Latest news with #Brando
Irish Examiner
13-05-2025
- Lifestyle
- Irish Examiner
Jennifer Sheahan: Space-saving ideas and picks for tiny homes
As the proud owner of a tiny cottage, maximising space is as much a necessity as a passion and in that quest, I've become something of a magpie for multi-use furniture. How we use the rooms in our homes can change depending on our needs at the time, and so in a small space, it is helpful to have furniture that can adapt. This fusion of function is becoming increasingly important as our homes get smaller and property prices continue to rise. Many of us simply don't have the luxury of dedicating an entire room to a single purpose anymore. We need our living spaces to multitask just as much as we do — we need furniture that works twice as hard as it should. Fortunately, furniture designers and fitters are responding to this challenge with increasingly clever solutions to help us. Here are some of the coolest and most innovative pieces of transforming multi-use furniture to inspire you. Some of the price tags are not for the faint-hearted, but consider the amount of time and design expertise that goes into these clever designs. Relaxing outdoors Garden furniture is a tricky one in Ireland. Having somewhere comfortable to lie out and soak up the sunshine is fantastic — but what about the other 355 days of the year? Those of us who are challenged for storage space need something that will fold away small, and regardless, it's best to bring any soft furnishings indoors to prevent the damp and dust from getting to them. The Campeggi Brando by Giuseppe Arezzi, folded. Enter Campeggi. Italian manufacturer Campeggi is one of the most innovative companies out there when it comes to designing transforming furniture. The Campeggi Brando by Giuseppe Arezzi. Its Brando chair is a thing of genius — a beautifully designed full-length outdoor lounge chair which accordion-folds into a small and stylish pouffe that can be used as a stool or footrest throughout the rest of the year. Its creator, Giuseppe Arezzi, designed the Brando to be lightweight so that it is easy to fold up and carry inside after a long, lazy day lounging in the garden. Entertaining en masse When designing small homes, one of the trickiest pieces to work in can often be the dining table. We want to be prepared to host friends and family, but we often can't afford to sacrifice floorspace for a large table that will only be fully used occasionally. Resource furniture Goliath dining table. Extendable dining tables are great, but you may need your large dining table to be in a different space from your smaller everyday table, and so just expanding your existing table doesn't always work. That's where Goliath comes in. Designed by American company Resource Furniture, which has been creating clever transforming furniture for the past 20 years, Goliath is a sleek sideboard that extends out to a twelve-seater dining table. Resource furniture Goliath dining table as sideboard. Its sideboard form allows greater flexibility for positioning it when not in use, though its one drawback is that you need to store the leaves somewhere. Knock-offs of the extending sideboard design exist that address this issue — for instance, the extendable sideboard dining table from Bedroom brilliance Murphy beds are not new, but have come a long way in the past few years. Murphy beds of old had a reputation for being clunky and uncomfortable, but innovative design has evolved them into multi-functional and stylish items of furniture that serve our modern lifestyles. Murphy beds are a fantastic alternative to sofa-beds in rooms where sofas are just not needed. Murphy bed with desk from Wall Beds. Many of us now use our bedrooms as home offices or workspaces, and rather than sofas, we need shelves and desks. Newer Murphy beds now come with hinged desks and shelving, creating the perfect workspace by day and allowing you to easily pull down the bed without even having to remove items from the shelves at night. They are as comfortable as regular beds, with full mattresses and slatted frames, and can be oriented length-ways or width-ways to suit your room. There are even bunk beds available — ideal for children's rooms or holiday homes. Work and play Off-the-shelf pieces of furniture are great and all, but if you can find a good cabinet-maker or joiner who's willing to get creative with you, then the world is your oyster. One of my favourite pieces of furniture in my home is my transforming desk. My spare room needs to function as a home office, a guest room, and a hobby space. Jennifer Sheahan's custom transforming desk by Borien Studio has a piano hiding underneath. Picture: Moya Nolan One of my lifelong hobbies is playing the piano (not well, despite how long I've been hammering away at it) and squeezing a piano into this little cottage was no easy task. I had to get creative. I commissioned a custom desk from Borien Studio, which functions as a desk to work and also houses a full-sized keyboard. It's made with a hinged lid that hides a keyboard underneath, so when I'm finished working, I can close the laptop, open the lid, and the room is transformed from office to music room. The dual function of that desk frees up enough floor space for a sofa-bed (another great piece of transforming furniture), allowing the room to be used as a guest room when visitors stay over.
