The Academy did not assist anyone in coming to this realization, however, with the beginning of its awards telecast. Though the versatile Neil Patrick Harris performed a splendid musical number that seemed to incorporate elements from the old magic of Hollywood, the opening dialogue delivered by Steve Martin and Alec Baldwin fell flat. If this replacement for the traditional monologue was performed in any other year, I suspect that the Oscars ratings would have flatlined immediately. Yet, because there were some popular choices for this year’s Oscars, there was still reason for most of the country to watch. When they continued to watch, they were treated to the best that Hollywood had to offer, and the highlights used to show this year’s best picture nominees will have me racing to the theaters, or, in the case of some of the pictures released earlier this year, the mall in order to see some more of the nominated films.

Oscars intro math: Funny + Funny = Not Funny

Though some speculated that run-off style voting used in this year’s awards would lead to a dark-horse nominee winning best picture, the results had all the surprises of all number one seeds making the Final Four. However, unlike in years past, this result was acceptable. The Hurt Locker trumping all others was not like last year’s Academy Awards, in which two films of that year that were not nominated (The Dark Knight and Doubt) had a more legitimate claim to the golden statuette and all of the films of the previous year (No Country for Old Men, There Will Be Blood, Juno, Michael Clayton, and Atonement) were better than the winner Slumdog Millionaire. The Hurt Locker emerged from a field that included the most financially successful movie ever, a Quentin Tarantino masterpiece, and an animated classic, among others, in order to win. The fact that I was able to write the previous sentence shows that the victory was well deserved. This year wasn’t another chapter in the Academy’s love affair with independent movies (though The Hurt Locker will be the answer to the trivia question ‘What is the lowest grossing movie to ever win the Best Picture Oscar?’). Instead, it was a celebration of all of cinema. For this reason, all movie fans should be grateful that the Academy expanded to ten best picture nominees last summer.

MLB 2k10 offers an immersive baseball experience when on the field. The gesture-based pitching returns this year but is improved strongly. The system maps pitching to the right analog stick, but does so in a way that feels natural, not gimmicky. The user selects his pitch with the face button and then moves the right stick in a motion indicated. This system means that the complaints of last year’s game (e.g. “I wanted to throw a slider but the game thought I threw a sinker”) are now in the past. Furthermore, the game alters the pitch timing when the pitcher is in the stretch, adding realism to this mechanic.

In addition, the gameplay problems of MLB 2k9 do not reappear in 2k10. Players will catch the ball when put in position instead of waving their arms frantically. It is now much more difficult to hit a home run and every game won’t end with a 16-15 final score. It seems like 2k Sports heard the criticisms of users of the last game and made a concerted effort to remedy them.

The battle between pitcher and batter features prominently in MLB 2k10.

However, the single-player game modes are not a home run. The new centerpiece mode is the “My Player” career mode, which is inspired by the “Be A Pro”-style modes that have appeared in versions of EA’s Madden NFL and NHL series and the successful “Road to the Show” mode of Sony’s MLB: The Show series. The mode starts off in Double A and the goal is to work your player all the way up to the big leagues and the Hall of Fame. While the concept is not new to sports gamers, MLB 2k10 introduces some new caveats to give a familiar mode a different look. For instance, in addition to demanding trades, a feature that is included in essentially every career mode, MLB 2k10 gives a superstar player the ability to influence what free agents sign with his team in the offseason. This aspect mirrors real-life events (such as when Carlos Beltran influenced Carlos Delgado to join him on the Mets in 2005), so I’m glad that 2k Sports incorporated this detail.

However, the mode falls flat in other respects. The primary game interaction is handled through a menu screen because the game simulates every play that does not involve your player. This process leaves the user detached from the experience of a baseball game. While it may have been impractical to have users sit through nine innings of playing the outfield, only having a user play the field when a ball is hit to him kills the suspense of actually reading the ball of the bat and knowing when to react to a ball put in play. In order for a career mode in a sports game to be successful, the user needs to feel engaged with the events on the field and MLB 2k10 fails to provide such engagement.

The career mode doesn't deliver.

