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SEC debate with 2026 football schedule expansion: Keep rivalries, or go for cupcake games?

SEC debate with 2026 football schedule expansion: Keep rivalries, or go for cupcake games?

Yahoo6 days ago

Picture the scene in 'Shawshank Redemption' when Morgan Freeman's character goes in front of the parole board, expecting to be rejected once again. He comments on the mockery of the proceeding and says bluntly, 'You go on and stamp your forms, sonny, and stop wasting my time, because, to tell you the truth, I don't give a (expletive).'
Yeah, that just about sums up my feelings on this upcoming SEC football scheduling debate.
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Stay at eight conference games, or go to nine, I don't much care anymore. Just put the schedule format to a vote in what will be a high-profile discussion item this week at the SEC spring meetings and make a decision.
As it stands, the SEC has approved no schedule format beyond the upcoming 2025 season.
Georgia quarterback Gunner Stockton (14) runs with the ball against Texas during the second half in the 2024 SEC championship game at Mercedes-Benz Stadium.
The SEC carried on this scheduling charade for years since the announcement of Texas and Oklahoma joining the league. Some conference members previously pretended like they wanted an additional conference game, only to turtle up come voting time and preserve the eight-game conference schedule that's supplemented with a feast of non-conference cupcake games.
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Before this came up for vote the last time in 2023, SEC commissioner Greg Sankey implied that money wouldn't be a driver in the scheduling decision. Only an idiot would believe that, though. Money talks, and some conference members were reluctant two years ago to add another conference game unless ESPN, the league's media partner, put more cash on the table. ESPN didn't sweeten the pot.
Sankey proclaimed before the schedule vote in 2023 that the conference at the vanguard of college athletics 'does not stand still.' Days later, the SEC's membership unanimously voted to stand still with an eight-game conference schedule for the 2024 and 2025 seasons. Eighteen months later, the Big Ten, which plays nine conference games, led all conferences with four playoff qualifiers. The jokes write themselves.
Rivalries hang in balance of SEC football schedule debate
The SEC cared so much about secondary rivalries like Auburn-Georgia and Alabama-Tennessee in its divisional era that it built a schedule format around maintaining those games. This next vote on the schedule will test how much resolve still exists for protecting centuries-long rivalry games.
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A nine-game conference schedule would allow for secondary rivalries like those two and others like Texas-Texas A&M to continue annually. Forging ahead with an eight-game format would put those secondary rivalries under threat of interruption unless the league abandons its stated goal of having all schools play each other twice during a four-year period.
Rivalry scenes like the 'Prayer at Jordan-Hare' and cigar-puffing Tennessee fans tearing down the goal posts and baptizing them in the river after a long-awaited win on 'The Third Saturday in October' help make the SEC brand what it is.
But, maybe SEC members will decide this week that it's more important to leave room on the schedule for Tennessee to play Furman and Kennesaw State – both will come to Neyland Stadium in 2026! – instead of Alabama, and for Auburn to tussle with Jacksonville State instead of Georgia.
And after the Mississippi beats Wofford 92-0 in 2026, coach Lane Kiffin can chant 'S-E-C! S-E-C!' and declare the strength of the SEC (half of which the Rebels didn't play) so strong that the Rebels deserve a playoff bid with their 9-3 record.
Few SEC teams opt for 10 power conference games in current format
Credit Alabama, Florida and South Carolina for cueing up two Power Four non-conference opponents in 2025 to accompany the eight conference games. If Florida smashes Miami and Florida State en route to a 9-3 record against a rigorous schedule, well, we might see a 9-3 playoff team for the first time.
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By comparison, the 13 other SEC teams will play only nine Power Four opponents. That's one fewer Power Four opponent than teams like Arizona and Central Florida will play.
If Missouri can manage to fend off Central Arkansas, Kansas, Louisiana-Lafayette, Massachusetts, Vanderbilt and one more SEC team, the Tigers would wrap up bowl eligibility.
That's the beauty of the eight-game conference schedule: Bowl bids await for average teams that can beat bad teams in their out-of-league slate.