The Independent
12-04-2025
- Entertainment
- The Independent
The Magnificent 20: The greatest Western films of all time
The western is one of the most beloved genres of all. In recent years, it seems to have been making a comeback of sorts. Just a few years back, Chloé Zhao released her standout rodeo film The Rider, while in 2016, western heads had to contend with Antoine Fuqua's remake of The Magnificent Seven. John Sturges' ever-popular original was itself a remake of Akira Kurosawa's 1954 classic, Seven Samurai. Below is a reminder of some of the greatest entries in the western canon. 20. Ride Lonesome (Budd Boetticher, 1959) The pick of Boetticher and Randolph Scott's superb seven-film collaboration follows stone-faced loner Scott's obsessive quest to avenge his wife's murder. Filmed entirely in breathtaking Sierra Nevada locations and also memorable for the classic Western line: 'There are some things a man just can't ride around.' 19. Vera Cruz (Robert Aldrich, 1954) Double and triple crosses aplenty as mercenaries Burt Lancaster and Gary Cooper team up in revolutionary Mexico to steal a cache of gold. Pretty much dismissed on its release, Vera Cruz can now be viewed as an exhilarating precursor to the spaghetti Westerns of the sixties. 18. Winchester '73 (Anthony Mann, 1950) James Stewart showed that he could ride, shoot 'em up and trade blows with the best of the Western icons in his episodic quest to retrieve his stolen fabled rifle. The great screen villain Dan Duryea almost steals the film as the sneering, sadistic Waco Johnnie Dean. 17. One-Eyed Jacks (Marlon Brando, 1961) Brando fell out with original director Stanley Kubrick, leaving the star to helm the only film he directed, a take on the Billy the Kid legend. One-Eyed Jacks became famous for Brando's excesses with an original running time of over four hours, but is now viewed as a fascinating, brooding masterpiece, and thanks to its stunning Monterey and Big Sur locations, one of the most aesthetically beautiful Westerns ever made. A restored version was shown at this year's Cannes Film Festival. 16. Rio Bravo (Howard Hawks, 1959) John Wayne's sheriff faces an army of bad guys with only a drunk, a young gunfighter and a crippled old man on his side. The interplay between Wayne, Dean Martin and Walter Brennan is a delight and Dino even gets to sing. Great fun all round. 15. My Darling Clementine (John Ford, 1946) A highly romanticised take on Wyatt Earp and the events at the OK Corral with Henry Fonda as Earp. Lyrical, poetic and with many iconic scenes that linger long in the memory such as Fonda lounging on a porch surveying the town, and his stiff legged dance with his 'lady fair' at Tombstone's new church's dedication. 14. The Ox-Bow Incident (William A Wellman, 1943) Henry Fonda's hero is powerless to intervene as three innocent men are lynched by a mob for a crime that never happened. Social commentary in a Western setting, given added poignancy and resonance by the knowledge that Fonda had witnessed a lynching as a youth. 13. Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) An Oscar-laden buddy movie trading on the wonderful chemistry between Paul Newman and Robert Redford. Throw in William Goldman's sparkling dialogue and Burt Bacharach's famous soundtrack and we have an irresistible slice of late sixties cool, tempered with newfound revisionism. 12. The Gunfighter (Henry King, 1950) With a theme resembling a Greek tragedy that evolved into one of the great Western clichés, ageing gunslinger Gregory Peck tries to put his bloody past behind him only to find that there's always one more little squirt kid to outdraw. 