In conclusion, MLB 2k10 is an enjoyable game and certainly not the unplayable game of last year. The gameplay mechanics are solid, but the lack of quality single-player modes means that this game is like a leadoff double: it’s a good start, but needs some help to be driven home to score.

Plot Summary: Spoilers below

Zoe-A is experiencing Zoe’s memories and trying to discover her own identity. Daniel continues to experience problems producing Cylons. He is avoiding Joseph, who is having trouble dealing with his own grief and is haunted by visions of his daughter. Amanda begins investigating Zoe’s life, but is interrupted by Agent Durham who questions her about Ben Stark, who she didn’t know was Zoe’s boyfriend. Lacy goes to lunch at Sister Willow’s house, where Willow plies her for information about Zoe’s work. Two of Daniel’s technicians transport the cylon to his home. Zoe-A reacts violently as one of the assistant tries to work on her, cutting off his finger. Sam takes Willie around little Tauron, where he begins introducing Willie to crime by throwing a trashcan through a window, getting both of them arrested. Amanda convinces Daniel to attend a memorial for the bombing victims. Lacy secretly visits the Graystone house and talks with Zoe-A, who feels trapped in the robot body. At the memorial, Daniel is visibly uncomfortable. Amanda meets Natalie Stark, Ben’s mother, who gives her a number of Zoe’s things, including an STO pendant. Joseph confronts Daniel about the Tamara avatar. Their talk is interrupted by Amanda speaking to the crowd. She says that she didn’t know her own daughter, and declares that Zoe was involved in the bombing as the crowd erupts in anger.

Hulu-Caprica: Rebirth

One should not discount Caprica as just another show that is failing to live up to its premise. This episode still holds its own. In particular, elements like the way news clips are seamlessly cut into the narrative, the banter between Daniel and Amanda and Daniel’s private moments of reflection remind us of why the show is excellent. These elements make the characters feel like real people whom the viewers can identify with and care about. This is particularly true of the masterful way the shots of Zoe-A and the CGI cylon are done, reminding us of the character and the person within the metal shell. Viewers will find themselves with a knot in their stomach as Amanda watches movies of Zoe and shiver in their seats as Zoe-A wipes the blood from her hands after injuring the technician. The acting remains superb and the characters remain incredibly well drawn.

However, putting great characters on the screen is not in and of itself enough to make a great episode. The main issue with this particular installment is it lacks any pretense of subtle narrative. The cloud of sinister mystery surrounding Sister Willow dissolves when we are introduced to the polygamous cult known as the Willow family. Instead of a complex villain, Sister Willow feels more like a caricature of a zealous nut. Another problem is the repeated flashbacks to the STO symbol at the end. These give off the impression that the directors don’t think the audience is smart enough to pick up the references that were crafted into the episode. They do nothing crassly insult the viewer’s intelligence. But the worst incident takes place between Zoe-A and Lacy. Zoe-A describes herself as three entities combined into one, when Lacy blurts out the word “trinity”. While the connections to our own religious traditions make the show relevant and thoughtful, this dialogue feels contrived and ham-handed. The writers could not have been more blatant if they filmed Ron Moore in a cathedral wrapped in the Shroud of Turin singing “This show is about religion” to the tune Handel’s Messiah. Good science fiction reflects society back us, rather than forcing itself down our throats. Although this is one incident, its sloppy execution jolts the viewer out of what could have been an engrossing scene.

On the whole, this episode is minor disappointment. The cliff hanger ending is well done and successfully accomplishes two things: it will leave viewers eager for the next installment and thanking their various gods that the current one is over.

Does this game deserve to cut down the nets?

Gameplay

It is hard to argue with the game’s uncanny ability to recreate, almost flawlessly, how a player moves, cuts, commits fouls, and even shoots. However, it takes some time to adjust to shooting, especially 3s and long-2s, because shooting is all about timing. Each player is different, which can be very frustrating. Rhythm is the most important part of shooting, and each player is different based on their rating and shot motion. Some players shoot exactly at the apex of their jump, while other have a hitch and may hold the ball longer before releasing it. The more frequently you play with the same teams, or at least types of teams, will help you develop better timing for your shots. Rhythm and timing also imply to shooting free throws. Regardless of the level of difficulty, if the user is good enough at them, the shooter’s free throw rating has almost no effect. This becomes frustrating if your opponent is very good at free throws.

