup competitions, but none ended with any silverware. For a club like Manchester United, the fact that it’s been eight years since the last EPL title, and no indication that any trophies will come this year, the wait feels even longer.

There were multiple questions in early 2019 regarding Solskjaer’s elevation from interim to permanent manager. When he took over, the understanding was that he would finish out the 2018-19 season before a new manager was appointed. However, the club went on a tear over the next few months, including a memorable comeback over PSG in the Champions League round of 16. That gave the board justification to appoint Ole as manager full-time; a decision made more out of emotion.

There’s no debating Solskjaer’s legacy at Old Trafford. The fact that he graciously gave a post-firing interview with the club’s in-house television station is enough of an example. He will always be adored by United fans for his performances as a player, especially when he scored the winning goal in the 1999 Champions League Final. But if that was truly the top item on his resume for why he should be permanent manager, it again illustrates the board choosing to make a decision based on emotion.

Now Michael Carrick, another former player, will oversee the club’s next two games – at Villarreal in the Champions League and then a trip to Premier League leaders Chelsea; executives then say they’ll have another interim manager to see out the rest of the season. But what if United win both games this upcoming week, or go on another win streak later in the year, will the board stick with their original plan?

If they don’t, expect United to be in the same position in about two years.

Two steps forward, one step back.

That’s seemed to be the story for Manchester United under Ole Gunnar Solskjaer, but there is also reason to believe that the days of “taking steps back” are limited. Of course, that’s always easier said than done.

Entering the 2021-22 season, United’s track record of bringing in new players – coupled with seriously contending for serious trophies – had not been great dating back multiple years. But this summer began in a more positive fashion with the addition of Jadon Sancho, who has long been linked with the club. World Cup and Champions League winner Raphael Varane was also a welcome addition, giving Solskjaer options for central defenders.

But then came the move of the summer, on a global scale: Cristiano Ronaldo returning to United 12 years after he left for a then-world record fee. Naturally, there were immediate expectations for Ronaldo to pick up where he left off, but the Portuguese star has done just that, scoring four total goals in his first three appearances.

That leads to the greater point: Manchester United have enjoyed their most productive transfer window in some time; now it’s time for the club to seriously contend for titles.

The Red Devils have started the Premier League campaign on the right foot, scoring nine goals combined in their first two home games, and racing out to 13 points. They would have a perfect start through five games but for a 1-1 draw at Southampton; that game, played before Ronaldo’s arrival, was the perfect example of how the team may have been happy to settle for a draw before, but Ronaldo is the type of player capable of dragging a team to a win.

On the flip side, United need to be wary of unflattering results. A loss to Young Boys in the Champions League opener, along with a League Cup exit to West Ham, shows what kind of tightrope United will be on this season. If they can get back on track to win some sort of silverware, results like the EFL Cup loss can be dismissed. But if United do get off track, the pressure on Solskjaer will only continue to increase. With Aston Villa visiting Old Trafford on Saturday, followed by Villarreal’s visit in the Champions League on Wednesday, it’s reasonable to expect Manchester United to take both those matches. If both finish as draws, or if one is a loss, time will start running out.

Manchester United have had time to build together a squad. It’s taken longer than expected, but this year’s players do have a trophy-winning air about them on paper. Can they finally deliver?

The COVID-19 pandemic has affected routines for people all over the world, and the entertainment industry has not been immune. The way people watch movies has certainly changed, probably forever. But the 93rd Academy Awards remain a go for Sunday, where the Academy of Motion Picture Arts & Sciences will give out the latest edition of the highest honors a movie can receive.

While I always find myself unable to watch as many nominees as I’d prefer, one category I’ve followed in-depth for several years is Best Original Song. First awarded at the 7th annual Oscars, the AMPAS declares that “an original song consists of words and music, both of which are original and written specifically for the motion picture. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credits.” Here are the nominees for this year’s ceremony.