11. Ride the High Country (Sam Peckinpah, 1962) An elegiac lament for the death of the old West and a perfect valedictory present for two genre stalwarts, Joel McCrea and Randolph Scott, as a pair of veteran lawmen who have outlived their usefulness. 10. The Magnificent Seven (John Sturges, 1960) A great storyline, terrific cast, unforgettable music and a series of memorable vignettes including Yul Brynner and Steve McQueen's opening hearse scene and James Coburn's knife/gun duel. What more can you ask from a Western? 9. Red River (Howard Hawks, 1948) Epic Western from a master filmmaker that gave John Wayne the type of part in which he excelled, as the stubborn, driven rancher determined to see a cattle drive to the bitter end even if it means killing the foster son (Montgomery Clift) who takes his herd away from him. 8. High Noon (Fred Zinnemann,1952) Famously regarded as an allegory of the McCarthy witch hunts in Hollywood, High Noon should first and foremost be enjoyed as a cracking Western set more or less in real time, with anguished lawman Gary Cooper deserted by his town as he faces the bad guys alone. 7. Stagecoach (John Ford, 1939) Landmark Western that came to define the genre and made John Wayne a star. Part character study mixed with stirring action sequences courtesy of famed stuntman Yakima Canutt, with stunning use of Monument Valley on the Arizona-Utah border, the most single recognisable location in western movies. 6. Once Upon a Time in the West (Sergio Leone, 1968) Once audiences got over the shock of Henry Fonda as a cold-hearted killer, they witnessed a western full of astonishing imagery, and one that has never been matched in scale, scope and ambition. Leone referenced virtually the entire history of Westerns in this stunning epic about the coming of the railroad and the modernisation of the West. Ennio Morricone's wonderfully evocative score has rarely been bettered. 5. Shane (George Stevens, 1953) Beloved adaptation of Jack Schaefer's wonderful novel, with Alan Ladd perfect as the buckskinned gunfighter trying to hang up his six shooter but finding that 'There's no living with a killing'. Memorable for so many reasons, from the Oscar-winning cinematography and Jack Palance's gleeful bad guy to the lump in the throat ending which still resonates as little Joey implores 'Come back, Shane!' 4. Unforgiven (Clint Eastwood, 1992) A ruthless killer turned pig farmer reluctantly takes one last job, and carnage ensues. Eastwood deconstructs the myths and legends of the Western and the result is a revisionist masterpiece that deservedly won Oscars for best picture and best director 3. The Good, the Bad and the Ugly (Sergio Leone, 1966) The most famous spaghetti Western is a stylish, flamboyant, visual treat, with Ennio Morricone's famous soundtrack at its core. Innovative and hugely influential, boasting several memorable set-pieces, including the authentic and moving civil war sequence. 2. The Wild Bunch (Sam Peckinpah, 1969) On its release, Peckinpah's visceral masterpiece provoked infamy for its level of violence, and even now the amount of blood and gore on show still shocks. But look beyond the balletic beauty of the slow motion carnage and it's clear that Peckinpah holds true to his recurring themes of the death of the old West, and men out of step with the times facing their own imminent demise. 1. The Searchers (John Ford, 1956) The saga of a racist outsider's search for his kidnapped niece still astounds in its dark power, beauty and all round magnificence. Complex, multi-layered and troubling, with a monumental performance from Wayne as the bigoted anti-hero, the film repays repeated viewing.