Like playing FIFA, mastery of both control sticks can make a huge difference. This is one of my flaws, and it allows my opponents to steal the ball from me more than a few times per game. This is a common problem amongst the gamers I interviewed, all of whom voiced frustration that in the game oftentimes when a player will drive toward the bucket, the defender will magically strip the ball and force a turnover. Understanding when to spin and how to control the dribbler is crucial for enhanced gameplay. It allows you to not just score and have more possessions, but creates some exciting moments in the game. Know that it will take time to master the control sticks and correctly timing both shots and dribble moves. The payoff is not just winning games, but winning in style.

Crowd

I had hoped that the impact of the crowd would be huge in close games because every sports gamer dreams of a game where there will actually be a good way to replicate home field advantage. Unfortunately, the crowd impact is a miss. The crowd will be loud and shake the camera if the game is close and late, but overall, it has little effect on the outcome, leaving me sorely disappointed. A momentum meter, like the ones featured in previous versions of the game, would have been a welcome addition. It is always fun to see how one’s performance in the game would realistically affect the crowd and momentum for each team.

The CBS presentation features the familiar overlay and theme song.

Announcers

As with all sports games, be prepared to grow quickly tired of the same phrases from the same voices. The good thing is that both ESPN and CBS worked on this game so there are 5 different announcers rather than 3. It is nice to have Dick Vitale and Gus Johnson in the same game, because it allows the player to choose who they want to broadcast each game. They compensate from having constant color commentary with cut-ins of the crowd and people like Erin Andrews. Announcing never adds much value, but it can ruin a game. EA gets a passing grade for having both ESPN and CBS, although a few more colorful and situational lines would make the game experience significantly better. Presentation is very important and overall the game does a very good job of it.

User game experience makes all the difference when playing, especially against friends. This game is worth the investment if you have a good friend with whom you can play. My advice is rent the game before you buy it if you are not a huge NCAA Basketball fan.  I give the game a four because it is a lot of fun to play, but it certainly clangs off the rim, and fails to be a slam-dunk.

Plot summary: Spoilers Below.

58 years before Galactica, the planet Caprica is enjoying a period of material and technological prosperity while its society descends into hedonism.. Surrounded by sex, violence and human sacrifice in a virtual world called the V-club, Zoe Graystone (Alessandra Torresani) looks down on a virtual avatar of herself and tells her comrades Ben Stark (Avan Jogla), and Lacy Rand (Magda Apanowicz) that the avatar (known as Zoe-A, also played by Torresani) holds the key to God’s plan for redeeming society’s decadence.

In the real world, Zoe is resentful and disobedient toward her wealthy parents, Daniel and Amanda Graystone (Eric Stoltz, Paula Malcomson). Resolved to leave her unfulfilling life, Zoe and her friends run away. As they board a train, Lacy gets cold feet and refuses to go. Moments later, as Zoe watches in horror, Ben opens his jacket to reveal a suicide vest. In the name of the one true God, he blows the train to pieces.

Several weeks later, the devastated Daniel attends a memorial for the victims. It here we learn that a group of monotheistic extremists known as The Soldiers of the One (STO), has taken credit for the bombing. Daniel encounters Joseph Adams (Esai Morales), who has lost his wife and daughter in the attack. Joseph is an immigrant from Tauron, another planet whose people are looked down upon on Caprica. The two men begin to bond in their grief. Lacy, ridden with survivor’s guilt, attempts to find solace in the mysterious Sister Willow (Polly Walker). Upon returning to V-Club, Lacy discovers that Zoe-A has survived her creator’s death. Zoe-A is a perfect replica that possesses all of Zoe’s memories and thinks of herself as a person. Zoe-A begins searching for her purpose and with Lacy’s help begins trying to find a way into the real world. But Daniel discovers Lacy accessing the V-club, becoming suspicious.