The beauty of the SEC adding a ninth conference game would be the creation of more matchups fans want to watch and media partners want to televise.
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One fewer cupcake game also would bolster the SEC's case when it comes time to stump for at-large bids for bubble teams.
Even better, ESPN might now be ready to fork over extra revenue in exchange for that ninth SEC game.
The SEC could even time its rollout of a ninth conference game with playoff expansion that's probably coming in 2026. A bigger playoff would reduce the risk of an additional conference game thwarting a team's opportunity for playoff access.
Alternatively, the SEC could stay at eight, turn up its nose at rivalries, rebuff the prospect of a bigger payday from ESPN, protect the cupcake games, and maintain the daintier conference schedule that offers minimal resistance to the league's weaker members securing a Liberty Bowl bid.
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At this point, there's not much left to debate. So, go on ahead, sonny, and call it to a vote.
Blake Toppmeyer is the USA TODAY Network's national college football columnist. Email him at BToppmeyer@gannett.com. Follow him on X @btoppmeyer.
This article originally appeared on USA TODAY: SEC football schedule expansion debate looms at spring meetings

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David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'
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David E. Kelley on the secret of his prolific career: ‘Don't ever assume you're smarter than the audience'

L.A. Law. Picket Fences. Chicago Hope. Ally McBeal. The Practice. Boston Legal. Big Little Lies. Nine Perfect Strangers. Presumed Innocent. And that's far from the complete list. So it's fitting that David E. Kelley was chosen as the inaugural recipient of the ATX TV Festival's Showrunner Award. Over the course of his career, he's earned 31 Emmy nominations and 12 wins (including a Hall of Fame trophy) and was the first producer ever to take home Emmys for both comedy series and drama series in the same year. Not to mention all of the actors he's written for who have won trophies in their own right. More from GoldDerby 'I'm glad I'm still alive': Jon Hamm and John Slattery on 'Mad Men,' 10 years later 'King of the Hill' cast and creators on revival: 'Bobby's got a little bit of fame and a little bit of swagger' Watch the first 6 minutes of 'Wednesday' Season 2, from Netflix Tudum 2025 In a Q&A at the festival moderated by Gold Derby's editor-in-chief, Kelley talked about his creative process, what he learned from his mentor Steven Bochco, and why he still writes longhand. Gold Derby: You've written comedy, drama, legal dramas, medical dramas, adaptations. What's the secret formula? What's the DNA of a David E. Kelley show? David E. Kelley: Well, there's no secret formula. And if you think that you've got one or it's that easy, then that's when you've lost it and you should get out. It's always hard and always daunting. I would say for my shows, they're character-based. I look to mine the cauldron with a collection of characters that allow me to go in different directions. And so more times than not, you'll see disenfranchised people who have flaws and personality deficits, but who are redeeming and have something to love in them as well. I've always wanted but not always succeeded the piece to ultimately be affirming at the end of the day. That doesn't mean you don't have bad things going on within episodes, but at the end of the day, I would love to nurture the audience with the idea that people are more good than bad. If there's one common denominator that fits the bill across the board, that would probably be it. SEEEmmys flashback 25 years to 1999: David E. Kelley pulls off unprecedented double win for comedy and drama series So what do you look for in an actor to embody that? First, I look for a good casting director. There's something called casting fatigue. It's a long, long process, and the longer it goes, the more likely that you will settle. That the first 20 actors will be so far off, that number 21 will be remotely in the ballpark and you go, that's the one. And that's very dangerous. I've always counted on a strong casting director to bring a point of view and a perspective to (a) find the person that we're looking for, but (b) be strong and secure enough to tell me that this person is not it if I fall for the wrong person. A woman named Judith Weiner cast The Practice and Ally McBeal, which we were doing at the same time. We did The Practice first, and then we went to cast Ally McBeal, and she changed the furniture around in the same room. And I said, "Judith, I can see you've chosen to sit over by the window this time." And she said, "Yes, so I can jump out of it if you fall prey to some of the inclinations that you did during The Practice." When you get a casting director who does not settle, it just makes your job as a producer much, much easier. Do you find that once you've worked with an actor before, you're able to then write with them? You've worked with Nicole Kidman, for example, a few