Yahoo
08-04-2025
- Entertainment
- Yahoo
The Best Way to Understand Val Kilmer
When Val Kilmer was a teenager, performing in high-school plays and making amateur movies with his younger brother, Marlon Brando was his hero. Like Brando, Kilmer eventually moved to New York to study acting, becoming one of the youngest students to be admitted to the Juilliard School's drama program. And years later, after he acted alongside Brando in the infamously disastrous The Island of Dr. Moreau, Kilmer would nonetheless express a twisted kind of admiration for his co-star. 'I wouldn't call him normal,' he said of Brando on Late Show With David Letterman. 'He's a genius. Have you ever met any normal geniuses?' Kilmer, who died last week at the age of 65, wasn't 'normal' either—which I mean as a high compliment. His commitment to the profession, the intensity of his working process, the curiosity and at times inscrutable logic guiding his choices of roles—all suggested that he knew no masters. Kilmer worked with auteurs such as Francis Ford Coppola and Michael Mann but turned down offers from David Lynch and Robert Altman. He was Moses and Batman and he starred in not one but two direct-to-video action movies with 50 Cent. As he explained in Val, the 2021 documentary about his life, he was driven by the desire to explore the mysterious space between 'where you end and the character begins.' Although several obituaries have focused on his well-known roles, Kilmer didn't need to be a leading man for his powers to shine through; his touch was so formidable that you felt it in transience too. Because Kilmer was staggeringly handsome, and because he made headlines for his on-set clashes, he was often thought of as a mere movie star. Arguably, his two most iconic roles—as 'Iceman' Kazansky in Top Gun and Jim Morrison in The Doors—echoed the rise of the brawny, big-budget blockbuster and of MTV, shaping his image along the contours of America's pop-cultural trends. Yet celebrity's glossy facades can obscure finer truths. He was also a consummate shape-shifter: a soulful brute in Heat, a twinkle-eyed gunslinger in Tombstone, a sardonic private eye in Kiss Kiss Bang Bang. Even in his tiniest roles, he made big impressions. It didn't matter if the camera was elsewhere or if he wasn't given any written lines. Consider True Romance, the second of Kilmer's three collaborations with the cult action director Tony Scott—which features one of his most nefarious characters, despite the brevity of the part. In this shoot-'em-up written by Quentin Tarantino, Clarence (played by Christian Slater), a nerdy comic-book-store employee, becomes an outlaw figure after he falls in love with Alabama, a sex worker played by Patricia Arquette. His transformation represents a fraught passage into manhood—Clarence feels emboldened to protect his lady's honor, yet he dictates his life according to the violent fictional worlds of cartoons and movies. Enter Kilmer, who plays a phantasmagorical version of Elvis Presley that's the literal embodiment of Clarence's conscience. He doesn't have more than a few minutes of screen time, and you can't even really make out his face, because the camera mostly captures him from neck down or in the distance as a fuzzy specter. But his arrival shifts the film's entire mood, as his baritone murmurings cast a sort of hypnosis on Clarence. Like a Faustian figure, Kilmer's Elvis plays to Clarence's macho aspiration. He's seductively cool, slinking in the background like a panther in one moment and then—bam!—pointing at Clarence with a sharp, extended finger, inciting him to man up. It's a captivating performance that in a handful of hazy moments manages to anchor the film's self-critique. [Read: The King, the conspiracies, and the American Dream] Kilmer, a lifelong Christian Scientist, claimed that he was too sensitive to dabble in drug use, even when his immersive preparation methods for movies such as The Doors and Wonderland (a thriller about the 1981 Wonderland murders in which Kilmer plays the adult-film star John Holmes) might've warranted some experimentation. His fiery public image and the ease with which he embodied strung-out party people made it easy to assume that his own lifestyle was similarly raucous. Yet Kilmer could do disturbed au naturel. Case in point: his indelible cameo as Duane, an aging rocker, in Terrence Malick's Song to Song, in which he swoops into the drearily moody drama with the force of a mythological lightning bolt. Midway through the film, as two of its several romantically entangled characters exchange charged glances at a Texas