Attempting to deal with his pain, Joseph, now a single parent, works to connect with his son William (Sina Najafi). Daniel busies himself by attempting to create a robot for the Caprican government. The project is over budget and not making progress. To make matters worse, the Vergis Corporation on Tauron has made a technological breakthrough and Graystone Industries is in danger of losing its contract. At the same time, Daniel begins investigating the V-club, where he glimpses Zoe-A. Amanda, who has been in shock since her daughter’s death, receives a visit from the police, who now suspect Zoe may have been linked to the bombing.

Daniel confronts Lacy about Zoe-A. They travel to the V-club, where Daniel meets her. He’s initially hostile, viewing her as nothing more than a computer program, but eventually seems to warm to her. He asks to hold her, but as they embrace he downloads her program over Lacy’s protests.

As Daniel and Joseph become closer, Daniel introduces Joseph to the V-club and to Zoe-A. Although initially repulsed, Joseph is tempted by Daniel’s offer to use Zoe’s program to resurrect his wife and daughter. In exchange, Joseph must use his contacts with the Tauron crime syndicates to obtain Vergis’ technology. With the technology in his possession, Daniel creates an avatar of Joseph’s daughter, Tamara (Genevieve Buechner). However, she is terrified when she and her father meet because she cannot feel her heart beating. Heartbroken by this, Joseph leaves Graystone’s lab in a rage. He returns home and tells William that they will begin to rebuild their lives through Tauron traditions. This includes adopting the Tauron form of their surname: Adama. In the meantime, Daniel attempts to download Zoe-A into the robot he developed. Although this succeeds at first, the robot eventually breaks down. It appears Daniel has truly lost everything left of Zoe.

With the technology stolen from Vergis, the robot successfully completes its tests and Graystone Industries is awarded the contract to build more of them. Daniel is responsible for the creation of the first cybernetic life-form node or Cylon. Following the test, the Cylon rises on its own and calls Lacy. In Zoe’s voice, it ominously says that that it will need her help.

If the purpose of science fiction is to reflect society back at us, Caprica is an excellent specimen. Issues of terrorism, materialism, race and faith seamlessly course through its two-hour pilot. Importantly, the show doesn’t club the viewer over the head with these themes, but develops them naturally through its wonderful set of characters. If there is any element from Battlestar that Caprica replicates beautifully (aside from the CGI robots) it is the wonderfully developed cast of primary and secondary characters. Stoltz, Morales and Torresani give masterful performances of complex characters thrown into extraordinary circumstances. But the secondary characters add a depth to Caprica’s universe that is often lacking in other shows. In particular, Walker’s performance as the mysterious Sister Willow and Sasha Roiz’s role as Joseph’s brother Sam, stand out. The only characters who won’t amaze the viewers are Malcomson’s Amanda Graystone, who is tragically underused throughout the pilot as well as Apanowicz’s Lacy Rand, who feels at times like a one dimensional caricature of a distressed teenager.

The other factor that makes Caprica a wonderful addition to anyone’s Friday night is its aesthetics. Far too often, science fiction is characterized by a few characters standing in a brightly lit room staring at CGI effects. Caprica’s world is not driven by special effects. Its technology feels instantly familiar and the show doesn’t rely on technobabble to drive its story. It expansive sets, combined with Bear McCreary’s hauntingly beautiful soundtrack, delight our eyes and ears as flawlessly as the story provokes our minds and hearts.

“All of this has happened before, all of this will happen again.” Caprica takes the mythology created for Galactica to set itself up, but stands on its own two robotic legs. Although it lacks the fast pace battles and war drama that made Galactica exciting, Caprica makes up for it through beautifully crafted drama between wonderfully complex and flawed characters. Overall, it promises to entertain, shock and surprise us for weeks to come. Highly recommended for hardcore Galactica fans or first time viewers, Caprica will again leave the viewers fraking amazed.