times now. It's a really good question because I don't think people understand how collaborative television series can be. I can't really compare it to movies because I've not done many of them. But in a series you're really looking at what the actor is bringing to the piece and listening to it and feeding off of it. Sometimes you're going for the strengths and shying away from the deficits when you're writing a subsequent episode. But oftentimes, they're doing things that you don't even anticipate. And if you're working with great actors, you just allow yourself to be flexible, to play to their strengths. O-T Fagbenle who played Nico Della Guardia on Presumed Innocent, I had no idea what he was doing when the dailies first came in. He was playing it with an affect and an aloofness and a humor and it wasn't at all the way I'd heard it when I'd written on the page. But it was great and the show needed a little bit of levity where we could find it. So I remember saying I don't know what he is doing but tell him to keep doing it. SEEDavid E. Kelley says new ending for 'Presumed Innocent' on Apple TV+ 'wasn't mandatory' Did you write end up writing to that? It's folly to say, well, that's not the construct that I set out to build and I'm going to stick to the original idea. Sometimes you do, but other times if you see what the actor is giving you is elevating the piece, don't be afraid of it. Is that something you've learned over the course of your career? I learned it pretty early from Stephen Bochco. He taught me so many good habits, and he also had huge amount of respect for the actors. If you surround yourself with good people and smart people, it's only going to make your work better. Lord knows we have more than a few in our industry who get threatened by others, who want to populate their piece with opinions who won't threaten their own, but he never did that. He did that, from the very first day I walked in his office, and he did that with the audience as well. So don't ever for a second assume you're smarter than the audience. These people more likely are going to be every bit as intelligent as you, if not more so. How were you lucky enough to find your way to Stephen Bochco so early in your career? I was a practicing lawyer in Boston, and I knew I liked to write. I had done a little bit in college, but it wasn't something I really thought I was going to make a living at. I was a young litigator and it was motion practice for the most part, which means you sit in a courtroom with a zillion other lawyers and you wait for your case to get called, and it's a long day in court with not much to do. So I started writing a script while in court, and over the course of a year, at the end of that year, I had a script of a young lawyer who was bored with his practice because all he did was go and sit in motion session and never got to argue. Gee, how did you ever come up with that idea? (Laughs.) There was someone in my law firm who was getting into the movie production business from the producing side that I knew, and they were getting bottom of the barrel scripts. They heard I was writing one, and he said, let me read it. And he said, by comparison, it looks good, and he optioned it. The script found its way to Stephen Bochco, who at that time was hatching L.A. Law and he was looking for lawyers/writers, hybrids of people because he really wanted the series to be as authentic as possible. He invited me out, and I had no idea what a fluke it was. I met him, we got along quite well, and he gave me a script assignment. How did he respond to the script? I remember the first couple of weeks were a bit strange because there's a writing staff of about eight to 10 people, and we would get script assignments. I had script number eight, so there were seven that came before me. And I was noticing people walking by with their belongings leaving the office, and I heard, "Oh, these are the writers who have turned in their scripts." Steven would weed them out pretty quickly. When it came time for my script, I walked into the office and sat down, and he looked across the table and he just said, 'You can do this.' And I remember, oh my god. It was like when I had taken the bar exam and opened the envelope and it said that I'd passed the bar. I'm not the complete fraud that I'd convinced myself that I was. When someone like Stephen Bochco says that, that can really fuel the tank. How did his writers' room work? Steven Bochco did his best work in a room with other writers. The more people, the more the heightened his acuity would be. In fact, when he would write himself, and he could not break a story or solve an ending, he would call all the writers into the room to talk about it. We quickly realized he really wasn't calling us in to get our ideas, he was calling us in because he did his best thinking with an audience. I could not do that at all. Where Steven's process was if he's stuck, bring everybody into the room, my process is I can't really do my best work unless I get everybody out of the room because I want to be in the room with the characters. It's probably a more schizophrenic way to work, but I immerse myself into the world. I've always been more of a solitary writer. I've gotten better about working with staffs, and it's easier to share the load. But at the early part of my career, it was actually harder because I didn't really know what I wanted in some of the storytelling until I immersed in the world myself and got in the trenches with the characters. 