music festival, a snippet of voice-over narration wonders about the appeal of chaos: 'Maybe what stirs your blood is having wild people around you,' one of the characters thinks about another. In response, Duane seems to materialize out of nowhere. As the ostensible front man of the garage-punk band the Black Lips, Kilmer's character heeds this call of the wild in less than a minute, taking a chain saw to a speaker, cutting off chunks of his hair, and bellowing at the crowd while he holds up what he claims is a bucket of uranium. The actor's frayed mane and lumbering gait tell us that Duane is as accustomed to the stage as he is to being dragged off of it. And when he's actually pulled away and thrown into the back of a cab, Kilmer's exit is as unceremonious as a cable yanked out from an amp, leaving viewers drifting along the film's woozy currents. Kilmer's final performance would also take the form of a cameo. In Top Gun: Maverick, he reprises the role of Iceman in a small yet arresting scene opposite Maverick (Tom Cruise), his rival turned ally from the first movie. In the sequel, Maverick has come to his old comrade seeking advice. When Kilmer was diagnosed with throat cancer in 2014, the procedures he underwent severely damaged his vocal cords, altering the sound of his voice and limiting his ability to speak. To accommodate Kilmer's disability, Iceman was written as struggling with cancer too; Kilmer appears with a scarf wrapped around his neck to conceal his surgical scars as he delivers a mostly wordless performance. When Iceman types out his thoughts on a computer, his silence is moving. From his earliest roles, Kilmer flaunted his singing abilities and an incredible talent for transforming his voice. Here, the memory of the characters he played fills the ensuing quiet. Still, when the camera cuts to Kilmer's face, he flashes the same cocky, knowing gaze of his youth, collapsing the distinction between where he ends and Iceman begins. He was an actor who could complicate the entire meaning of a film with a strut and a glimpse, and convey savagely weird and wonderful humanity in a brief encounter. Kilmer brought characters to life as extensions of himself. No gesture or look was too little. Article originally published at The Atlantic
Atlantic
08-04-2025
- Entertainment
- Atlantic
Val Kilmer Always Stole the Show
When Val Kilmer was a teenager, performing in high-school plays and making amateur movies with his younger brother, Marlon Brando was his hero. Like Brando, Kilmer eventually moved to New York to study acting, becoming one of the youngest students to be admitted to the Juilliard School's drama program. And years later, after he acted alongside Brando in the infamously disastrous The Island of Dr. Moreau, Kilmer would nonetheless express a twisted kind of admiration for his co-star. 'I wouldn't call him normal,' he said of Brando on Late Show With David Letterman. 'He's a genius. Have you ever met any normal geniuses?' Kilmer, who died last week at the age of 65, wasn't 'normal' either—which I mean as a high compliment. His commitment to the profession, the intensity of his working process, the curiosity and at times inscrutable logic guiding his choices of roles—all suggested that he knew no masters. Kilmer worked with auteurs such as Francis Ford Coppola and Michael Mann but turned down offers from David Lynch and Robert Altman. He was Moses and Batman and he starred in not one but two direct-to-video action movies with 50 Cent. As he explained in Val, the 2021 documentary about his life, he was driven by the desire to explore the mysterious space between 'where you end and the character begins.' Although several obituaries have focused on his well-known roles, Kilmer didn't need to be a leading man for his powers to shine through; his touch was so formidable that you felt it in transience too. Because Kilmer was staggeringly handsome, and because he made headlines for his on-set clashes, he was often thought of as a mere movie star. Arguably, his two most iconic roles—as 'Iceman' Kazansky in Top Gun and Jim Morrison in The Doors —echoed the rise of the brawny, big-budget blockbuster and of MTV, shaping his image along the contours of America's pop-cultural trends. Yet celebrity's glossy facades can obscure finer truths. He was also a consummate shape-shifter: a soulful brute in Heat, a twinkle-eyed gunslinger in Tombstone, a sardonic private eye in Kiss Kiss Bang Bang. Even in his tiniest roles, he made big impressions. It didn't matter if the camera was elsewhere or if he wasn't given any written lines. Consider True