“Lost in Nightmares” is the first of two new pieces of downloadable content to be released for Resident Evil 5. It adds a new chapter to the game which will take the player around an hour to complete. Logistics aside, the enjoyment of the new content depends solely on the player’s level of immersion in the Resident Evil universe. If you love the story behind Resident Evil, then you’ll most likely enjoy it. However, if the Resident Evil back-story holds little interest to you, then this content does not offer enough to be worth your money.  Don’t expect more of the same, as this new chapter in the ever-expanding world of Resident Evil brings a few new game mechanics to the table in comparison to RE5, due to its “retro” nature.  Describing these new mechanics will force me to give away some of the events that take place, so be warned that the following may be considered a spoiler.

“Lost in Nightmares” covers an event which precedes the main story of Resident Evil 5. During the man campaign, Chris has a flashback of a mission he previously undertook with his former S.T.A.R.S partner Jill Valentine. The two have teamed up again to hunt down the man responsible for the creation of the Umbrella Corporation, Oswell E. Spencer. During the main game, small portions of this aforementioned mission are shown via cut scene flashbacks.  The scenes show Chris and Jill, sporting attire reminiscent of their clothing in the series’ original outing, infiltrating a mansion.  Sound familiar to anyone? This content is meant to bring back some of the classic Resident Evil style and moments.  The mansion is reminiscent of the mansion from Resident Evil 1 while the mode reintroduces several game mechanics from the original entry. Some of the original (and unforgettable) score has been amped up to today’s sonic quality and reused, which adds to the overall atmosphere of the game.  The gameplay is mostly puzzle and adventure based, forcing players to start with little equipment and relying only on items found within the mansion (unlike other modes in RE5, equipment doesn’t transfer over).

The recreated Resident Evil 1 mansion

Unfortunately, the thrilling experience provided by RE1 is not recreated. These mechanics were groundbreaking in the older games, but over the last decade the franchise and it’s core mechanics have evolved.  After spending time playing RE5, players have become accustom to the action the game delves out in spades.  But this content strips all of that away, leaving the player to complete mundane and trivial tasks in order to move deeper into the mansion.  These “puzzles” are very easy, requiring the player to merely look in several corridors for passwords and a crank. Some new information is presented about Oswell E. Spencer’s whereabouts over the last few years, but is doesn’t really provide a wealth of new information to overlook the shortcomings of the gameplay.

The next section of the game introduces you to a new enemy type, The Guardian of Insanity. As the name suggests, these enemies require a lot of ammunition to kill. Unfortunately, the lack of available equipment and items makes the task more frustrating than need be. This was a design decision made by the developers to recreate certain survival aspects from previous entries in the franchise. But, once again, this mechanic doesn’t transfer well to this new section of the game. RE5 is different from the other entries in the franchise as the survival elements are less profound. If you strip the player of the equipment needed to initiate this action it disturbs the delicate gameplay balance achieved in RE5.  Unlike the zombies of the original mansion, the enemies in this mansion are much larger and more difficult to defeat and the player simply doesn’t have the necessary arsenal to adequately deal with such difficult foes.

Only a couple of shots?! Oh common!

The biggest problem with “Lost in Nightmares” is the archaic mechanics. Capcom managed to recreate a nostalgic atmosphere from RE1, but at the same time, disrupted the core enjoyment derived from RE5’s combat.  Poor puzzles and unbalanced survival elements are inferior replacements for the suspenseful and thrilling components in RE5.  Completing the new chapter felt more like a chore than anything else. Therefore, this piece of DLC cannot be recommended to anyone besides fervent fans of the Resident Evil series.

Written by Casey Corrigan, Edited by Doug Buffone

Although Assassin’s Creed was an enjoyable game, it had a number of flaws. Most irritating of all was the repetitive nature of the combat and the lack of variation in the mission design. The foundation for a franchise was certainly strong and all indications from the developer made one conclude that the sequel would be a vast improvement over the first.