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There's a huge intoxication when you come up with an idea and when you break an idea and there's an adrenaline that comes with that and that adrenaline applies the fuel when you set sail and you go and and write it. And my fear of an adaptation process was, well, someone else has been the architect. The story breaking is done, the idea has been hatched, now you're just kind of the contractor to execute it. I thought that's the work without the high of breaking the story. The first one I tried was Big Little Lies and I actually quite loved it because, first of all, the book was great, the characters were so fun to write. The book was very internal, the characters were thinking things but not voicing them. So there was a great deal of challenge of how do we take what's going inside the characters' minds and convey them? So there was real hard work to be done there. The adaptation process occasioned me to go in directions that I might not otherwise have ventured into. 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I think he even said that Mr. Mercedes was one of his favorite adaptations, because I knew he hated The Shining. SEE'Presumed Innocent' producers J.J. Abrams and David E. Kelley on teaming up, 'contemptible' characters, and season 2 What about Scott Turow with ? Scott Turow's the same with Presumed Innocent. Again, I loved that book. I also loved the movie. I was daunted. This has been done well twice — in book form and in movie form — and I didn't want to be the one to screw it up. The series offered an opportunity to dig deeper into characters, especially the ancillary characters, so I was really excited about that opportunity and it was the love for the characters that that made me dive in. And Scott Turow said OK. He understood the difference in the process. A book is a book, a television series is a series. It was my baby, it's now it's your baby. You've been on a run of limited series; would you ever go back to continuing drama again? I do enjoy the limited series, but right now I'm beginning to miss series again. I tend to mourn characters when series are over. You live with them for a year or two years, and they become a little too real, and then when they're gone, it's sad. Big Little Lies, I still miss them. With series television, you live with the characters for longer. Also, you're really building a community. I am looking to do less amount of projects and get back to a series where it can go on for a long time and maybe we can get that community that I missed back. There was real currency in it. The studios now are looking for shows that aren't going to be over and done with in one, two, or three years, and I think that's going to be good for the consumer. And I look forward to it as a writer too because when, again, when you spend so much time working with these characters, they tend to become real, they tend to become like your family, and you want to hold on to them. But not the Mr. Mercedes family. I was happy to say goodbye to that family. Is there any other family in your library you would revisit for a reunion or a revival? I'm not a reboot kind of guy. I feel I've done that once, and I'm not opposed to someone else taking something I've done if they've got a new idea on it. But I feel it I just want to go forwards not backwards if I can. And do you still write longhand? I do, although my hand sort of runs out of gas now. (Laughs.) I actually do believe that there is a hand-brain connection. Because when I try to dictate or type, the brain doesn't fire as well as when I write with my hand. You heard it here. 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‘I'm glad I'm still alive': Jon Hamm and John Slattery on ‘Mad Men,' 10 years later
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It has been 10 years since Don Draper bought the world a Coke — but the legacy of Mad Men lives on, in (somewhat) good health. "I'm glad I'm still alive, basically, because of the amount of cigarettes I smoked," joked Jon Hamm. "But the amount of work we put into it feels commensurate with the amount of love we're feeling as well. So that's pretty awesome." More from GoldDerby David E. Kelley on the secret of his prolific career: 'Don't ever assume you're smarter than the audience' 'King of the Hill' cast and creators on revival: 'Bobby's got a little bit of fame and a little bit of swagger' Watch the first 6 minutes of 'Wednesday' Season 2, from Netflix Tudum 2025 Hamm reunited with his Mad Men costar John Slattery to celebrate the 10 year anniversary of the finale of Mad Men, the multiple Emmy-winning drama, at the ATX TV Festival in Austin, Texas. 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‘The Gilded Age' cast on what to expect in Season 3: feuding sisters, robber barons and a wedding?