Romance, the second of Kilmer's three collaborations with the cult action director Tony Scott—which features one of his most nefarious characters, despite the brevity of the part. In this shoot-'em-up written by Quentin Tarantino, Clarence (played by Christian Slater), a nerdy comic-book-store employee, becomes an outlaw figure after he falls in love with Alabama, a sex worker played by Patricia Arquette. His transformation represents a fraught passage into manhood—Clarence feels emboldened to protect his lady's honor, yet he dictates his life according to the violent fictional worlds of cartoons and movies. Enter Kilmer, who plays a phantasmagorical version of Elvis Presley that's the literal embodiment of Clarence's conscience. He doesn't have more than a few minutes of screen time, and you can't even really make out his face, because the camera mostly captures him from neck down or in the distance as a fuzzy specter. But his arrival shifts the film's entire mood, as his baritone murmurings cast a sort of hypnosis on Clarence. Like a Faustian figure, Kilmer's Elvis plays to Clarence's macho aspiration. He's seductively cool, slinking in the background like a panther in one moment and then— bam! —pointing at Clarence with a sharp, extended finger, inciting him to man up. It's a captivating performance that in a handful of hazy moments manages to anchor the film's self-critique. Kilmer, a lifelong Christian Scientist, claimed that he was too sensitive to dabble in drug use, even when his immersive preparation methods for movies such as The Doors and Wonderland (a thriller about the 1981 Wonderland murders in which Kilmer plays the adult-film star John Holmes) might've warranted some experimentation. His fiery public image and the ease with which he embodied strung-out party people made it easy to assume that his own lifestyle was similarly raucous. Yet Kilmer could do disturbed au naturel. Case in point: his indelible cameo as Duane, an aging rocker, in Terrence Malick's Song to Song, in which he swoops into the drearily moody drama with the force of a mythological lightning bolt. Midway through the film, as two of its several romantically entangled characters exchange charged glances at a Texas music festival, a snippet of voice-over narration wonders about the appeal of chaos: ' Maybe what stirs your blood is having wild people around you,' one of the characters thinks about another. In response, Duane seems to materialize out of nowhere. As the ostensible front man of the garage-punk band the Black Lips, Kilmer's character heeds this call of the wild in less than a minute, taking a chain saw to a speaker, cutting off chunks of his hair, and bellowing at the crowd while he holds up what he claims is a bucket of uranium. The actor's frayed mane and lumbering gait tell us that Duane is as accustomed to the stage as he is to being dragged off of it. And when he's actually pulled away and thrown into the back of a cab, Kilmer's exit is as unceremonious as a cable yanked out from an amp, leaving viewers drifting along the film's woozy currents. Kilmer's final performance would also take the form of a cameo. In Top Gun: Maverick, he reprises the role of Iceman in a small yet arresting scene opposite Maverick (Tom Cruise), his rival turned ally from the first movie. In the sequel, Maverick has come to his old comrade seeking advice. When Kilmer was diagnosed with throat cancer in 2014, the procedures he underwent severely damaged his vocal cords, altering the sound of his voice and limiting his ability to speak. To accommodate Kilmer's disability, Iceman was written as struggling with cancer too; Kilmer appears with a scarf wrapped around his neck to conceal his surgical scars as he delivers a mostly wordless performance. When Iceman types out his thoughts on a computer, his silence is moving. From his earliest roles, Kilmer flaunted his singing abilities and an incredible talent for transforming his voice. Here, the memory of the characters he played fills the ensuing quiet. Still, when the camera cuts to Kilmer's face, he flashes the same cocky, knowing gaze of his youth, collapsing the distinction between where he ends and Iceman begins. He was an actor who could complicate the entire meaning of a film with a strut and a glimpse, and convey savagely weird and wonderful humanity in a brief encounter. Kilmer brought characters to life as extensions of himself. No gesture or look was too little.
Fox Sports
17-03-2025
- Sport
- Fox Sports
COLLEGE BASKETBALL CROWN Reveals Full Field and Bracket for Inaugural Postseason Tournament - Fox Sports Press Pass