The most obvious change is that Assassin’s Creed II takes place in Renaissance Italy and the player can explore 15th century Venice, Florence and Tuscany. The cities are more diverse than their counterparts in the first game, in both landscape, architecture and city life.  Great care has been giving to make more bustling, vibrant cities and greater interaction possibilities within them. The player can visit shops to to buy weapons, armor, maps and even famous works of art from the time period.  The large villa in the city of Monterrigionni is where these collected items are displayed and where the player can choose to build improvements to the cities various shops and services. Investing in the city is nothing but beneficial as it increases the amount of money the player receives from the businesses as well as item discounts.

The realism of the world is also improved by the enhancement of the artificial intelligence. The AI in Assassin’s Creed made most tasks monotonous, as both the combat and sneaking elements were elementary. Fights would be entirely one sided whereas if desperate situations did arise, the “blend” move would make the player disappear no matter what crimes were committed. Luckily, the AI in Assassin’s Creed II is greatly enhanced. Although it makes the game more difficult, it also makes it more enjoyable. No longer can players simply run through large crowds, kill a target and fade into anonymity. Instead, assassinations take some planning, both in the process of killing and the escape route, as guards are much more diligent in the chase compared to the previous game. Fortunately, moving around the environment has been completely reconstructed. The character controls are much tighter, largely due to a free-run button which allows the player to move more fluidly while climbing on walls or running on rooftops.

Despite improvements to the AI, the combat in Assassin’s Creed II is still easy. Besides a few exceptions, enemies’ attacks can be parried or countered without too much effort.  The inclusion of new weapons and devices freshens up conflict, but the player’s variety of killing techniques is not mirrored by the enemies and therefore these inclusions do not increase the difficulty. There are certainly enemies of differing strengths, but there will never be a situation in which the player is repeatedly being killed.  Even the final boss of the game can be taken down relatively easily.

The surprise premise that awaited gamers in Assassin’s Creed made the story was one of the more memorable elements of the game. Ironically, the story in Assassin’s Creed II was overshadowed by the improvements to the gameplay experience. Many people marveled at the conclusion of the game, yet I found it largely incoherent and superfluous. The interactivity in the world was so engaging that modern day sections interrupted the game world immersion. Interacting within large cities in another era while seeking advice from Leonardo DaVinci and other historical figures was always more entertaining than Desmond Miles’ underground fight.

Thankfully, the vast majority of the game will be played in the Italian Renaissance era. Whereas, in Assassin’s Creed the recurrent combat and missions were made the game feel overstretched, Assassin’s Creed II’s refurbished mechanics and re-imagined cities will have you wishing for more.

Thus, their follow up album Need You Now was expected to include the same musical precision while increasing the lyrical complexity, in both syntax and theme. Unfortunately, the latter expectation is unfulfilled. Although most songs are pleasant to listen to, the majority do not venture beyond simple lyrics, some consisting of remarkably similar words. The most satisfying exception is the title song “Need You Now” which includes delicate chord progressions over beautiful harmonies. Telling the story of an obsessive lover,  the song’s melody and guitar sections is reminiscent of Fleetwood Mac.

Despite the strength of the one song, Lady Antebellum’s second album leaves much to be desired.

Album Gems:

“Need You Now”

In the first episode of HBO’s new show, Pilkington begins to talk about how humans should reproduce. He believes that when a woman turns 78 she should die, but that a small baby should be born from her body when she dies, so that it would be a “good-bad situation”. Immediately, Gervais cracks up at the idiotic premise. The worst part about it is that Pilkington believes that this system will be the next stage of evolution. Gervais and Merchant try to convince him of the ridiculousness of the idea, but it does little to persuade him.

The other funny segment was “Monkey News” in which the men discuss a story having to do with monkeys. Pilkington begins to speak about how angry he would be if he was a monkey because humans get all the credit–particularly for space travel. He eloquently points out that a monkey went into space before man. Although it is a somewhat legitimate point, it devolves into babble after he says that the monkeys were taught to fly the spaceships using buttons and a banana dispenser.

With such ridiculous segments, Gervais and Merchant, among comedies brightest talents, are in a great setting. The show itself is done in an animated style reminiscent of the Flintstones (which, oddly enough, they reference in the show) and show their animated persons sitting at a table discussing with occasional cutaways describing certain elements of the story.

