Latest news with #HaleCounty
Yahoo
03-07-2025
- Sport
- Yahoo
Tennessee basketball recruiting names to know in the 2026 class for Rick Barnes
Trey Thompson had been to Tennessee basketball many times before June. But the Greeneville star made another visit as the Vols hosted their first official visitor in the 2026 recruiting class. The Vols have their sights on the 2026 class, hosting top prospects and working to build another elite class under coach Rick Barnes. Advertisement Here are the names to know for Tennessee's 2026 recruiting class: Gage Mayfield Tennessee landed the top-ranked prospect in Alabama in the 2025 class and is trying to do it again in 2026. Mayfield is the No. 78 prospect in the nation and the top-ranked player in Alabama in the 247Sports Composite. The 6-foot-7, 190-pound forward visited UT from June 23-24. He plays at Hale County High School. The Vols landed DeWayne Brown II from Hoover, Alabama, in the 2025 class. Feb 19, 2024; Birmingham, Alabama, USA; Hale County forward Gage Mayfield (4) shoots in heavy traffic at Bill Harris Arena after the Central Region semifinal game Monday. Hale County defeated Fultondale 52-51 to advance to the regional final. Trey Thompson Thompson is the top in-state target for the Vols as a rising star at Greeneville High School. The 6-8, 220-pound forward is the No. 120 prospect and the No. 4 recruit in Tennessee. He took an official visit from June 7-9. Advertisement Tennessee offered Thompson a scholarship in September. His recruitment gained momentum this summer with the likes of UConn, Indiana, Kansas, Stanford and Virginia offering him a scholarship. Greeneville's Trey Thompson (21) sets up to shoot against Upperman during the second quarter of a TSSAA Class 3A basketball state semifinal game at the Murphy Center in Murfreesboro, Tenn., Friday, March 21, 2025. Miles Sadler Sadler is one of the best point guards in the nation and the top point guard prospect for Tennessee. The 5-10, 165-pound Sadler is expected to visit Tennessee in the coming months. He is the No. 4 point guard in the nation and the No. 34 prospect. He plays at Bella Vista Prep School in Scottsdale, Arizona. Bo Ogden Ogden has ties to Tennessee and is an elite wing recruit. The 6-5, 180-pound Ogden is the No. 67 prospect nationally. His father, Chris, played for Barnes in 2003 and spent 12 seasons on Barnes' staff at Texas. He followed Barnes to Tennessee for the 2015-16 season before he was hired as the University of Texas-Arlington coach. Advertisement Bo Ogden is a standout at Westlake High School in Austin. Latrell Allmond Allmond is the No. 40 prospect in the nation out of Richmond (Virginia) Petersburg High School. The 6-8, 225-pound Allmond has made a visit to Tennessee. Deron Rippey Jr. Rippey is the No. 17 prospect in the nation and the No. 2 point guard. The 6-2, 175-pound Rippey plays for Blair Academy in New Jersey. Tennessee offered Rippey in May. Billy White III White got his first high-major offer from Tennessee in July 2024. He made the trip from Texas to Knoxville to see Tennessee beat South Carolina in its regular-season finale in March. Advertisement The No. 53-ranked prospect plays at Veterans Memorial High School in Corpus Christi, Texas. He is a 6-6, 195-pound wing. Mike Wilson covers University of Tennessee athletics. Email him at and follow him on X @ByMikeWilson. If you enjoy Mike's coverage, consider a digital subscription that will allow you access to all of it. This article originally appeared on Knoxville News Sentinel: Tennessee basketball recruiting: Who Vols are recruiting in 2026 class
New York Times
01-03-2025
- Entertainment
- New York Times
These Films See People the Way They See Themselves
It's incredibly rare — in fact, I don't think it's ever happened before this year — for a filmmaker to get an Oscar-nomination for a documentary and then land a best picture nomination for their next feature film. (A few have come close, though, and Ava DuVernay pulled it off, but in the opposite order.) Part of the blame lies with the Academy, which has somehow never nominated a documentary for Best Picture. It's also just difficult, though by no means impossible, to excel in both fiction and nonfiction in a way that captures voter attention. Yet with 'Nickel Boys,' nominated this year for both best picture and best adapted screenplay, the photographer and filmmaker RaMell Ross has done just that. His previous film, the groundbreaking, lyrical documentary 'Hale County This Morning, This Evening,' was nominated for best documentary in 2019. 'Hale County' may be less well-known than its fictional sibling, but it's a vital companion piece. In fact, revisiting it now in the light of 'Nickel Boys' illuminates Ross's bigger project, and what makes his work so disruptive and his images so indelible. Much has been written — including here in The New York Times — about 'Nickel Boys,' which topped my own list of 2024's best movies. In reimagining Colson Whitehead's novel, Ross and Joslyn Barnes shifted the book's third-person narration to first person perspective, so we spend nearly the entire film looking through the eyes of two teenage boys, Elwood and Turner. That kind of perspective isn't alien to storytelling. Movies have used it (including Steven Soderbergh's recent thriller 'Presence'), and it's common in video games. But in 'Nickel Boys' it feels fresh and radical. Ross, along with the cinematographer Jomo Fray and the camera operator Sam Ellison, positioned themselves and their equipment incredibly close to the actors so that their perspectives would follow their performances. The effect is remarkable: While Whitehead's novel is about how we remember history, individually and collectively, Ross's film is about how we see history. That 'we' includes the audience — in fact, it might be more accurate to say it implicates the audience. 'Nickel Boys' insistently shakes the viewer out of the habits audiences have developed when watching fiction films. The action sometimes cuts away to documentary footage, historical images of Black Americans, without a narratively obvious motivation to do so. The camera acts like a person with their own subjective view in the scene, not the ostensibly impartial eye watching drama unfold that fiction films traditionally employ. Characters look straight into the lens, seemingly directly into our eyes, dragging us into the story. Want all of The Times? Subscribe.