Las Vegas Hosts Tournament at MGM Grand Garden Arena and T-Mobile Arena Monday, March 31 to Sunday, April 6 Live on FOX & FS1 COLLEGE BASKETBALL CROWN Tickets On-Sale Exclusively via Vivid Seats Los Angeles – Today, the College Basketball Crown announces its full field and bracket for the inaugural postseason college hoops tournament – an exciting single-elimination 16-team contest featuring elite student-athletes in competitive postseason matchups from the nation's biggest basketball conferences. Founded by AEG and FOX Sports, the College Basketball Crown will take place at the MGM Grand Garden Arena and T-Mobile Arena in Las Vegas from Monday, March 31 to Sunday, April 6 , with all the action airing on FOX and FS1. Tickets can be purchased exclusively via Vivid Seats, the Official Ticketing Provider of the College Basketball Crown. The following teams representing seven conferences will compete in the inaugural College Basketball Crown: Arizona State Boise State Butler Cincinnati Colorado DePaul George Washington Georgetown Nebraska Oregon State Tulane UCF USC Utah Washington State Villanova FOX Sports' lead college basketball play-by-play announcer Gus Johnson and two-time All-American and NBA veteran Jim Jackson are on the call for the quarterfinals, semifinals and championship. Allison Williams serves as sideline reporter for the quarterfinals, while Kristina Pink joins for the semifinals and championship. For the first round, play-by-play announcer Tim Brando pairs with analyst Donny Marshall and reporter Nick Bahe, while play-by-play announcer Kevin Kugler teams with analyst Robbie Hummel and reporter Kim Adams. FOX Sports' studio coverage is anchored by hosts Rob Stone and Mike Hill, with insight and analysis from LaPhonso Ellis, Casey Jacobsen and Marshall. The studio team provides bridge show coverage throughout the tournament, in addition to dedicated pregame and postgame coverage detailed below. College Basketball Crown Game and Television Schedule: FIRST ROUND Mon, 3/31 GAME 1: Utah vs. Butler (Brando, Marshall, Bahe) MGM Grand Garden Arena 3:00 PM ET FS1 GAME 2: George Washington vs. Boise State (Brando, Marshall, Bahe) MGM Grand Garden Arena 5:30 PM ET FS1 GAME 3: Nebraska vs. Arizona State (Kugler, Hummel, Adams) MGM Grand Garden Arena 8:30 PM ET FS1 GAME 4: Georgetown vs. Washington State (Kugler, Hummel, Adams) MGM Grand Garden Arena 11:00 PM ET FS1 College Basketball Crown Bridge Shows: Stone, Ellis, Jacobsen Tues, 4/1 GAME 5: DePaul vs. Cincinnati (Brando, Marshall, Bahe) MGM Grand Garden Arena 3:00 PM ET FS1 GAME 6: Oregon State vs. UCF (Brando, Marshall, Bahe) MGM Grand Garden Arena 5:30 PM ET FS1 GAME 7: Colorado vs. Villanova (Kugler, Hummel, Adams) MGM Grand Garden Arena 8:30 PM ET FS1 GAME 8: Tulane vs. USC (Kugler, Hummel, Adams) MGM Grand Garden Arena 11:00 PM ET FS1 College Basketball Crown Bridge Shows: Stone, Ellis, Jacobsen QUARTERFINALS Weds, 4/2 College Basketball Crown Pregame (Hill, Ellis, Jacobsen) 6:30 PM ET FS1 GAME 9: Game 1 Winner vs. Game 2 Winner (Johnson, Jackson, Williams) MGM Grand Garden Arena 7:00 PM ET FS1 GAME 10: Game 3 Winner vs. Game 4 Winner (Johnson, Jackson, Williams) MGM Grand Garden Arena 9:30 PM ET FS1 College Basketball Crown Bridge Show: Hill, Ellis, Jacobsen Thurs, 4/3 College Basketball Crown Pregame (Hill, Ellis, Marshall) 6:30 PM ET FS1 GAME 11: Game 5 Winner vs. Game 6 Winner (Johnson, Jackson, Williams) MGM Grand Garden Arena 7:00 PM ET FS1 GAME 12: Game 7 Winner vs. Game 8 Winner (Johnson, Jackson, Williams) MGM Grand Garden Arena 9:30 PM ET FS1 College Basketball Crown Bridge Show: Hill, Jacobsen, Marshall SEMIFINALS Sat, 4/5 College Basketball Crown Pregame (Stone, Jacobsen, Marshall) 1:00 PM ET FOX GAME 13: Game 9 Winner vs. Game 10 Winner (Johnson, Jackson, Pink) T-Mobile Arena 1:30 PM ET FOX GAME 14: Game 11 Winner vs. Game 12 Winner (Johnson, Jackson, Pink) T-Mobile Arena 4:00 PM ET FOX College Basketball Crown Postgame (Stone, Jacobsen, Marshall) 6:00 PM ET FOX College Basketball Crown Bridge Show: Stone, Jacobsen, Marshall CHAMPIONSHIP Sun, 4/6 College Basketball Pregame (Stone, Jacobsen, Marshall) 5:00 PM ET FOX GAME 15: Game 13 Winner vs. Game 14 Winner (Johnson, Jackson, Pink) T-Mobile Arena 5:30 PM ET FOX College Basketball Crown Postgame 7:30 PM ET FOX For more information on tickets, visit or for the latest updates. To apply for media access and credentials to the College Basketball Crown, please fill out this Media Credential Request Form. Click here for the College Basketball Crown assets, including tournament and conference logos, and imagery of the arenas.