“Fight for You”

Composed by D’Mile, H.E.R., and Tiara Thomas for Judas and the Black Messiah, the song’s lyrics are applicable not just to the film’s topic (an FBI informant betraying Fred Hampton), but to American society today. The music uses many elements that are found on Top 40 radio today, including a strong reliance on bass, but not so much that it overpowers the song. The instrumental ending also leaves an impact, allowing the final lyrics (“I’ma always fight for you, for you, for you, fight for you”) to stay with the listener.

“Hear My Voice”

Composed by Daniel Pemberton & Celeste for The Trial of the Chicago 7, the lyrics accurately portray the true goals of the defendants accused of inciting riots at the 1968 Democratic National Convention. The slow jazz musical setup is a stark contrast to the intensity of the film itself, which may or may not be a calming effect, depending on how emotionally invested the audience becomes with the characters.

“Husavik”

Composed by Rickard Göransson, Fat Max Gsus, and Savan Kotecha for Eurovision Song Contest: The Story of Fire Saga, this is the only nominated song that appears in the actual film, as opposed to appearing in the final credits. With the film being musically based, it’s understandable that “Husavik” is overshadowed by other catchy tunes, but what gives this song its moment is the emotion the characters give when describing their hometown, occasionally switching from English to Icelandic. And yes, that really is Will Ferrell providing background vocals.

“Io sì (Seen)“

Composed by Diane Warren and Laura Pausini for The Life Ahead, the music and Italian lyrics blend together very well, providing a calming effect even when the chorus comes to a crescendo. Depending on how one views it, the song may or may not have a built-in advantage, as it won the Golden Globe for Original Song in February; five of the last six Oscar winners also took the Golden Globe.

“Speak Now”

Composed by Sam Ashworth and Leslie Odom Jr. for One Night in Miami, this song is very similar to its fellow nominees in its calm-but-aware approach, with a guitar providing the only background music for a significant portion of the song. Odom, who performs the song (and is also nominated for Best Supporting Actor for his portrayal of Sam Cooke), is able to show his wide vocal range, an excellent fit for the song’s message of achieving justice.

PREDICTION: I would consider most of these songs as heavy favorites if they were up against different competition. That said, “Speak Now” is the song that stuck the longest with me after listening to it for the first time. Odom’s vocals blend well with the guitar and additional instruments without one overpowering the other, and the organ music that provides the final notes is capable of lingering with other listeners as well. He already has a Grammy and Tony from his work in the musical Hamilton, and on Sunday evening, he may very well be one step closer to joining the prestigious “EGOT” category.

Brothers Joel & Ethan Coen have been lauded for their unique approach to filmmaking. They are well known for covering multiple genres – often whether one movie – with smooth transitions when addressing topics. Upon receiving the Best Picture for Oscar with No Country for Old Men, the brothers thanked the Academy for allowing them to “play in (their) corner of the sandbox,” and their movie techniques continue to be praised by critics and moviegoers alike.

The Coens’ latest film, Hail, Caesar!, is a comedy told in the brothers’ unique style. It’s a 1950s “film-within-a-film” about a Hollywood film studio, and how its head of production struggles with the pressure of overseeing several productions, while keeping potentially embarrassing secrets about the actors under wraps. When the star of the studio’s epic drama goes missing, the studio head’s efforts to locate him take a humorous turn.

Coen brothers films have employed certain types of “Coen-isms”; much like the way Quentin Tarantino sticks to casting certain films in most, if not all, of his films, the Coens do the same. George Clooney portrays the kidnapped star actor masterfully, while Tilda Swinton excels playing twin rival newspaper writers, one trying to establish herself as more than a tabloid gossip columnist, while the other embraces that role. Other actors also perform very well; Josh Brolin, as the studio’s head of production, portrays a man cool under pressure despite receiving offers for a more prestigious job unrelated to the film industry. Alden Ehrenreich succeeds playing a Western-style actor (some websites referring to his character as a “Kirby Grant-type”) who tries to change his image by appearing in more dramatic films. Channing Tatum also does well as an actor who typically appears in musicals, a Gene Kelly-sort of character.