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SEEWhy 'The Gilded Age' Season 3 won't be eligible for any Emmys this year Baranski thinks Julian Fellowes, who writes The Gilded Age, channels his own personality into Agnes. 'He loves those tough old broads — they are survivors, and they've got the wit and they're made of vinegar,' said Baranski. Added Spector, 'I think he thinks those are the women who are really holding civilization together, and I think he's probably right.' Asked how she nailed Agnes' withering stare, 'Oh god it's so awful to say, I didn't have to work at it,' said Baranski. 'My mother was a tough old broad. And I swear when I watch myself play Agnes, I just see my mom with her glass of Seagram 7 crown.' As for Bertha, 'She's pretty single-minded,' said Coon. 'We know she's determined to marry off Gladys. I'll say without spoiling anything, Bertha usually does get her way. But it doesn't mean there aren't consequences to that.' Coon defends Bertha's single-mindededness in marrying off her daughter. 'She understands the world is not set up for Gladys, and that if Gladys hopes to have any power or influence — the power and influence Bertha would wish to have — she has to be married in a very particular way, married well,' said Coon. 'Because I think what Bertha understands is that you can have puppy love and have a lovely time, but that will not sustain you for 35 years. So I have a lot of respect for what Bertha wants for Gladys, and I do believe it's loving. Does she go about it in a way that seems a little bit blunt? Perhaps. But I do believe she understands something about the world that she wants her daughter to be not just safe but fulfilled.' That's another theme of the third season — the collision between social and business forces that was happening at the time. 'How many women born at a different time would have been running places? And what do you do with that energy?' said Coon. 'Well, you put it into your kids because that's the only place you're allowed to put it.' Added Baranski, 'The men were busy earning money and making money and creating this capitalistic society, but it was the women who were spending the money and creating the culture of the Gilded Age. You could say it was completely over the top and indulgent in income inequality, except that they did create cultural institutions that last to this day. And the robber barons, whatever we think of them, they financed cultural institutions, which is not really true today with our tech barons and our current oligarchs. 'Shame on them for not supporting the arts.' Speaking of robber barons, 'George's story of the season is trying to build the transcontinental railroad,' said Spector. 'I think there's something actually fundamentally relatable about George, even though because of the scale on which he acts, there's a monstrousness to a lot of what he does.' Said Baranski, 'I have to say you are a man on a mission, and these robber barons, they got a lot done.' 'So did Mussolini,' quipped Spector. New cast members will join this season, including Merritt Wever as Bertha's sister, Bill Camp as J.P. Morgan, Andrea Martin as a medium, and Lisagay Hamilton as the suffragist Frances Ellen Watkins Harper. 'The thing that I most was gratified by was I had not seen Black middle- and upper-class communities represented in this period,' said Coon. 'The history of that is so fraught because of the way those neighborhoods were bulldozed to make Central Park. And the fact that we see these black actors in their joy, having a ball, getting paired off, with their own history, and yet existing still in a world where Bertha Russell isn't going to look at you, or acknowledge that you're there, to me that's one of the most thrilling parts of the show. To get to see that world sort of brought to life in this Gilded Age period is just something we haven't really seen before. I always thrill to those moments in the story.' Spector acknowledged that the show has been criticized for having 'a lot of drama, but no stakes,' said Spector. 'But there's a real subtle wit in cutting from being in the South, with Denée [Benton]'s character, to then being in our drawing rooms. The show has a kind of ironic wit about it because of that that I think it would lack otherwise.' And while Agnes can be such a 'bitch,' as Baranski acknowledged, she does think she has a point. 'Things will really go awry if you only think in terms of material existence,' she said. 'So I think her heart and her mind and her ethics are very much in the right place, as stubborn as she is. One of the reasons I'd love this show to continue is because I think there is such an exploration to be done in terms of the corruption that goes on, the buying of government influence, and the grotesque displays of wealth sending women into a spaceship.' Joked Spector, 'Christine, you're a firework.' Best of GoldDerby 'I cried a lot': Rob Delaney on the heart and humor in FX's 'Dying for Sex' — and Neighbor Guy's kick in the 'zone' TV directors roundtable: 'American Primeval,' 'The Lord of the Rings: The Rings of Power,' 'Paradise' 'Paradise' directors John Requa and Glenn Ficarra on the 'chaos' of crafting 'the world coming to an end' Click here to read the full article.

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