The problem is that I can’t really figure out why this needs to be a television show. Yes, the segments become more ludicrous when you actually see what Pilkington is describing, but it isn’t a constant which warrants watching the screen the entire time. The animated style is not impressive and much of the time is just showing the animated men sitting in a studio. Thus, I kept getting the feeling that this show, although funny, doesn’t necessarily mean that it is better than the podcast. It has the feeling of a simple video podcast, but one that you don’t need to be watching constantly in order to enjoy.

Nevertheless, both Gervais and Merchant are funny enough to make the show deserving of a large audience. Although it is very likely that you will find yourself doing other activities while watching it.

First, the lack of an HD version of MSNBC on DirecTV or Verizon FiOS means that some events do not get the benefit of high-definition coverage. For instance, last night’s US vs. Canada men’s hockey matchup, which NBC’s website declared as “the most anticipated game of the tournament so far”, was broadcast on MSNBC. CNBC and USA had limited curling coverage and no Olympic coverage, respectively, but they have HD channels. Since many sports bars and homes use DirecTV or Verizon as their provider, many people were stuck watching the game in standard definition. In 2010, this fact is unacceptable. High-definition coverage has changed the way that sports are watched and for a game of that magnitude to be broadcast in such a manner is ridiculous.

Making matters worse was the fact that NBC was broadcasting ice dancing, the redheaded stepchild of figure skating, while the hockey game was played. Instead of seeing a game that pundits have declared an instant classic, NBC thought it was more appropriate to show a sport whose biggest story was that a pair’s costumes offended Australian aborigines. This decision should have been an easy one for NBC: its home country was facing off against the hockey-crazed hosts. Yet, as we’ve seen with the Conan O’Brien/Jay Leno saga, when NBC has an easy decision they will drop the ball every time.

Does this event really make for better television than hockey?

Second, and most importantly, the use of tape delay in the events has ruined the desire to watch the Olympics. NBC faces a dilemma: they have valuable primetime space, but many of the events occur in the daytime. Thus, it has decided to broadcast many of the popular events on a tape delay so that they can gain valuable ratings. However, there is a problem with this decision. The primetime broadcasts are not geared with sports fans in mind. Many times, there is very little sports action and instead there are human-interest features about polar bears. Does anyone really tune into the Olympics to hear about polar bears? No! Put the sports on the screen; that’s why the viewers watch a sporting event.

Furthermore, because these events happen live, other major news organizations will tell the results of the events before NBC gets around to broadcasting them on tape delay. Major news sites like ESPN and social networks like Twitter will often have the results of the events anyone wants to watch before he or she can watch them. It’s frustrating for a sports fan to watch the events, which are built on drama and excitement, with suspense removed. What’s even more egregious is the fact that NBC also spoils the events. An anchor on the NBC evening news last night told me to “look away” if I didn’t want to know the results of the events that already happened but would be broadcasted later in the evening. I never thought that the news would require a “spoiler alert”, but thanks to NBC it’s a common occurrence.

The worst part about this practice is how unnecessary it is. These Winter Olympics are not in a place where the time difference makes it prohibitive to show the events live (like when the 2002 World Cup was in South Korea). They are on the West Coast. There is no reason why the events should be tape delayed for people in the United States, especially those who live on the West Coast (like the opening ceremonies were). This practice serves only to frustrate viewers who want to watch the games as they happen live.

If NBC really believes that the only way that they can attract viewers is through irrelevant, tape-delayed features, then there is a simple solution: broadcast the events live on its cable networks (USA, CNBC, MSNBC) and on the Internet. Then, in primetime, run the package of highlights and features, while having more live matchups on its cable networks. However, this solution would require NBC to embrace new media and the opportunities it provides. A sports fan’s best hope is that NBC, who Conan O’Brien gleefully reminded us is losing $200 million on these Olympics, decides to abandon the Olympics altogether. Then a real sports network could take over and give the viewers the coverage that they want (an ABC bid, using all of its many ESPN outlets, comes to mind). Until then, enjoy tape delays, standard definition, and ice dancing!