The film makes seamless transitions addressing different topics. The main topic to the plot deals with Communism and the Red Scare that gripped much of the country, and especially the film industry, throughout the 1940s and 50s. It also showcases the state of the film industry during this period of change, as television sets slowly but surely began finding their way into American homes, and how movie studios brainstormed new ways to continue drawing huge crowds.

Overall, Hail, Caesar! is a film well put together. For those who are unfamiliar with the Coen brothers’ work, it may not be the best way to introduce their style of filmmaking, but fans will appreciate the production elements that could potentially make it a Coen brothers classic.

Quentin Tarantino has been considered one of the most intriguing film directors of recent times. Some movie aficionados may claim that he is to this generation what Cecil B. DeMille & Stanley Kubrick were to previous generations. Tarantino’s movies have become a significant part of American culture, and his latest project, The Hateful Eight, is in all likelihood no exception.

A brief plot summary: eight strangers get to know each other while trapped in a stagecoach lodge in post-Civil War Wyoming, waiting for a blizzard to pass. Some of the strangers have alliances with each other, while most are hiding some part of their identity. For those trying to reach the town of Red Rock, their journey is not as easy as it appears, and not just because of the blizzard.

The Hateful Eight employs many familiar “Tarantino-isms,” including the use of chapters to divide up the plot. The director also sticks with many actors from previous films, including Samuel L. Jackson, Tim Roth, and Michael Madsen. Walton Goggins & Bruce Dern, who both made small appearances in Tarantino’s 2012 film Django Unchained, are given more prominent roles here, where both excel.

Recent Tarantino films have also used one big-name actor in a prominent role, who did not previously feature in a prior movie. Inglourious Basterds, for example, featured Brad Pitt, while Leonardo DiCaprio starred in Django Unchained. This new movie features Kurt Russell, who was previously in Tarantino’s Death Proof. Given that the film is indeed a western, the veteran actor is put in his element. His most successful roles have come in westerns, and this may be added to that list in the long term. Channing Tatum also does quite well in a limited appearance.

Overall, this film confirms Tarantino’s status as a great film director who hasn’t lost his touch. There was some concern about whether it would be made following a leaked script, but thankfully for movie fans, the idea wasn’t scrapped. The Hateful Eight may not have as much action as previous films, but the variety of character traits and plot lines make it a potential classic.

12 months ago, Seth Rogen & Evan Goldberg came up with an extremely ambitious idea for a new film. They had previously teamed up to create This is the End and Neighbors, but last year they co-directed and produced arguably the most controversial film of 2014: The Interview. After much debate over whether the movie would or should be shown in theaters, and after threats and hacks from overseas, the film eventually had a limited release.

A brief plot summary of the movie: Dave Skylark (James Franco) does very well as the host of a tabloid talk show, while his producer (Rogen) looks for ways to make the show more journalism-based. An opportunity presents itself when it’s revealed that Kim Jong-un is a fan of Skylark’s show and is granting an interview with the personality in North Korea. The CIA discovers this, and contacts the two Americans to devise a plan that would result in the political figure’s assassination.

Overall, the film presents a unique irony, with Rogen playing the more serious character when it comes to journalistic integrity. However, Franco has proven in previous films that he can succeed in both comedic and dramatic roles, especially in previous films with Rogen when it comes to comedy. The actor who first came to prominence on the big screen as Harry Osborn in Sam Raimi’s Spider-Man trilogy also received credit for his performances in Milk and 127 Hours, among other movies. Lately, he’s seemed to appear in light-hearted films more often, and while some of those turned out to be flops, this role does not turn out to be the case.

Ultimately, those who appreciate Rogen’s style of humor will likely enjoy The Interview, while the jokes will fall flat for those who don’t. Journalists can relate to the battle in today’s culture portrayed in the film to distinguish legitimate news from tabloid gossip. It’s a film that is not entirely a departure from past Rogen movies, but sets itself apart in its own way.